Atelier Bow-Wow - Wikipedia

Atelier Bow-Wow is a Tokyo-based architecture firm, founded in 1992 by Yoshiharu Tsukamoto and Momoyo Kaijima. The firm is well known for its domestic and ... AtelierBow-Wow FromWikipedia,thefreeencyclopedia Jumptonavigation Jumptosearch Thisarticlehasmultipleissues.Pleasehelpimproveitordiscusstheseissuesonthetalkpage.(Learnhowandwhentoremovethesetemplatemessages) Amajorcontributortothisarticleappearstohaveacloseconnectionwithitssubject.ItmayrequirecleanuptocomplywithWikipedia'scontentpolicies,particularlyneutralpointofview.Pleasediscussfurtheronthetalkpage.(July2010)(Learnhowandwhentoremovethistemplatemessage) Thisarticlereliestoomuchonreferencestoprimarysources.Pleaseimprovethisbyaddingsecondaryortertiarysources.(December2009)(Learnhowandwhentoremovethistemplatemessage) (Learnhowandwhentoremovethistemplatemessage) AtelierBow-WowisaTokyo-basedarchitecturefirm,foundedin1992byYoshiharuTsukamotoandMomoyoKaijima.Thefirmiswellknownforitsdomesticandculturalarchitectureanditsresearchexploringtheurbanconditionsofmicro,adhocarchitecture. Contents 1Founders 2TheoriesbyAtelierBow-Wow 2.1PetArchitecture 2.2Behaviorology 2.3MicroPublicSpace 2.4Da-meArchitecture 2.5GenerationalTypology 2.6VoidMetabolism 3Publications 3.1Behaviorology 3.2MadeinTokyo 3.3Bow-WowfromPostBubbleCity 3.4GraphicAnatomy 3.5EchoofSpace/SpaceofEcho 4Projects 4.1Jighouse 4.2NoraHouse 4.3Hanamidori 4.4HouseTower 4.5AkoHouse 4.6BlackDogHouse 4.7House&AtelierBowWow 4.8AniHouse,1998 4.9GaeHouse 4.10MiniHouse 5References 6Externallinks Founders[edit] YoshiharuTsukamotowasborninKanagawaPrefecturein1965.HestudiedarchitectureatTokyoInstituteofTechnology,graduatingfromhisundergraduatedegreein1987.TsukamototravelledtoParistobeagueststudentatL’Ecoled’ArchitecturedeBelleville(UP8)from1987–88andin1994hecompletedaDoctorofEngineeringprogramatTokyoInstituteofTechnology. In2000TsukamotobecameanassociateprofessorattheTokyoInstituteofTechnologyandinboth2003and2007hewasaKenzoTangeVisitingAssociateProfessorintheDepartmentofArchitectureatHarvardGSD.Alsoin2007andagainin2008hewasavisitingAssociateProfessoratTheUniversityofCalifornia,LosAngeles(UCLA) MomoyoKaijimawasborninTokyoin1969.ShereceivedherundergraduatedegreefromtheFacultyofDomesticScienceatJapanWomen'sUniversityin1991andbothhergraduate(M.Eng.)andpost-graduatedegreeswerefromtheTokyoInstituteofTechnologyin1994and1999.ShewasalsoagueststudentatEidgenössischeTechnischeHochschuleZürich(ETH)from1996-1997. In2000Kaijimabecameanassistantprofessor,andin2009anassociateprofessor,attheArtandDesignSchooloftheUniversityofTsukuba.LikeTsukamoto,in2003shewasavisitingfaculty(asadesigncritic)intheDepartmentofArchitectureatHarvardGSDandbetween2005and2007shewasalsoaguestprofessoratETHZürich.In2010shewastheArchitectinResidenceattheUniversityofAuckland. Inthespringof2014,YoshiharuTsukamotosignedontobeamemberoftheGuggenheimHelsinkiDesignCompetitionjury.[1] TheoriesbyAtelierBow-Wow[edit] PetArchitecture[edit] "PetArchitecture"isatermAtelierBow-Wowusesforthebuildingsthathavebeensqueezedintoleftoverurbanspaces.Buildingswithcuriousshapesandinventivesolutionsforwindows,drainage,andair-conditioningoftenariseintheseurbansituation.