SHIGERUBAN. emergency shelter VANESSA NAPIZA NICHOLAS LANE JULIEN AHCHING JOHNATHAN TERLATO JONATHAN TULLY

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1 SHIGERUBAN emergency shelter VANESSA NAPIZA NICHOLAS LANE JULIEN AHCHING JOHNATHAN TERLATO JONATHAN TULLY

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3 contents A COLLECTION OF ESSAYS 3 Introduction An investigation of Shigeru Ban s emergency shelter 5 Mode of Global Practice Relevance of architects in post-disaster relief and Shigeru Ban s mode of global practice 11 A Lifestyle Engendered Use of building and use of built environment, workers conditions, workers housing, lifestyle engendered by the building 17 The Ban Philosophy Approach to project and design strategies 23 Influence of Morphology Influences of site and context on the morphology of Shigeru Ban s emergency architecture 27 Emergency Procedure Methods of construction, time frame and who s involved Cover Image: P. Feugere, Shigeru Ban, deviantart, 2007, < accessed 9 September 2014.

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5 shigeru ban introduction AN INVESTIGATION OF SHIGERU BAN S EMERGENCY SHELTER Shigeru Ban s ability to draw together both his philosophy and world events has made profound contributions to the architectural profession. Ban represents an interesting model for architects. He holds a strong ethical position within the profession not often pursued by many architects yet is bestowed with the highest honour. The Pritzker Prize has a longstanding tendency to recognise glamorous design types with an aura of celebrity status. 1 However, Ban was awarded for his contributions to humanity as well as design excellence - a merging of architecture and social justice. Ban says even in disaster areas, as an architect I want to create beautiful buildings. I want to move people and to improve people s lives. 2 This recognition could mark a turning point in redefining the role and responsibility of the profession, in the way that architects serve society. Ban has found a way to harness his talent to make lives better for all people by simultaneously engaging in a private architectural practice as well as disaster relief projects. Ban proves that innovative architecture and temporary shelter are not mutually exclusive concepts 3 despite changing contextual issues, constraints and 1 R. Pogrebin, Pritzker Architecture Prize goes to Shigeru Ban, The New York Times, 24 March 2014, para. 9, < com/2014/03/25/arts/design/pritzker-architecture-prize-goes-to-shigeru-ban.html?_r=0>, accessed 8 September S. Ban, Shigeru Ban, Laurence King, London, Image: Shigeru Ban The Paper Architect, Research Project, 2012, < functional-duality/paper-tubes_shigeru-ban/>, accessed 9 September EMERGENCY SHELTER / 3

6 conditions. There is a place for the profession to play a critical role in post-disaster recovery to restore the physical and social fabric of postdisaster communities. 4 The multifaceted nature of post-disaster work engages in a different set of parameters to traditional architectural practice, operating on a case-by-case basis that is largely informed by 1) contextual understanding, 2) community participation and 3) local resources. 5 The mega aspect of his paper tube shelters is that he has developed one appropriate architectural expression with strong adaptive capacity for many different situations. It is trans-national in that it has been adopted across many national boundaries yet has the ability to retain cultural meaning. Ban s temporary shelters bring into question the mark of success of emergency housing in disaster situations. The varying conditions that each disaster produces results in a response that is customised to its environment and serves the need of the people affected, but does it solve the problem, or is it a bandaid over the situation? In Rwanda where Ban devised the paper tube emergency shelters, two-million Rwandans were left homeless after the civil war, but only 50 shelters were constructed; this is a significant shortfall to what was required, and certainly has not accommodated all in need. What Ban did, however, was set up a practice of construction that local volunteers could replicate and produce shelters. can be looked at in total numbers produced and refugees sheltered, but the success of Ban s work is the design and application to the context, using community labour and locally available materials to set a foundation to which can be developed and knowledge transferred to locals to further respond to situations in the future, creating community resilience in times of dire need. The uniqueness of Ban s work can be simplified by the material that gives him his status, the paper tube, and even though he has responded to many disaster situations with these paper tube solutions, there is critique that Ban is self-promoting his own architectural brand and building material through their constant use. The argument sides that these paper tubes are not found locally and have to be produced through machinery, instead of sourcing available materials near the site of the particular disaster. Ban works with paper tubes as they are recyclable and can be disassembled and relocated, but more importantly as a part of the humanitarian aid offered by Ban s response, paper tube manufacturing staff from different parts of the world can teach locals how to operate and produce these tubes. This trans-national effort shows Shigeru Ban working with aid volunteers throughout the world to devise solutions for these mega-projects of humanitarian sensitivity, opening potential possibilities for other architects in this area. The success of the emergency relief 3 The rise of humanitarian architecture, Late Night Live [podcast], interview with Esther Charlesworth & Ajmal Maiwandi, ABC Radio National, 28 August 2014, < accessed 8 September M.J. Aquilino, Beyond Shelter: Architecture and human dignity, Metropolis Books, New York, 2010, p D. Felix, JM Branco & A Feio, Temporary housing after disasters: A state of the art survey, Habitat International, vol. 40, 2013, p / SHIGERU BAN

7 paper refugee shelter, rwanda mode of global practice RELEVANCE OF ARCHITECTS IN POST-DISASTER RELIEF AND SHIGERU BAN S MODE OF GLOBAL PRACTICE BY VANESSA NAPIZA With the increasing prevalence of natural disasters and civil war, Shigeru Ban s commitment to developing a coherent response to emergency shelter is ever more important. Humanitarian architecture has long been marginalised as an alternative field of work in many current models of architectural practice and education. 1 There is strong argument for the need of architects to evolve and find new relevance in radically different circumstances. 2 The recognition and public attention Ban has gained with the Pritzker Prize award could be an important factor in shaping the character of the profession in the way in which architects serve society. Ban represents a unique model for architects in that he demonstrates a strong desire to create beautiful buildings and improve people s lives, even in disaster. There has been a haunting absence of strategic spatial problem solving and design led solutions for long-term recovery in devastated communities. In the past, architects role in aid and development have largely been logistical and technical as opposed to design thinking. 3 Therefore, the capacity of 1 E. Charlesworth, Humanitarian Architecture: 15 Stories of Architects Working After Disaster, Routledge, New York, 2014, p D. Sanderson, 'Architects are often the last people needed in disaster reconstruction', The Guardian, 3 March 2010, para. 7, < accessed 2 September Image: Shigeru Ban Architects, Paper Refugee Shelters for Rwanda, Byumba Refugee Camp, Rwanda, Pritzker Prize, 1999, < accessed 9 September EMERGENCY SHELTER / 5

