Research on Applicability of Group Form Theory in Contemporary Urbanism: A Case Study of Hillside Terrace. Shan JIN, Keshi CHEN and De TONG

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1 Applied Mechanics and Materials Online: ISSN: , Vols , pp doi: / Trans Tech Publications, Switzerland Research on Applicability of Group Form Theory in Contemporary Urbanism: A Case Study of Hillside Terrace Shan JIN, Keshi CHEN and De TONG Peking University Shenzhen Graduate School, SUPD, Shenzhen, China Keywords: Group Form Theory, Fumihiko Maki, Hillside Terrace, Open Space Abstract. In the rush for modernization, many of the Chinese cities are in the abrupt disappearance of character and identity of the unique places. Urban open space has lost its sense of place. This paper analyzes the applicability of group form theory within today s dynamic environment by taking Maki s Hillside Terrace complex as an example. The development of Hillside Terrace complex is resilient and adaptable to changes over time. It preserves the original spirit and character by creating urban open spaces for all kinds of human interaction. It provides inspiration for today's urban design. Introduction The accelerating urban growth and its new models of consolidation and density are actually causing cities to lose their form and coherence [1]. Urban fabric is becoming more visually confusing due to its inability to adapt to the clashing dynamic and static elements resulting from accelerated urban growth [2]. In the rush for modernization, many of the Chinese cities are in the abrupt disappearance of character and identity of the unique places. Urban open space has lost its sense of place. Looking to the past gives us inspiration for the future. The Hillside Terrace Complex designed by Japanese architect Fumihiko Maki is influenced by Maki s group form theory. The Hillside Terrace blends modernism and international style with Tokyo s East-Asian influences to create a series of public and private spaces that fits into the industrial vernacular of Tokyo [3]. The complex maintains the original spirit of the place throughout the 25-year development. It remains meaningful to those who have lived in the region generation by generation. It has shown that good urban planning and architecture can exist within today s dynamic environment. Group Form Theory Fumihiko Maki s architectural practice is a combination of Japanese and American experiences. After he receiving a bachelor degree of architecture at the University of Tokyo in 1952, he went to the United States for further study, and graduated from Harvard Graduate School of Design in Then he worked as a faculty member at Washington University and later at the Harvard University. In 1964, Maki published an essay titled Investigations in Collective Form that explored paradigms in urban forms. In his essay, he identified three forms of contemporary urban growth and change: Compositional form, Mega form, and Group Form (Fig. 1) [4]. Fig. 1: Compositional form, Mega form, Group Form Source: Trancik, R. Finding Lost Space: Theories of Urban Design. (John Wiley & Sons, Inc. 1986) All rights reserved. No part of contents of this paper may be reproduced or transmitted in any form or by any means without the written permission of Trans Tech Publications, (ID: , Pennsylvania State University, University Park, USA-06/03/16,14:59:29)

2 Applied Mechanics and Materials Vols Maki advocated group form, which can cope with an expanded scale of operations and rapid transformation. It is a structuralist approach of adding dynamic individual elements to create a cluster. In contrast to top-down planning, group form encourages cumulative growth that results in a non-hierarchical collective form [5]. In the late 1950s, Maki traveled to European medieval cities, towns and villages. Those vernacular settlements impressed him with their natural aesthetic order and formal cohesion. He wrote: I saw in those collective forms an expression of regional culture. The essential spirit of group form derived exactly from the natural order and regional culture. In group form, individual elements can differ from each other in details, but the group s characteristics as a whole would remain consistent [6]. Maki s urban theory endeavored to transform the natural order that inspired from vernacular settlements into contemporary urbanism. In 1965, he returned to Tokyo to start his own practice. The Hillside Terrace complex is one of his first commissions. Maki took this opportunity to implement his theory of group form at smaller scale. Hillside Terrace Complex The Hillside Terrace project began in 1967 and was finally completed in Within this quarter-century, the project was split into six phases of development (Fig. 2, 3). 2 3 Fig. 2: Master Plan of Hillside Terrace. Source: Drawn by Author; Background Map from Google Map. Fig. 3: Aerial Photograph of Hillside Terrace Site. Source: Phase I consisted of two buildings. Shops located on the lower levels and apartments on the upper levels. Maki had been studying the interconnectedness of public and private spaces in small villages, like those in the Mediterranean, and wanted to incorporate a similar mixture of use and space in the first buildings [7](Fig. 4). Accordingly, Maki incorporated a raised pedestrian deck running parallel to the street that acted as an intermediate zone between the sidewalk and shops [8] (Fig. 5). 4 5 Fig. 4: Open Space. Source: Fig. 5: Street View of Phase I buildings. Source:

3 986 Frontiers of Green Building, Materials and Civil Engineering II Phase II incorporated the use of an inner courtyard in order to reduce the interference of traffic, noise and pollution due to the rapid development of the nearby area. The inner courtyard opened up the various shops and apartments(fig. 6, 7). Similar to phase I, shops were placed on the bottom two floors and apartments on the third floor. On the site of phase III, there was an ancient shrine perched on a burial mound, called a kofun. With the courtyard scheme, Maki was able to develop the usable public space surrounding the kofun so as to preserve this important monument(fig. 8, 9). The upper floor residence plans were designed more flexible, the apartments could be alternatively converted to offices Fig. 6: Model of Phase II. Source: idgettypecall=true Fig. 7: Inner Courtyard of Phase II. Source: Fig. 8: Section of Phase III with the kofun. Source: Fig. 9: Model of Phase III public space surrounding the kofun. Source: idgettypecall=true Phase IV was designed by the architect Makoto Motokura, a former associate of Maki s office. The two office buildings were located east of the phase I site. Motokura developed a skillful architectural composition of opaque cylindrical volumes juxtaposed against translucent glass block planes that maintained and extended the integrity of Maki s own complex vision for the site[9]. Phase V proposed to build an open space plaza at the street level in order to develop more public spaces in the complex. And an underground exhibition space was built to provide space for shows, exhibitions, etc. Phase VI was sited across the street from phase III. Maki developed three varying height buildings with shops and businesses on the first floor, residences and offices on the second floor (Fig. 10). He introduced a variety of different functions of the space, such as an art gallery, tearoom, and media activity center. Compared to the larger courtyard in previous phases, the buildings are grouped around smaller but elaborate courtyards (Fig. 11) Fig. 10: Model of Phase VI buildings. Source: &redirect=Dlog&widgetTypeCall=true Fig. 11: Elaborate Public Spaces of Phase VI. Source:

4 Applied Mechanics and Materials Vols Throughout its 25-year development, Maki was trying to accommodate a site to the shifting demands of an expanding modern metropolis, yet maintain or reinterpret its spirit of place [10]. The Hillside Terrace project exemplifies Maki s architectural philosophy, exhibits a careful theoretical thought process that emphasizes the relationship between building and environment in the urban context. Despite aesthetic differences in design, each building of Hillside Terrace relates to each other as parts of a unified whole. Group form grows organically out of the existing whole, adapting to changes over time. Space and Form With Hillside Terrace, the first concern is the creation of spaces where certain human activities are both physically and mentally enhanced and where a sense of public character may develop [11]. When designing, Fumihiko Maki employs an encompassing approach that layers issues of space, use, form, technology, materials, and detail one over another in sequence [12]. Rather than designing with a vision of a constructed facade in mind, Maki s design inspiration primarily focuses on creating unforgettable scenes in effect, stage settings to accommodate and complement all kinds of human interaction [13]. The project site was on a slow sloping forested land within a suburban area. The owner wanted to preserve the overall spirit and character of the site throughout the stages of development. As a mixed-use project with public and private functions, Maki designed buildings that provided open, interactive public spaces while still maintaining a high level of privacy in the private residential 12 spaces (Fig.12). Figure 12: Public Spaces of Hillside Terrace Complex Source: Drawn by Author; Background Map from Google Map Courtyard is the unchanging essence of oriental architecture. Japanese traditional courtyard has its own unique style; the aesthetic of courtyard is based on Zen philosophy. It often constitutes a core part of architectural space. Throughout Hillside Terrace complex, Maki designed various public but intimate courtyard arrangements. Courtyards interact and connect with each other through shared views, providing a further depth to their contribution to the overall concept of interactive public spaces[14]. The Hillside Terrace complex creates a series of public and private spaces that preservs the sense of place. Conclusion Throughout the 25 years development, Hillside Terrace complex has been merging the elements of time, growth and evolution with the site. Hillside Terrace has been designed in harmony with surrounding environment in the urban context. The careful planning of open spaces has maintained and enhanced the initial spirit and character. It is a successful execution of group form theory in urban design. It is responsive and adaptable to changes within today s dynamic environment, it could act as a classic model for larger scale urban design.