[2]OneexampleofthisistheCoffeeSaloonKimotoinTokyo,atriangularstructurewithacapacityoffourcustomers. Mostofthosebuildingsarecheaplybuilt,andthereforearenotspectacularindesignandtheyusenottheforefrontoftechnology.Howeverweareattractedbythem.It'smaybebecausetheirpresenceproducesarelaxedatmosphereandmakeusfeelrelieved.Pets,companionanimalsofthepeople,areusuallysmall,humorousandcharming.Wefindwhatwecall"petarchitecture",architecturehavingpetlikecharacteristics,existinginthemostunexpectedplaceswithintheTokyocitylimits.[3] AtelierBow-Wowdocumentedthesemicrobuildingsindetailthroughphotographs,elevations,maps,3Dsketches,andbriefdescriptionsintheirpublications“PetArchitectureGuideBook”and“MadeinTokyo."[4] Behaviorology[edit] Behaviorologyisthestudyoffunctionalrelationshipsbetween‘behaviour’anditsmanyindependentvariablesinthedeterminingenvironment.Behaviorologicalaccountsareinfluencesandbasedonthecurrentsocialandphysicalenvironmentinwhichthebehaviouroccurs,thepersonalhistoryofthebehavingorganism,andthebehaviouralcapacityofthegivenspecies.Itisalsoaclevermeansofintegratingthe‘built’environmentacrossdifferentscales;furniture,architecture,structuresofcivilengineeringandurbanplanning.[5]“Itpositionsprojectswithinanecosystemofbehavioursaselementswhichparticipateinspatialproduction.”[6] Thebehaviorologistdiscoversthenaturallawswhichgovernanddictatebehaviour.Throughthisknowledgetheythendevelopbehaviourengineeringtechnologiesrelevanttobehaviourinmanyfieldsincludingarchitecture,education,andentertainment.[7]Itcanbeappliedtonaturalelementsaswellasbuildings(notonlyhumans). ArchitecturefirmAtelierBow-Wowisfamousforitsinterpretationanduseoftheconceptofbehaviorologyinitsdesignwork.AccordingtofoundersTsukamotoandKaijima,behaviorologydefinesarchitecturalexpressionthroughtheunderstandingofthecomplexrelationshipbetweenpeople(theinhabitantsofaspace),thebuiltenvironment,andurbanspace.Bow-Wow'sBehaviorologygoesfurtherthan‘formfollowsfunction’:itbasesformonthebehaviourofboththebuildingandnaturalelements.Thestudyofabuilding'sarticulation,inherentpropertiesofelementssuchasheat,wind,light,waterandtheunderstandingofindividualandcommonhumanbehaviourleadstoastrongerlocalizedarchitecture.[8] MicroPublicSpace[edit] MicroPublicSpacesaredevicesproposedbyAtelierBow-Wowwhichcreatesocialplatforms.MicroPublicSpaceshowsAtelierBow-Wow'swayofthinkingaboutthespace,i.e.socialspace,aconceptinfluencedbyHenriLefebvrethatdiscusses'aspaceisproducedneitherbyarchitectsnorbycityplanners,norbytheuserswholiveinspace:spaceisnotconsumer-generatedbutspace-generated',[9]therefore,'itisnotpeoplewhocreatesspace,butsocialspacesthatusepeopletobringthemselvesintobeing'.[10] AtelierBow-WowcreatesMicroPublicSpacesusingtheframeworkofanart-exhibition.IntheprojectsonMicroPublicSpaces,suchasMangaPod(2002),Furnicycle(2002)andWhiteLimousineYatai(2003),AtelierBow-Wowtriestocreatethenewbehavioursofthecityandpeoplethroughsmallfurnitureornon-enclosedpublicspacesthatencourageactiveuserparticipationandsupportindividualbodyexperienceandbehaviour.Sotheirprojectsconstructsituationratherthanobjectsthattheyadjust'thepostureofpeopleandtheirlayoutinaspace'.[11] Therefore,MicroPublicSpace,asthetermmicroindicates,isanattempttotakeeventhesmallestspaceorobjectthatisofficiallypublicandtoaddindividuallayertoitasmakinguseofthespace. Da-meArchitecture[edit] "Da-meArchitecture"(no-goodarchitecture)isatermcoinedbyAtelierBowWow,todescribethebuildingsinTokyowhichprioritizesa"stubbornlyhonest"responsetospecificsiteconditionsandprogramrequirements,withoutinsistingonarchitecturalaestheticandform.