8 architects to contribute to challenges of physical and social reconstruction following a disaster has yet to be fully realised. Ban s role goes beyond the traditional sense of an architect, so as to include being a facilitator, community educator, and social reformer. 4 Literature suggests that there is a critical role for the profession in a collaborative process to rebuild local culture, environment and economy of damaged communities. Disaster relief projects operate on a caseby-case basis largely dictated by rapidly changing contextual issues, constraints and conditions. 5 The provision, design and construction of temporary dwellings are to be weighed against its context the nature of the disaster, socio-cultural, economic and ecological conditions, disaster recovery funds, characteristics of the disaster affected community, and time constraints for the recovery and reconstruction process. 6 Contrary to traditional architectural practice, Ban works with various stakeholders, donors and communities on projects that require strategic solutions to vastly different circumstances. As in the Onagawa case study, Ban learned of the mayor s difficulty to provide temporary shelter after the earthquake and tsunami due to lack of flat land. He presented a proposal to the municipal government for multistorey units using shipping containers and soon received comission from the municipal government to commence building. Altogether, two hundred people from all over Japan gathered to volunteer in Onagawa. Ban noticed other temporary housing units were often crowded with furniture so with the help of Voluntary Architects Network (VAN) and donation funds, volunteers installed built-in closet and shelves. Ban engages local partners (architects and engineers) to perform a role in decision making and the design management process. 7 He recognises that community participation guarantees solutions sensitive to local needs, expectations and local living standards. 8 Utilising the potential of the local community also helps recover a strong community spirit, sense of pride and well-being that is very important in postdisaster situations. 9 It also instills the adaptive capacity in survivors to facilitate ongoing community resilence. Ban needs to ensure the ease of assembly by non-skilled as many are local volunteers, students and residents. A limitation to this community led approach is that it only achieves a small number of units in comparison to government capacity to deploy large quantities of units through substantial funding and preparedness. 10 As in Rwanda, having only produced fifty homes where there were two million refugees. It has been suggested that it would take a collaborative effort for architect-designed shelters to achieve traction with official aid organisations Charlesworth., p Ibid., p D. Felix, J.M. Branco & A. Feio, Temporary housing after disasters: A state of the art survey, Habitat International, vol. 40, 2013, p H.A. Abulnour, The post-disaster temporary dwelling: Fundamentals of provision, design and construction, HBRC Journal, vol. 10, no. 1, 2014, p Ibid., p Felix,Branco & Feio, Temporary housing after disasters: A state of the art survey, Habitat International, vol. 40, 2013, p Ibid., p Abulnour, loc. cit. 11 D. Neustein, 'A paper-thin humanitarian ethos', Australian Design Review, 6 April 2011, para. 7, < accessed 28 August / SHIGERU BAN

9 Architecture speaks most potently when built, Ban s work has become a talking point because it exists. Only then can others develop the idea to realise the full capacity of architects to bring about real change. EMERGENCY SHELTER / 7

10 annotated bibliography H.A. Abulnour, The post-disaster temporary dwelling: Fundamentals of provision, design and construction, HBRC Journal, vol. 10, no. 1, 2014, pp This is a discussion on the practical application of processes in postdisaster situations. Abulnour suggests that emergency shelter operates on a case-by-case basis and is largely dictated by rapidly changing contextual issues, constraints and conditions. This research proves to be incredibly helpful in grasping the foundations to provisions, design and construction of post-disaster temporary dwellings; particularly for someone who is unfamiliar. It breaks down the complexities of post-disaster recovery into a highly comprehensive well-structured paper. It provides a good basis for understanding general concepts of this sector that differentiates it from traditional architectural practice. It offers a broad snapshot of strategies that take place in the field, weighing the success and failures of these strategies through various case studies. It offers a better understanding of the multi-faceted nature of Ban s process, engagement with different stakeholders and reasons for adopting chosen strategies. M.J. Aquilino, Beyond Shelter: Architecture and human dignity, Metropolis Books, New York, 2010 Aquilino states that there is a haunting absence of architects in post-disaster recovery leaving towns and villages with no coherent response. She argues that there is a place for the profession to play a critical role in the sector towards safe, long-term and locally appropriate solutions. This collection of stories is a call to action, for architects to find new relevance and challenge the role and responsibility of the profession. It offers some solutions as to how built environment professionals could engage with this dialogue and profiles a diverse collection of projects within this realm. Beyond Shelter explores the same questions Ban holds about the architectural profession serving society. Ban is a living example of a design professional that offers problem solving solutions to aid organisations to which Aquilino states is largely missing. E. Charlesworth, Humanitarian Architecture: 15 Stories of Architects Working After Disaster, Routledge, New York, Similar to Beyond Shelter, Charlesworth questions why there is a strong absence of design professionals in post-disaster recovery and tries to unearth a proliferating movement in architecture. This suggests that contributions the architectural profession could make towards actively rebuilding post-disaster communities has yet to be fully realised. Charlesworth presents the architect s role in the post-disaster arena as also being somewhat of a social reformer, facilitator and community educator. As a whole, the book presents an honest representation of the current state of architects within the sector by way of interview transcripts with fifteen practitioners working 8 / SHIGERU BAN

11 directly in the field - many of which discuss the good, bad and the ugly. Such as past failures in approach and instances where architects were more of a hindrence during the reconstruction phase. An incredibly insightful and reliable resource of attitudes towards issues that arise from the infancy of humanitarian architecture. E. Farrelly, Victims need art like a hole in the head, The Sydney Morning Herald, 22 September 2011, < kl4m.html>, accessed 2 September Farrelly presents the other side of the argument. Quick to identify the growing global phenomenon of architects rushing to the latest disasters as being self opportunistic. She states that there is an air of hypocrisy that surrounds this work, in that many inappropriate solutions are gaining a frenzy of public attention whilst effective design responses are often overlooked. She even questions Ban s take on paper tubes as being a gimmick. Her genuinity and hostile tone is questionable as she states that the examination of motives makes fascinating reading. This alludes to the idea that perhaps her commentary is exaggerated so as to heighten the drama in attempts to appeal to a larger audience. Not the most reliable source but interestingly nonetheless as it presents a view on Ban s work not often expressed. D. Felix, J.M. Branco & A. Feio, Temporary housing after disasters: A state of the art survey, Habitat International, vol. 40, 2013, pp A concise paper that discusses how housing reconstruction plays a decisive role in disaster recovery with regards to the physical and social fabric of post-disaster communities. Temporary housing is a crucial step in that it helps restore a sense of normalcy. This paper explores the social affects of losing shelter - changes in family life, comfort, protection and privacy; and its correlation with losing dignity, identity and privacy. Many models of temporary shelter are culturally inadequate and unsustainable solutions, this paper reads as guidelines in identifying the main problems in process and how to avoid them. It highlights that the process of engaging in a highly collaborative effort, just as in Ban s projects, proves more successful in recovering community spirit and human dignity. D. Neustein, A paper-thin humanitarian ethos, Australian Design Review, 6 April 2011, < australiandesignreview.com/ opinion/2038-a-paper-thinhumanitarian-ethos>, accessed 28 August Just as in Farrelly s commentary, Neustein challenges Ban s motives whether he is using paper tubes for marketing and branding moreso than functionality. This raises the question of how much of his work is humanitarian and how much is to raise his public profile. Ban s interests lies in creating architecture that helps people and proving paper can be a viable building material. Again, how much of his EMERGENCY SHELTER / 9