5 988 Frontiers of Green Building, Materials and Civil Engineering II Acknowledgements Fund: National Natural Science Foundation Youth Project ( ) Notes Compositional form: Consists of individually tailored buildings in abstract patterns that are composed in a two-dimensional plan. Source: R. Trancik, Finding Lost Space: Theories of Urban Design, (John Wiley & Sons, Inc. United States 1986) Mega form: individual components are integrated into a larger framework in an hierarchical, open-ended, and interconnected system. Source: R. Trancik, Finding Lost Space: Theories of Urban Design, (John Wiley & Sons, Inc. United States 1986) Group form: is the result of incremental accumulation of elements in space along an armature and is particularly typical of the spatial organization of many historic towns. And it is further characterized by a consistency of materials, a wise, often dramatic response to topography, deference to human scale, and by sequences of spaces defined by buildings, walls, gateways, and spires. Source: R. Trancik, Finding Lost Space: Theories of Urban Design, (John Wiley & Sons, Inc. United States 1986) Reference [1] A. Krieger, Investigations in Collective Form: Maki s Quarter of a Century at Hillside Terrace, Japan Architect, (1994) No.4, p.244. [2] F. Maki, Special Feature: Fumihiko Maki, Space Design, (1986) No.1, p.141. [3] S. Salat, Fumihiko Maki: An Aesthetic of Fragmentation, (New York: Rizzoli, United States1987) [4] A. Krieger, Investigations in Collective Form: Maki s Quarter of a Century at Hillside Terrace, Japan Architect, (1994) No.4, p.240. [5] Z. Lin, Kenzo Tange and the Metabolist Movement: Urban Utopias of Modern Japan, (London: Routledge, England 2010) [6] Ibid. [7] A. Krieger, Investigations in Collective Form: Maki s Quarter of a Century at Hillside Terrace, Japan Architect, (1994) No.4, p.240. [8] A. Krieger, Investigations in Collective Form: Maki s Quarter of a Century at Hillside Terrace, Japan Architect, (1994) No.4, p.241. [9] A. Krieger, Investigations in Collective Form: Maki s Quarter of a Century at Hillside Terrace, Japan Architect, (1994) No.4, p.242. [10] A. Krieger, Investigations in Collective Form: Maki s Quarter of a Century at Hillside Terrace, Japan Architect, (1994) No.4, p.243. [11] F. Maki, Fumihiko Maki: Buildings and Projects, (New York: Princeton Architectural Press, United States 1997) [12] Ibid. [13] About Fumihiko Maki, A Brief Biography. Information on the Pritzker Architecture Prize Website, [14] Hong, F. Hillside Terrace: Fumihiko Maki s Microcosm of Urban Development. Proceedings for the 6th International Symposium on Asia Pacific Architecture, 2005

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