[12]Hence,thesetendtodisregardtheneedtoexpress"goodtaste"orto"workwithnostalgia"(pre-conditionedmeanings,categoriesorlooks),resultingina"hybrid,junkyarchitecture"[12]thatisregardedbysomecriticsandpractitionersas"disgusting"or"shameless".However,accordingtoAtelierBowWow,"Shamelessnesscanbecomeuseful",asthesebuildingsintricatelyreportoftheurbanconditionofthecity.These,infact,"epitomizeacreativenew,adaptiveaestheticthatcanbesaidtobethequintessenceofTokyo."[13] "Da-meArchitecture"representsthemostcost-effectiveandefficientsolutionsrequiringminimumeffort,whichisexpectedinaplacelikeTokyo.[14]Constructedinthemostpracticalmannerwiththepossibleelementsonsite,“Da-me”oftenutilizes"spatialby-products"orwhateverisathand,likeunderconcreteengineeringstructures,rooftopsorgapsbetweenbuildingsetc.“Da-mearchitecturealsobecomesaboutthejuxtapositionoftypes,resultingin"cross-categoricalhybrids"whicharevaried,completelyunrelatedbutinterdependent.[14]Anexamplewouldbethehighwaydepartmentalstoreasmentionedin"MadeinTokyo"(aguidebookbyAtelierBow-Wow,furtherdescribedbelow)whichbothbelongindifferentcategories,andhavenorelationinuse,butexistinthesamelocationbecausethetrafficaboveandtheshoppingbelowsharethesamestructure. Suchanexistenceseemsanantithesisofaesthetics,history,classificationandplanning,butitisinterestingandrefreshingasthearchitectureissimplyaphysicalfunctionalconstructthathasarrivedatthispointthroughadesperationinattemptstorespondtothehereandnowandnotanythingelse.[15] GenerationalTypology[edit] GenerationalTypology(also‘MachiyaMetabolism’)isbasedonresearchintothebuildingtypeknownasmachiya(traditionaltownhouses/merchanthousesconstructedintheEdoperiod),specificallyintheKanazawaareaofJapan.Thisareaisoptimalfortheinvestigationintothetransformationofthesebuildingtypesovertimeastheareawasspareddestructionfromtheearthquakesandeffectsofwarduringthe20thcentury.Themachiyachosenforthisresearchwerenotnecessarilythosedesignatedforcomprehensivehistoricpreservation,butwere“namelessmachiya”–thosethatmayhavetransformedduetomorehumbleinfluences.[16] Theseexaminationswereundertakentofurtherdeveloptheconceptof‘Behaviorology’andstemsfromtheunderstandingoftheexistenceofdifferent“timescales”andthatthesemustbetakenintoconsiderationwhenobservingthebehaviourofvarioussystems;ahumanbeing'spsychologicalbehaviourcouldbeobservedinaperiodofoneday.Asocietygroup'sroutinescouldbecomeapparentinaweek,oracommunity'sinayear.Forbuildings,itsbehaviourmayonlybecomeapparentafterdocumentingitstransformationsoverdecadesorcenturies.[17] Fromtheinvestigationsintothesemachiya,severalgenerationaltypologiesaredescribedbasedonthebehaviourandevolutionofthemachiyaovertimebybeingexposedtothe“pressuresofmodernization,fromitsoriginalformula”.[18] VoidMetabolism[edit] Voidmetabolismisanurbanformulawhichfocusesonvoidspaceswhichdevelopbetweenbuildingswhentheyarerebuilt.[19] InTokyosmallhousescoverthelandwithgreeneryinsertedinthegapsbetween.Thisisahighlysustainableurbanformwhichregeneratesitself;withprivatelyownedproperties.Itcanbeconsideredatypeofmetabolism,thoughquitedifferentincontentthanthe1960sarchitecturalthought.Atthattimeconceptsfocussedonthecompositionoftheverticalcore.Wecanseethatarchitectsbelievedthattheconstructionofthecitywouldbecarriedouteffectivelythroughaconcentrationofpowerandcapital.