12 work is in proving paper s viability or in helping people. Neustein puts forward a very interesting point in that Ban s efforts have not moved beyond prototype stage, having only constructed 50 to serve 2 million refugees. Also, he questions the appropriateness of paper tubes as a universal solution to materiality. Particularly with lack of manufacturing facilities in more disadvantaged countries. Neustein exhibits a strong understanding of Ban s work, had personally interviewed him to draw these conclusions and presents ideas in a credible manner. Perhaps Ban is most deserved in setting an example for those to follow and drawing ever more attention to the growing importance of humanitarian architecture. S. Rose, Haiti and the demands of disaster-zone architecture, The Guardian, 15 February 2010, < artanddesign/2010/feb/14/ haiti-rebuilding-disaster-zonearchitecture>, accessed 2 September Rose complements Felix, Branco & Feio s journal article in that building back beauty instills a sense of normalcy as well as cultural meaning. It also echoes Charlesworth idea of architecture s potential to address social problems and community capacity to rebuild. What differentiates Rose s article to other resources is his observation of the information age s ability to bring increasing attention and giving rise to celebrity driven development projects. As in Brad Pitt s non-profit foundation, Make It Right, where Ban was involved in rebuilding New Orleans. This project gained much public attention and was largely criticised for alien architecture. Interestingly, Ban expressed, in Charlesworth s book, an air of dissatisfaction in the media attention that followed. D. Sanderson, Architects are often the last people needed in disaster reconstruction, The Guardian, 3 March 2010, < commentisfree/2010/mar/03/ architects-disaster-reconstructionhaiti-chile>, accessed 2 September Sanderson draws upon traditional architectural education which is largely focused on the end product whereas humanitarian workers place emphasis on process, in engaging people. Both Sanderson and Charlesworth express concern for the threat of the traditional model. Sanderson goes on to argue that architects must evolve to address radically different circumstances to remain relevant. This is echoed in Charlesworth s interviewee responses expressing a strong disconnect between architectural education and field work. This inspires a dialogue from the perspective of Ban whom believes conventional professional practice enables him to do the post-disaster work. 10 / SHIGERU BAN

13 container temporary housing, onagawa, japan a lifestyle engendered USE OF BUILDING AND USE OF BUILT ENVIRONMENT, WORKERS CONDITIONS, WORKERS HOUSING, LIFESTYLE ENGENDERED BY THE BUILDING BY NICHOLAS LANE The influential architect Shigeru Ban has revolutionised the idea of disaster relief through his commitment to humanitarian architecture and the implementation of paper construction. By describing his architectural works for the government, Ban rationalizes his more important work for disaster relief, arguing that architects are not working for society they are simply visualizing privileged peoples power and money through an architectural medium. 1 When examining Ban s humanitarian architecture, he developed diverse approaches to suit emergency, temporary and semi-permanent living that were successfully implemented throughout the disaster-stricken world. Analysing specific examples of Ban s assistance, the lifestyle engendered by the building and the use of built environment will be discussed to reiterate Jay Pritzker s famous remarks Shigeru has made our world a better place. 2 In terms of disasters, the lifestyles of occupants affected can t simply be transformed with temporary shelters just as their memories of the particular 1 Emergency Shelters Made from Paper Shigeru Ban, TED, TEDxTokyo, May 2013, shelters_made_from_paper, accessed 30/08/14. 2 S. Phelan, Architecture in Extremis, Boston review, Vol. 39 Issue 4, p48, Humanities source, Image: H. Hirai, Container Temporary Housing, Onagawa, Miyagi, Japan, Pritzker Prize, 2011, < media/2014_media/images-download>, accessed 9 September EMERGENCY SHELTER / 11

14 circumstance can t be forgotten. However, the necessity of a shelter can function as a temporary coping mechanism for the occupants in distress, serving as the basic right for human beings. 3 Shigeru Ban exemplifies his emergency architecture and temporary housing through Japan, Turkey, India and Rwanda, explaining the spiritual consequences associated in building and living within shelters that aren t simply ready-made accommodations. 4 The use of paper tubes meant that they could be easily manufactured on site, affordable, recyclable and sturdier than usual flimsy tents. 5 However, the philosophical merit of labor can be witnessed by those affected, instilling a personal level of gratitude and over time, potentially remaining in the minds of those affected. 6 For the people who lived in rundown tents or plywood huts after the earthquake, Ban s Paper Log houses were an extreme improvement as they had appropriate insulated properties, and attractive aesthetics. The resident s appreciation was illustrated through careful maintenance. 7 Architecture is a mechanism to benefit and perhaps improve the human condition. Ban s Onagawa Container housing gave the occupants a sense of place, demonstrating overwhelming satisfaction after the Japanese earthquake. By building structures for children s art classes, community centre s and markets out of shipping containers and paper tubes, the people were able to emulate their previous lives with fundamental daily routines, consequentially expressing a desire to live there for longer than the established two-year term. 8 Shigeru Ban regarded it highly important psychologically, after all the mental damage of the disaster, that people should see something beautiful. 9 When confronted with the use of built environment, Shigeru Ban s humanitarian architecture can be recognized as environmentally friendly, in particular, his response to the Rwandan refugee camps. This was when serious deforestation threatened the area to supply wooden poles for plastic sheet supports. 10 However, Ban proposed using paper tubes that could be manufactured on site, thus reducing transportation, time, expense and waste 11 while minimizing the threat of theft or reselling of the materials. 12 By originally creating architecture to house people, Ban proved what a viable building material paper was, comparing it to steel or concrete. 13 Ban, along with his students from his NGO, the Voluntary Architects Network, would assist with building the shelters out of paper tubes and plastic beer bottle crates. However they would always collaborate with the local architects who had a proper understanding of the regulations and climate that could facilitate 3 Ibid. p M. McQuaid, Shigeru Ban, Phadion Press London, 2003, pg A. C. Miranda, Paper Tiger, Architect (Washington, D.C), Vol. 103, Issue 4, p19, 2014, Avery Index to Architectural Periodicals. 6 McQuaid, Op. cit. 7 Anon. Paper Log Houses, Architecture, pg 107, 1996, Academic OneFile. 8 Anon. Container Housing, Architectural Record, X, Vol. 200, Issue 3, 2012, Academic Search Complete. 9 S. Phelan, Architecture in Extremis, Boston review, Vol. 39 Issue 4, p49, Humanities source, R. N. Pollock, Ban-Aid, Architectural Record, X, Vol. 196, Issue 10, 2008, Avery Index to Architectural Periodicals. 11 M. McQuaid, Shigeru Ban, Phadion Press London, 2003, pg P. Jodidio, Shigeru Ban: Complete Works , Taschen, Italy, D. Neustein, A paper-thin humanitarian ethos, Australian Design Review, April / SHIGERU BAN

15 communication with the beneficiaries. 14 The team of architects and volunteers would then teach the locals how to construct them and once the initial relief work was done they would leave Pollock op. cit. 15 Phelan op. cit. EMERGENCY SHELTER / 13

