A distinctive feature of the work of Kazuyo Sejima and Ryue Nishizawa is the valuation extreme of the horizontal space, understanding that he consents the natural movement of the man and facilitates his field of vision of a way that allows to join the architecture with the horizon.
This disposition, which takes as a reference the concept of free plant established in the modern movement, adjusts by means of graphs that in every case provide the sustenance to solve the multiple conditions of a program. But in addition, it ensues from vital importance to articulate the embryonic idea that the Japanese architects use like structuring in the buildings of public use: the concept of urban park. A space where the social exchange takes place naturally and where many persons can congregate in community or individual activities inside an igalitarian status.
The conscientiousness for the application of these concepts gives like proved buildings where the users understand with rapidity the totality of the landscape constructed, proved from a story that sinks his roots in the work of Mies Van Der Rohe, and is represented of the new technologies to accentuate the ethereal character of the architecture by means of the use of extremely slender elements of support. Of this form, it offers answers to the functional needs without limiting the spatial joint and the light quality and visual search.
From these premises, every work acquires specific modalities that are established from the local weight, notion that turns out to be determinant to compose the nature of his architecture.
For example, the design of the Louvre Lens presents a succession of prismatic horizontal boxes that follow the wavinesses of the site. Between these volumes there take place inflexions that distort the character of the interior spaces and prevent a free perspective from impeding the functioning of the museum. A physical limit does not exist, but the drafts of the boxes limit the visual one to the space that is visited.
In the Center Rólex the scheme is invested and is the building the one that agrees the wavinesses on the flat area to limit in a physical way the different areas of the center without obstructing the visual continuity. The horizontal sheets low and top acquire a dynamics that typifies the singular character of the building. The physical limit is interrupted by the wavinesses, but the visual one is unlimited.
The inflexions of the first one and the wavinesses of the second one do not distort the character of urban park, but they articulate in different ways the limit.
In the extension of the Serpentine Gallery and in the work for the Farm Grace, the freedoms that the implantation offers allow that the horizontal sheets should liberate his form. The contours are dominated by a disposition of free lines that answer in a different way in every building. The pavilion floats between the trees, and his character reflectante allows that it should fuse with the environment and transforms in an extension protected from the park. In the Farm, the concept is kept but they defer the forms. The architecture crosses the area as the course of a river, fusing with the nature up to turning into a component of the natural landscape. In both cases the concept of park is maximized in literal sense.
When SANAA acts in urban limited spaces, the concept solves by means of apilamientos that they continue favouring the horizontal spaces, but they investigate the way of being articulated in vertically. The buildings support the use of transparent or translucent skins according to the case, to attenuate or to extend the visual limits.
In the museum of Contemporary Art of New York the design seeks to minimize the constructed mass displacing the horizontal boxes in height, attending to a modality that accentuates the weightlessness, but simultaneously that improves the conditions of lighting, direcciona the visual ones and solves the functional autonomy of the areas of the museum.
In the Campus for the Academy Bezalel, the horizontal planes are superposed irregularly following the slope of the area. The parks are piled up and connect with ramps and stairs to facilitate a fluid connection between the different levels. The displacements promote the formation of vertical emptinesses that stimulate the visual connection between the areas and terraces, favoring different points dress inside the building and towards the city.
The complex variety of SANAA’s work liberates his production of encasillamientos strict, but his work inscribes limits that of a way or other one they frequent methodically. Though it alternates the use of strict geometries or of figures serpenteantes, ordering apilamientos strict or irregular, his architecture takes local references and answers in this sense, sublimating the natural character of the horizontal space and encouraging transparencies that incite the total or fragmented vision of the space.
In every building, the program progresses contained in the dynamics of a spatial perspicacious mutation that stimulates the weightless character of the architecture. An exercise that under any circumstance dogmatizes the idea of the man integrated to the absolute comprehension of the space who lives.
Marcelo Gardinetti. Architect
La Plata, Argentina. Maio 2016