[20]However,theregenerationofhousesrevolvenotaroundacore,butavoid-thegapspacebetweenbuildings.Thiswouldbedeterminedbytheinitiativesofindividualfamilies,ratherthantheaccumulationofcentralcapital. IftheurbanformulaofvoidmetabolismbeginswithTokyo'sfirstdevelopmentsinthe1920s,thentheoldestpartsarealready90yearsold.Withthe26-yearlifespanofhouses,thoseintheoriginalareashave,intheory,regeneratedtwiceover.[20]Therearedifferencesinlifespan,sotoday'ssituationcanbesaidtoincludeamixtureoffirst,secondandthirdgenerationbuildings.Withthiswewitnessavarietyofbuildingbehaviours,reflectingthegenerationaldifferences.Houseswhichareproducednowareapartofthefourthgeneration,determinedbytherealitiesofvoidmetabolism. AtelierBow-Wowask:“whattherefore,shouldafourthgenerationhousebe?”[21] 1.Interiorspacesbeinvitingforthosewhoarenotfamilymembers. 2.Thequasi-exteriorspacesbeintroducedinapositivemanner. 3.Thegapbetweenneighbouringbuildingsberedefined.[22] Publications[edit] Behaviorology[edit] ThroughtextandphotographsBehaviorologycoversthemajorityofAtelierBow-Wow'sworkupto2010includingbuiltprojects,temporaryexhibitions,artinstallations,architectural-furniturehybrids,andtheirresearchonarchitectureandurbanism. ThebookopenswithanintroductorystatementbyYoshiharuTsukamotowhichgiveshisexplanationofAtelierBowWow'sconceptof‘behaviorology’includingtheirhypothesisthatbehaviorcouldbecentraltotheunderstandingofthelinksbetweenhumanlife,nature,andthebuiltenvironment. “Behaviorologybringsaboutanimmediateshiftinsubjectivity,invitingmanydifferentelementstogetherandcallingintoquestionwhoorwhatmaybethemainprotagonistofaspace.Throughthisecologicalapproachourimaginationfollowstheprinciplesofnatureandexperiencesspacefromavarietyofperspectives.Whenoneissurroundedbyandsynchronizedtotheliveablerhythmsembeddedindifferentbehaviors–thereisnoexperiencequitesodelightful.”[23] Hethendiscussesseveralofthepartnership'sotherkeydesigntheoriesandconcludestheessayinasectiontitled‘Possibilitiesforbehaviorology’,whichrelatesbehaviorologytothesetheoriesanddiscussesitasanintegralpartoftheseconcepts.Althoughtheirworkshaveoftenbeenrealisedindividually,tothemthisisinnoway“schizophrenic;ratherprojectstendtocontaminate,inform,andmutuallydeveloponeanother”.[24] FollowingTsukamoto'scommentary,essaysandasynopsisofeachprojectaredispersedbetweenanextensivenumberoflargecolourphotographsofAtelierBowWow'sworks.ArchitecturalhistorianturnedarchitectTerunobuFujimori'sessayreflectsparticularlyonhowAtelierBowWow'sresearchhasinformedtheirwork,andtheirembodimentofthe“eccentricgaze”whichisdiscussedinrelationtothearchitectWajiroKonandtheRoadwayObservationSociety.“Theirworkisnotanarchitectureofspaces,butanarchitectureofrelationships”.[25]ArtcuratorMeruroWashida'sessaycommentsonAtelierBowWow'ssuccessinart,[26]whileYoshikazuNango[27]andEnriqueWalker's[28]essaysfocusonthepartnership'sapproachtourbanandarchitecturalresearch. MadeinTokyo[edit] MadeinTokyoemergedfromAtelierBowWowasapublishedtextin2001.Ithasalsobeenrepresentedintheformofcatalogues,exhibitions,andevenT-shirts.Thebrightyellowcovermakesanimmediatestatement,echoingtheimpactthetexthascreatedbyprovidingalternativemethodsforunderstandingtheurbannatureofTokyo.Alternativethatis,"asanantidotetothemanyJapanesepublicationsdedicatedtotheextravagantbuildingsoftheprosperous'bubble'period."[29] "Anonymousbuildings,notbeautiful,andnotacceptedinarchitecturalculturetodate";[30]thistextdocumentsanongoinginvestigationwhichbeganin1991,stemmingfromanobservationmadebyTsukamotoandKaijimaofaneverydaybuilding,"anarrowspaghettishopwrenchedintothespaceunderabaseballbattingcentre."