16 annotated bibliography Anon. Container Housing, Architectural Record, X, Vol. 200, Issue 3, 2012, Academic Search Complete. The Container Housing in Onagawa is reviewed in terms of Shigeru Ban s successful implementation of comfortable living standards for its tormented occupants. By building with shipping containers, communal living was created in a short time frame for those affected by the Earthquake. This brief journal provides sufficient information about the erection of container housing and the positive resettlement surrounding the occupants. However, the information doesn t go into enough detail to draw a thorough conclusion from. E. Farrelly, Victims need art like a hole in the head, Sydney Morning Herald, Sep Farrelly writes a very controversial opinion piece in the Sydney morning Herald about some ineffective responses to architectural aid. Specifically, Shigeru Ban is mentioned in a cynical approach to undermine his disaster relief. Farrelly writes that nothing succeeds like a gimmick, accentuating that paper construction in certain circumstances may be sometimes entirely inappropriate. This is definitely an article that can be heavily scrutinized, however it is important to see both sides of the spectrum. Therefore this article stimulates discussion of whether or not these iconic architects are the best people for sheltering distraught humanity and if there are ulterior motives involved. P. Jodidio, Shigeru Ban: Complete Works , Taschen, Italy, In this book, Phillip Jodidio has gathered Shigeru Ban s complete architectural work from 1985 to The relevant information to emergency architecture was established through his Paper Log Houses in Turkey, India and Japan where alternative methods of construction were used. However a much more temporary and emergency style architectural system was implemented by Ban within Rwanda s refugee camps. The main limitation of this book is that the vast amounts of completed works have compromised the amount of relevant information surrounding emergency architecture. This has therefore created a pragmatic analysis of Ban s humanitarian architectural response to disaster relief. R. N. Pollock, Ban-Aid, Architectural Record, X, Vol. 196, Issue 10, 2008, Avery Index to Architectural Periodicals. In an interview, Shigeru Ban discusses humanitarian architecture and what motivates him to assist in disaster relief. The interview covers what disaster work he chooses and how the relationship with a relief client can be directly related to that of a commercial client. Ban s architectural philosophy is briefly emphasized when he refers to the architectural practice as one in which serves only the privileged. The highly informative interview provides the reasoning for paper 14 / SHIGERU BAN

17 construction within disaster relief while establishing the importance of collaborating with local builders and architects to ensure successful completion. This interview is very helpful to draw information from. M. McQuaid, Shigeru Ban, Phadion Press London, 2003, pg McQuaid s book Shigeru Ban is an improved and more thorough evaluation then that of Jodido s complete works It doesn t provide the full scope of Ban s architectural career the same way Jodido s does, but informs the reader of Ban s more important and influential designs. In particular his emergency architecture is explored with highly detailed drawings and a systematic process of construction. Therefore, this book is extremely helpful for the understanding of Shigeru Ban s response to disaster relief. A. C. Miranda, Paper Tiger, Architect (Washington, D.C), Vol. 103, Issue 4, p19, 2014, Avery Index to Architectural Periodicals. Miranda and Carolina s Journal Paper Tiger is a short biography of Shigeru Ban in terms of what inspired his paper construction and humanitarian architecture. This is a very brief journal that accentuates the reasoning for his Pritzker prize wile demonstrating Ban s contention that he has developed an architecture of need rather than an architecture of ego. The journal may aid an audience that is unaware of Ban s accomplishments, but it lacks depth. Therefore it is not useful for a thorough analysis in determining data about use of building and use of built environment, workers conditions, workers housing and lifestyle engendered by the building. D. Neustein, A paper-thin humanitarian ethos, Australian Design Review, April , australiandesignreview.com/ opinion/2038-a-paper-thinhumanitarian-ethos David Neustein introduces Shigeru Ban as a man who aids in disaster relief. However he assesses how successful these projects have been in terms of the large-scale effects of natural disasters. In a persuasive article, Neustein questions How much of this work is humanitarian, and how much of it selfpromotional? By contrasting Ban with other humanitarian architects in the world, it does appear that Ban discredits the enterprising work done by his contemporaries by failing to recognize their admirable work. This article also questions if the paper materials are easily recyclable and the most necessary for specific jobs. Anon. Paper Log Houses, Architecture, pg 107, 1996, Academic OneFile < id=gale A &v=2.1&u=d eakin&it=r&p=aone&sw=w&asid= b5497fb03d2713d10f78f6 5cd3>. Referring to the particular Paper Log house in Kobe, this brief article addresses the materiality involved in constructing the shelters wile demonstrating that it is only volunteers who help build them. This article is relevant when considering lifestyle engendered by the building and the workers conditions, however there is little EMERGENCY SHELTER / 15

18 information provided. S. Phelan, Architecture in Extremis, Boston review, Vol. 39 Issue 4, p48-51, Humanities source, Stephen Phelan s article examines the awarding of the Pritzker prize to Shigeru Ban in light of his Humanitarian work. The article discovers Ban s efforts after natural disasters with the implementation of unconventional materials such as paper and shipping containers. By directly relating ethics with aesthetics, Phelan s article is insightful, helping the reader to understand the moral values that are associated with emergency architecture. perspective and not from an outside academic. We are confronted with Ban s motives and humorous reasoning at a personal level, which makes for informative and thorough analysis of emergency architecture. Emergency Shelters Made from Paper Shigeru Ban, TED, TEDxTokyo, May 2013, shigeru_ban_emergency_shelters_ made_from_paper, accessed 30/08/14. In Shigeru Ban s TED presentation, he briefly outlines his most internationally recognized designs demonstrating the unique structural and aesthetic qualities of paper construction. However after explaining his works for the government, Ban rationalizes his more important work for disaster relief, arguing that architects are not working for society they are simply visualizing privileged peoples power and money through an architectural medium. Therefore he reiterates the importance of humanitarian architecture, showing the audience his involvement in Rwanda, Japan, Turkey, India, Haiti and New Zealand. This presentation is highly educational as the information is from Ban s 16 / SHIGERU BAN

19 container temporary housing, onagawa, japan the ban philosophy APPROACH TO PROJECT AND DESIGN STRATEGIES BY JULIEN AHCHING Shigeru Ban s philosophy to architecture is arguably very primitive in the sense that it depends not on the quality of materials but the quality of the space that is created by volume, light and shadow. 1 Shigeru Ban is notably acclaimed for his attempts to respond to difficult disaster situations with simplistic and economical ideas. The severity of these situations is defined by the extremes of disaster for example civil war in the Rwandan genocides and natural disasters in Japan. His architectural language derives from the use of paper tubing a material he first experimented with in 1986, before people began talking about ecological and environmental issues 2. The humble character of the cardboard material is undoubtedly a statement of intention of Ban s work. He is interested in two things producing architecture that helps people and demonstrating that paper can be a feasible building material like steel or concrete 3. It suggests his approach to be simplistic 1 A. Barrie, Christchurch Transitional (Cardboard) Cathedral, Architecture New Zealand, no. 3, May 2013, p. 34, < accessed 20 August Shigeru Ban: Emergency shelters made from paper [video], TEDxTokyo, May 2013, < accessed 18 August D. Nuestein, A paper-thin humanitarian ethos, Australian Design Review, Opinion, 6 April 2011, < com/opinion/2038-a-paper-thin-humanitarian-ethos>, accessed 25 August Image: H. Hirai, Container Temporary Housing, Onagawa, Miyagi, Japan, Pritzker Prize, 2011, < media/2014_media/images-download>, accessed 9 September EMERGENCY SHELTER / 17

20 and economical, two requirements needed to respond to the complexity of issues in post-disaster situations. These two requirements become considerably important when understanding Ban s design philosophy. Unlike most typical architects, one of the underlying notions of his philosophy is that he does not directly focus on form 4. He believes the unique language of his work naturally emerges from the weaknesses and limitations of using paper. 5 An important consideration to factor into his design philosophy is his enthusiasm for technical challenges to develop his previous ideas further each time. However the important thing to note is that his philosophy is constantly changing and evolving in much the same way that his mega-project is constantly growing with each new project. Ban thrives on the idea of architecture for society instead of the privileged, so it makes sense that he chooses the locally sourced material instead of a material such as steel, which represents power and money. Ban s philosophy revolves around economic simplicity responding to these challenges instead of giving into the freedom that steel provides. The simplicity of the paper tube is where the sense of beauty resides. Ban expresses the importance of such beauty in the healing processes following such disasters, which was evident in his response for the civil unrest in Rwanda. Conditions were harsh, deforestation was occurring 6, and the challenge required a material that was recyclable, low cost and a design that was simple and functional. It is important to understand that his design philosophy doesn t revolve around paper tubing, but it revolves around economic simplicity and paper tubing fits these criteria perfectly. Other materials have fit these criteria of economic simplicity for example the Onagawa Container Housing project. His solutions to the natural catastrophes of Onagawa in 2011, saw the use of shipping containers making up multistorey units for survivors. The economic simplicity of this solution addresses the issues of affordability and availability of temporary housing but also the issues of limited space available and desire to make room for community 7. 4 Barrie, op. cit., p Ibid. 6 D. Nuestein, A paper-thin humanitarian ethos, Australian Design Review, Opinion, 6 April 2011, < com/opinion/2038-a-paper-thin-humanitarian-ethos>, accessed 25 August C. Hildner, Future Living: Collective Housing in Japan, DeGruyter, Basel, 2013, Deakin University Ebook Library [online database], accessed 20 August / SHIGERU BAN

21 annotated bibliography A. Barrie, Christchurch Transitional (Cardboard) Cathedral, Architecture New Zealand, no. 3, May 2013, < co.nz/articles/christchurchtransitional-cardboard-cathedral>, accessed 20 August This interview article with Shigeru Ban, examines his design and construction process. The article explores his philosophy of design, where his ideas come from, and his architectural language. The article was one of the more important readings, crucial in understanding particularly how his design philosophy has become a megaproject in that the use of paper tubes has become a recurring process across different sites with refinements of the system occurring over each new site. Moreover, it outlines his easy and economical approach to design through the use of the primary material in his works; paper tubing and how this is a reflection on similarities between temporary and permanent housing. In his responses he shows an enthusiasm for the challenges presented by the weaknesses and limitations in paper tubing. Furthermore he suggests that the freedom in steel to create form is detrimental to his design process as he seeks to take advantage of the limitations presented by paper tubing. Therefore the article is useful in discussing the reasons why he focus on the humanitarian side of architecture and how that inevitably meets with his architectural language. L.C. Bank, & S.J. Preston, Portals to an Architecture: Design of a temporary structure with paper tube arches, Construction and Building Materials, vol. 30, 2012, pp , Science Citation Index [online database], accessed 19 August This journal article explores the advantages and multiple applications of paper tubes a technological system that is used in most of Shigeru Ban s projects, particularly his emergency housing works. Although the article focuses primarily on the engineering side of the technological system it discusses in detail the aspects of the material that correlate with the aspects of Shigeru Ban s design philosophy. I believe this furthered my understanding on Ban s philosophy because I had the realization that the simplicity and economical qualities of his work in a formal and environmental aspect, comes from the already prefabricated paper tubes. It discusses the innovative ways that can take advantage of the matrial s properties, recyclability and low cost. This was an important consideration when talking about innovative simplicity of Ban s work both for permanent and emergency projects. Furthermore, it put substance behind my understanding that his design philosophy derives from the paper tube material, and he applies these to both his commercial and emergency projects because of the advantages of the material itself. C. Hildner, Future Living: Collective Housing in Japan, De Gruyter, Basel, 2013, Deakin University EMERGENCY SHELTER / 19

22 Ebook Library [online database], accessed 20 August This article provides a background understanding of the context of Onagawa following the earthquakes on March 11, It discusses essential site conditions that had to be considered for Shigeru Ban s Container Housing solution. The article mainly focuses on the assemblage and logistics of the project and parameters such as size of apartments and functions. However it does identify few critical responses of the post-disaster situation that pertain to Ban s philosophy and approach to architecture. The article was essential in discussing the importance of Ban s approach to economic design, as the project is a simple solution to a complex problem of accommodating an influx of refugees in an extremely limited space. This understanding was important in the analysis of Ban s design philosophy because it demonstrates his enthusiasm to develop his style for emergency shelters, working with challenging sites with destructed social conditions. M. McQuaid, Shigeru Ban, Phaidon Press, London, This book provided a detailed analysis on Shigeru Ban and outlined a deeper understanding of Shigeru Ban s work through a series of complex drawings and rigorous design process. While McQuaid mainly focused on the technical aspects of Ban s work, it was particularly helpful in broadening my understanding of Shigeru Ban s work. McQuaid examines several of Shigeru Ban s projects and explores each of the social contexts in each site. Furthermore, McQuaid writes about the construction process of the shelters in Rwanda, which was extremely important in understanding the simplicity of its assemblage. Following this it helped me further my knowledge of this idea of simplicity being a major factor in responding to these complex situations. Although she did not discuss the design philosophy in great detail, McQuaid examines the chronological process of phases that his projects have gone under to become the mega project that it is today. D. Nuestein, A paper-thin humanitarian ethos, Australian Design Review, Opinion, 6 April 2011, < com/opinion/2038-a-paper-thinhumanitarian-ethos>, accessed 25 August This article was an important piece of information that was useful in discussing how Shigeru Ban responded to the complexity of post-disaster contexts with simple ideas. Neustein examines the social context prior to his involvement, which was important when understanding the benefits of Ban s work and why he won the Pritzker Award. I believe this article furthered my understanding of Ban in the sense that his philosophy depended on using locally availavle, inexpensive materials. S. Phelan, Architecture in Extremis, Boston Review, vol. 39, no. 4, 2014, pp , < bostonreview.net/arts-culture/ stephen-phelan-shigeru-banpritzker>, accessed 30 August 20 / SHIGERU BAN

23 2014. Stephen Phelen s Architecture in Extremis is an interesting read about the awarding of the Pritzker prize to Shigeru Ban. Phelan analyses how Ban won the Pritzker Prize and that the beauty of his works resides in the humble character of the materials used. This symbiotic quality comes from Ban s idea that beauty is part of the mental healing process. Understanding this idea was essential in discussing the importance of Ban s involvement as an architect in post-disaster situations. N.R. Pollock, Ban-Aid, Architectural Record, vol. 196, no. 10, Art Source [online database], accessed 28 August Shigeru Ban explains the importance of his involvement in post-disaster situations in an interview. The interview explores the decision making process behind Ban, understanding how and why he chooses specific disasters to work on. Shigeru Ban: Emergency shelters made from paper [video], TEDxTokyo, May 2013, < shigeru_ban_emergency_shelters_ made_from_paper?language=en>, accessed 18 August This Ted Talk video presentation by Shigeru Ban was the foundation to my research. He discusses several projects where he has implemented the paper tube material but also gives an insight to the deeper side of his work. This talk was particularly helpful in understanding his desire to work for society and not the privileged. It was essential in discussing how his philosophy has remained the same but has been further refined by these emergency projects, rendering it an ongoing megaproject as it is continuously developing. It provided a deep understanding of his solutions to the disappointments that architects historically and presently work primarily for the privileged and not society. Moreover he then outlines the idea that natural disasters do not kill the people, it is the buildings that do. This was important was discussing his desire to work in disaster relief and how this has influenced and continues to influence his architectural language. M. McQuaid, Shigeru Ban, Phaidon Press, London, This book examines several of Shigeru Ban s projects and explores each of the social contexts in each site. Furthermore, McQuaid writes about the construction process of the shelters in Rwanda, which was extremely important in understanding the simplicity of its assemblage. Following this it helped me further my knowledge of this idea of simplicity being a major factor in responding to these complex situations. Although HE/ SHE did not discuss the design philosophy in great detail, HE/SHE examines the chronological process of phases that his projects have gone under to become the mega project that it is today. EMERGENCY SHELTER / 21

24 22 / SHIGERU BAN

25 paper log house, kobe, japan influence of morphology INFLUENCES OF SITE AND CONTEXT ON THE MORPHOLOGY OF SHIGERU BAN S EMERGENCY ARCHITECTURE BY JOHNATHAN TERLATO The siting and context of Shigeru Ban s emergency architecture is always based in the areas effected by disaster. The Paper Emergency Shelters for the UNHCR where sited in the Byumba Refugee Camp in Rwanda between 1995 and 1996 during the aftermath of the Rwandan genocide. The Paper- Log Houses where sited in Kobe, Japan (1995), Kaynasil, Turkey (1999), and Bhuj, India (2001) to house those who lost their homes during massive earthquakes in each region respectively 1. The Onagawa Container Temporary Housing project was undertaken to house those who had lost their homes in the earthquake and tsunami that hit Japan in Shigeru Ban works on both commission and humanitarian architecture however he approaches these projects the same way and works on them equally. There is no difference working for normal building commission or disaster relief projects I do as a pro bono. The only difference is whether I m paid the fee or not, so for me it is the same. 2 The morphology and scale of each of Ban s emergency architecture projects 1 M. McQuaid, Shigeru Ban, Phadion Press London, 2003, pg AD Interview: Shigeru Ban, ArchDaily, 25 th of March 2014, accessed 30/08/14. Image: T. Sakuma, Paper Log House, Kobe, Japan, Pritzker Prize, 1995, < images-download>, accessed 9 September EMERGENCY SHELTER / 23

26 changes based upon the siting, context and availability of materials in each disaster area he works within. The scale and morphology of the Paper Emergency Shelters for the UNHCR for example determined by a number of factors. Firstly, Rwandan refugees began cutting down trees to build their own temporary shelters causing deforestation became a serious problem, so Ban proposed the use of recycled paper tubes to eliminate this and also because they were cheap, reducing the risk that they would be sold or stolen by other desperate refugees. 3 Their scale was also determined by the size of plastic sheet (4x6 meter) that was supplied to the refugees by the UNHCR. The morphological changes to the Paper-log Houses between its iterations in Kobe, Japan and Bhuj, India are vast and are based upon the availability of materials. In Kobe, Japan, the Paper-Log Houses had a foundation of beer crates, the walls were made from paper tubes and the roof was a large PVC membrane. However, when Ban began work on the Paper-Log Houses in Bhuj, India he discovered that it was impossible to find the beer crates required for the foundations and the PVC membrane used for the roof. Instead Ban, with the help of the local architect Kartikeya Shodhan, used locally sourced materials and techniques to construct the houses. Rubble from destroyed buildings was used for the foundations and bamboo and woven cane mats were used for the roof. 4 this instance his temporary housing structures take on an entirely new morphology. This was mainly due to the topographic context in the Onagawa disaster area. There were not enough flat open spaces for Ban to construct single story paper structures as he had done in Rwanda, Kobe and Bhuj, so he decided to use shipping containers as the basic element for two to three story housing blocks for around 190 families. 5 Different locations and disasters will always require a different or altered morphological and scalar responses in terms of emergency architecture. Shigeru Ban s architectural responses to disasters are always firmly planted within the siting and context of the areas affected. Ban does not follow a generic and repeatable template for emergency architecture as the siting and topographical contexts as well as the availability of materials in the areas in which he works do not allow for one. Shigeru Ban s Onagawa Container Temporary Housing project differs from his other disaster relief projects as in 3 McQuaid, op. cit. pg A. Hiremath, K. Shodhan, Disaster Relief: Ahmadabad, Perspecta. Vol , MIT Press, pg , , C. Hildner, Future Living: Collective Housing in Japan, De Gruyter, Basel, Nov / SHIGERU BAN

27 annotated bibliography M. McQuaid, Shigeru Ban, Phadion Press London, 2003, pg , Matilda McQuaid describes many of Shigeru Ban s projects in great detail, the most relevant of which being the Paper Emergency Shelters for the UNHCR and the Paper Log Houses. McQuaid provides many useful details about these projects including assembly diagrams and technical drawings as well as results from the material laboratory testing of the paper tubes. S. Ban, A. Barrie, Christchurch transitional (Cardboard) Cathedral: Shigeru Ban s design for the Cardboard Cathedral bases itself on a system of proportions derived from the original Christchurch Cathedral, Architecture New Zealand, 2013 May-June, n.3, p While not directly related to the three projects focused on, this interview of Shigeru Ban given by Andrew Barrie provides some helpful insights into Ban s approach to providing temporary and emergency architecture in disaster zones. S. Ban, K. Shodhan, Paper-Tube Housing, Perspecta. Vol , MIT Press, pg. 54, 56, This article does not contain any written text but provides drawings and sketches of how the design of the Paper Log Houses where adapted for use in Bhuj, India after a massive earthquake. It also contains photographs at various stages of construction of the Paper Log Houses in India. A. Hiremath, K. Shodhan, Disaster Relief: Ahmadabad, Perspecta. Vol , MIT Press, pg , , This article is a correspondence between Ameer Hiremath, the co-editor of Perspecta, The Yale Architectural Journal, and Kartikeya Shodhan, the local architect working with Shigeru Ban on the Paper Log Houses in India. This is especially useful because it is a first had account of the progression of the project, difficulties and solutions to problems. J. F. Audefroy, Post-disaster emergency and reconstruction experiences in Asia and Latin America: an assessment, Development in Practice. Vol. 20 No. 6, August 2010, pg Audefroy dissects a number of post-disaster housing examples in Asia and Latin America in order to evaluate what makes for good practice in post-disaster emergency housing and reconstruction. The Paper Log Houses constructed by Shigeru Ban Architects in Kobe, Japan after an earthquake in 1995 is analysed and quantified in terms of cost and size. C. Hildner, Future Living: Collective Housing in Japan, De Gruyter, Basel, Nov This article focuses on the Onagawa Container Temporary Housing by Shigeru Ban Architects. This project differs from the majority of Ban s emergency architecture because it using shipping containers instead of paper tubes. This particular source is useful as it provides information on the siting and morphology of the housing as well as technical EMERGENCY SHELTER / 25

28 drawings. P. Jodidio, Shigeru Ban: Complete Works , Taschen, Italy, Jodidio s book documents the complete works of Shigeru Ban from including both his commission and humanitarian projects. This is particularly useful as it allows comparisons to be made between how Ban works on commission based and humanitarian projects. Emergency Shelters Made from Paper Shigeru Ban, TED, TEDxTokyo, May 2013, shigeru_ban_emergency_shelters_ made_from_paper, accessed 30/08/14 Shigeru Ban talks about his commission and humanitarian works and his personal views on the architectural profession at TEDxTokyo. Ban explains how working for the privileged and rich made him realise how no one was thinking about emergency architecture in disaster zones. He also explains how some of his humanitarian projects came about and how they were realised. AD Interview: Shigeru Ban, ArchDaily, 25 th of March 2014, watch?v=vi5ghu4ckm4, accessed 30/08/14. This interview demonstrates Shigeru Ban s innovative approach to structure and morphology of both his commission based and pro-bono humanitarian projects. Here, Ban explicitly describes how his approach to both types of his projects are the same. 26 / SHIGERU BAN

29 paper refugee shelter, rwanda emergency procedure METHOD OF CONSTRUCTION, TIME FRAME AND WHO S INVOLVED BY JONATHAN TULLY The civil war in Rwanda left over two million refugees homeless, and whilst the efforts of the UN to provide basic shelter led to the materials being sold and rampant deforestation from the surrounding trees being cut down, Shigeru Ban s paper-tube emergency shelter utilized the standard 4x6-metre plastic sheets provided, and initiated a solution that limited these problems. Introducing a method to be produced on site, the outcome was a reduction in transportation, time, expense and potential waste; allowing for an effective solution to an urgent problem that suited the unique location. In the spring of 1995 Ban became involved with the United Nations High Commission for Refugees (UNHCR) and began testing possible materials that would effectively suit the conditions; with paper tubes the clear winner over bamboo, aluminium or plastic. This began the first phase of the construction period, with three prototypes initiated to investigate a suitable construction method of shelters. A Swiss furniture manufacturer was utilized for testing of their durability, cost and termiteresistance, before the preferred prototype was presented to the UNHCR at the United Nations headquarters in Geneva in July The use of local resources throughout the world enabled an efficient process; reducing production costs and time. Image: Shigeru Ban Architects, Paper Refugee Shelters for Rwanda, Byumba Refugee Camp, Rwanda, Pritzker Prize, 1999, < accessed 9 September EMERGENCY SHELTER / 27

30 On-site production proceeded in February 1997 and commenced the second phase of the process. Specialists from a paper-tube manufacturer were sent with machinery and raw materials to the logistics base in Bordeaux, France, where they trained Medecins sans Frontieres (MSF) staff to operate the manufacturing process. This demonstrated the ease of producing large quantities of tubes on-site in an emergency situation, enabling external volunteers to work within the affected area of Rwanda, and by 1999 fifty shelters were under construction and monitored as part of the final phase of this construction period. The period of construction and source of labour involved many foreign organisations uniting on a solitary objective to solve an emergency crisis, the humanitarian effort of a global practice is shown to be the element of success when handling a reconstruction project of this sensitivity. In January 1995 an earthquake tore apart Kobe, Japan, resulting in a need for shelters within proximity of refugees work and school. The criterion was defined by Ban to be a cheap structure that could be built by anyone 1 meaning inexpensive materials and simple construction method, but also had to be satisfactorily insulated and visually appealing. Ban developed the Paper Log House that were built by teams of ten volunteers, including a construction leader, and consisted of a 16-square-metre floor area with walls formed from paper tubes 108mm in diameter and 4mm thick, water-proofed with self-adhesive taped between the tubes. Utilizing a ridgebeam construction, the ceiling and roof were made of a PVC tent membrane that allowed the house to ventilate and address the climate of the area. Beer crates weighed down with sandbags formed the plinth of the house with plywood sheets laid over horizontal tubes. The method of construction meant that local unskilled volunteers could be utilized for construction labour to erect these houses without prior knowledge. The success of emergency shelters is dependent on locally sourced materials and ease of construction, instead of sending the material, if it is possible to find it on location without shipping, that is the best way to make it economical 2. Ban formulated a way to provide shelters in all parts of the world through the use international standard size shipping containers and their ability to be rented throughout the world. The earthquake and tsunami that struck Onagawa, Japan on March 11, 2011, created a need for temporary housing, but the area was hindered by lack of flat land, rendering previous paper-tube shelters incompatible. Ban s solution was to stack shipping containers of varying floor plans in a checkerboard pattern, utilizing light and spaces between to create temporary replacement apartments for 190 families. The three plans consisted of floor areas of 19.8m 2, 29.7m 2 and 39.6m 2 accommodating families of one-to-two, three-to-four, and above four, respectively. 1 P. Jodido, Shigeru Ban: Complete Works , Taschen, Italy, 2010, p P. Jodido, Shigeru Ban: Complete Works , Taschen, Italy, 2010, p / SHIGERU BAN

31 annotated bibliography S. Ban, N. Pollock, Ban-aid: The Japanese legend discusses architect duty to do good, Architectural Record, vol. 196, no. 10, 2008, pp , retrieved , Avery Index to Architectural Periodicals. This interview with Shigeru Ban delivers on his disaster work, briefly informing of the shelters provided and how they respond to each situation. The interview discusses the reason behind Ban s choice into emergency shelter and how he choses which situations to respond, his response that he tends to prefer disasters that are not government funded gives an insight into the humanitarian work of Ban, and although this does not directly relate to the topic of the research, it does help to inform the decisions behind the empirical data. The interview between Ban and Pollock covers all topics of relevance to trans-national and megaprojects, but the information lacks depth in the response to be of significant contribution to the assignment. S. Ban, A. Barrie, Christchurch Transitional (Cardboard) Cathedral: Shigeru Ban s design for the Cardboard Cathedral bases itself on a system of proportions derived from the original Christchurch Cathedral, Architecture New Zealand, vol May-June, no. 3, pp , retrieved , Avery Index to Architectural Periodicals. Although this resource is about an example of Ban s work that is not focused on for this report, the interview with Ban reveals insight into his philosophy for temporary structures. Ban explains his intent that a temporary structure can be permanent as long as quality of space is created, this statement can be taken as insight into Ban s work in the temporary shelters of Rwanda and the Paper Log House. This interview with Ban does provide an interesting exchange on the topic of funding for postdisaster projects that outlines the difficulties faced when approaching relief aid, this answer exhibits Ban s humanitarian nature and further explains that his work is for the people no matter what. Despite the article not being related to the selected works, this insight into the challenges that Ban must face is worth a closer consideration. C. Calamaio, Shigeru Ban wins 2014 Pritzker Architecture Prize: award honours Ban s career including humanitarian design work Contract, vol. 55, no. 3, pp. 26, retrieved , Academic OneFile. This resource is limited in information but does associate the prestigious Pritzker Prize award to Ban s disaster relief work and provides a useful quote from Ban that he sees this award as encouragement to keep doing his humanitarian work. Instead of an in-depth analysis of Ban s work into the reason for his award, this short statement gives an insight into Ban s ideology towards what he does, which explains in greater detail to the reason in to Ban s honour. In relation to the assigned research, this article offers little in terms of empirical data, but an understanding into Ban instead. EMERGENCY SHELTER / 29

32 J. Benhamou-Huet, Shigeru Ban was creating shrines out of sustainable materials when the word green only described a colour, Interview, vol. 39, no. 4, pp , retrieved , General OneFile The interview with Ban is more an insight into the man rather than his emergency work, and it covers a wide range of topics that predominantly relate to his path of architecture, than his emergency relief shelters. Although it is a welcome change for an interview to focus on Ban to understand him behind the paper tubes, this interview offers little factual information related to the chosen emergency shelters for this assignment. It does however offer information into the practices and associates Ban deals with, it also suggests his need to travel constantly to work with firms around the world, an explanation of the trans-national agenda of his work. This interview was an interesting read with insightful knowledge on Shigeru Ban, in terms of the relevance to this assignment this interview should be taken as a research into where Ban sees his work in the scheme of architecture. P. Finch, Shigeru Ban s emergency zone experiments make him a worthy Pritzker Prize winner, Architect s Journal, vol. 239, no. 12, pp.28, retrieved , Avery Index to Architectural Periodicals. This praise article to Ban delivers a strong case for this award of the 2014 Pritzker Architecture Award, whilst providing information on Ban s practice and operations. This journal alters from other sources in that is steers clear of describing the work Ban does in the disaster zones, but explains the work prior, the organisation and acquiring of volunteers, this particular information is useful to the report as it defines the trans-national nature of the work. A further point of relation to this unit assignment is that Finch explains that Ban mainly works outside of his birthplace of Japan, that it feels very natural. This is an interesting paragraph as it is not covered in other resources that tend to focus on the work of Ban, and although it is not related to empirical data, it certainly reserves a thought for this unit. P. Jodidio, Shigeru Ban: Complete Works , Taschen, Italy, This resource provided precise information on Ban s entire body of work without specific detail in regards to the chosen examples. The standout facts established a quick understanding of each project but did not suit the intended purpose of this assignment as the information did not deliver extensive knowledge that different to other resources. This entry was however useful in establishing a background philosophy of Shigeru Ban and his approach to design, and although this did not directly relate to the topic of research, the overall understanding did influence the approach to other resources. M. McQuaid, Shigeru Ban, Phaidon Press Limited, New York, McQuaid s resource was the most thorough explanation of the temporary shelters in Rwanda and Paper Log Houses. The extent of information provided well-detailed 30 / SHIGERU BAN

33 information on the timeline, process, materials and organisations involved with the two examples, whilst providing accurate plans and details of the emergency housing. This resource influenced the report due to the clear and precise facts alongside informative pictures and diagrams. The complete instruction process of building the temporary shelters of which were constructed in Rwanda was utilised to form the paper tube refugee shelter kit pamphlet produced for this assignment, which resulted in the construction of a prototype model being produced. C. Miranda, Paper tiger: known for his paper structures and social mission, Shigeru Ban is the winner of the 2014 Pritzker Prize, Architect (Washington, D.C.), vol. 103, no. 4, pp , retrieved , Avery Index to Architectural Periodicals. This article is a quick and precise overview of Ban s emergency shelters work to establish a cause for his award of the 2014 Pritzker Architecture Prize. It does reference the works in Rwanda and the Paper Log House in Japan, Turkey and India but fails to offer new information from that offered in other resources. Miranda focuses on brief explanations and background information to establish Ban in the likes of previous Pritzker Prize recipients, although a good introduction into Shigeru Ban, this article does not offer much relevance to the assigned task. D. Neustein, A paper-thin humanitarian ethos, Australian Design Review, 2011, australiandesignreview.com/ opinion/2038-a-paper-thinhumanitarian-ethos This opinion piece gives a quick and precise account of the Rwanda emergency shelters and Paper Log Houses work that Ban has undertaken, along with other work, but Neustein points out, that with the odd exception, all of Ban s work is produced using his trademark paper tubes, and brings into question if this work if more about branding than functionality. This opinion piece is effective in opening up the argument for humanitarian work or self-promotional with some cleverly sourced quotes and strategic information. Although this is an opinion article and should be used for discussion purposes rather than factual data, Neustein puts forward a convincing argument and notes that Ban profits little by discrediting the work done by his contemporaries. This is the opposing side of the research that has lacked in all other resources researched, it should be considered to persuade the readers opinion and not considered as discrediting the data of emergency shelters carried out by Shigeru Ban. Shigeru Ban: Emergency shelters made from paper, TED Talk Video recording, TED, Tokyo, May 2013, watch?v=q43uxdokpd8 Shigeru Ban presents his work for TED Talks, talking about his development of using paper tubes as a building material; the presentation touches on some of Ban s early commercial work with the paper tubes and then explains EMERGENCY SHELTER / 31

34 his ethos for humanitarian work. The individual disaster projects are skipped over briefly without a great deal of empirical data on offer, the images accompanied with the talk do give a great image of the situation as many of these have not been produced by other sources. The presentation is efficient to the point of being effective in delivering an understanding of the humanitarian work that Ban does and the situations that he responds to, without disinterest of the talk causing to lose focus. This resource is an ideal starting point for the research; it gives an overview and announces topics of further development. The two points that should be taken from this presentation are that of why he started to work for humanitarian causes, and not the privileged society, and his consideration that a temporary structure can be permanent if the people it is intended for love it. 32 / SHIGERU BAN

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36 SRA743 TRANS-NATIONAL MEGA PROJECTS TUTORS MIRJANA LOZANOVSKA SALLY WINKLER

37 THE PAPER TUBE REFUGEE SHELTER KIT Tubong papel na kanlungan ng mga takas