[30]Usuallyoverlookedinnature,70examplesof‘da-mearchitecture’or‘no-goodarchitecture’arecatalogued.Awidevarietyoftypologiesarelisted,servingas"asurveyofnamelessandstrangebuildingsofthiscity."[12] ExamplesincludetheSewageCourts,whichfunctionasasewagedisposalplantandsportingfacilities,ortheHighwayDepartmentStore,anexpresswayanddepartmentstore.ThesebuildingscanonlyexistinTokyo."WethoughtthatalthoughthesebuildingsarenotexplainedbythecityofTokyo,theydoexplainwhatTokyois.So,bycollectingandaligningthem,thenatureofTokyo’surbanspacemightbecomeapparent."[12] Eachexampleisexplainedthroughdiagramsandphotographs,thetextlaidoutintheformofaguidebook.Thelogicisthat"aguidebookdoesn’tneedaconclusion,clearbeginningororder.ThisseemssuitableforTokyowherethesceneisofneverendingconstructionanddestruction."[31] ThetextcanbeviewedasaguidetothetheoriesinvestigatedbyAtelierBowWow,asitexpressesthebasisofarchitecturalandurbaninvestigationwhichspurredonandunderliestheirwork. Bow-WowfromPostBubbleCity[edit] Bow-WowfromPostBubbleCityisapublicationthatdocumentsprojectsbothinJapanandinternationally. Thebookisdividedintotwelvechapterseachtitled[DEPTH],[BUILTFORM],[SITE],[SMALLNESS],[VIEW],[CONVENTIONALELEMENT],[COMBINEDORIENTATION],[MICROPUBLICSPACE],[FLUXMANAGEMENT],[GAPSPACE],[HYBRID],and[OCCUPANCY]. KaijimaandTsukamotointroducethesetheoriesatthebeginningofeachchapterintheformofadialoguebetweenthetwoarchitects,andthetheoriescansubsequentlybeseenappliedintheprojectsthatfollowineachchapter.Forexample,thechapter[VIEW]addressestheimportanceofsightlinesandviewsofoccupants,howeveritdoesnotdiscriminatebetweenthepicturesquesceneryofMt.FujiandthatofthedenselybuiltresidentialdistrictsofTokyo.[32] ThebookalsoexplorestheissuesinthehousingindustrybroughtbythebubbleeconomyinpostWWIIJapan,andKaijimainparticularwasconcernedwith“howtorelatearchitecturetotheappearanceoftheindividual”[33]intermsofsocialandarchitecturalpositioningsoftheindividualhouse.[32] "InJapan,throughouttheperiodofhigheconomicgrowththatfollowedthewartimedefeat,thenthebubbleeconomyanditssubsequentcollapse,manydetachedhouseshavebeenbuiltasworksofarchitecture,andIacknowledgetheircollectiveculturalvalue.Yetatthesametime,systematicallyandcompositionallytheyoccupyafairlyManneristicrealm,andinthisIfeelthattheyexistisolatedfromtherealityoflife."[34] ThepublicationdocumentsAtelierBow-Wow'sprojectsusingphotographs,diagrams,drawings,statisticsanddescriptions.ThetextofthebookisbothinoriginalJapaneseandalsotranslatedintoEnglish. GraphicAnatomy[edit] Theuseofthetitle“GraphicAnatomy”suggeststhatthebookisthat–aseriesofanatomicalbuildingillustrations–andnothingmore;nothingless.AtelierBowWowassimilatethemselvestoanatomists,orbotanists,whoseskillsinproducingillustrationsaresointricateandinasensealmostscientificthattheirworkcouldnotberegardedas“artworks”,sincetheirtechniquesaresorestricted,andanyindividualstrandofcreativityissuppressedintheprocess.[35] Buildingelements-botharchitecturalandnon-architectural–aredepictedintheiroutlines,andlabelledwithaprecisedetailednotationofmaterial,dimension,finishes,andtextures.Thisalmostmechanicaldepictionofarchitectureallowsbuildingstobeliberatedfromtheconventionalsubjectivityofitsauthors,andinturnpresentedinthe“earnestnessofobservation.”[35] AsimilarpresentationstylehadbeenusedinpreviousAtelierBowWowpublications,suchas“PetArchitecture”and“MadeinTokyo”,butin“GraphicAnatomy”theirskillshavebeenusedtoinduceanewsenseofspatialdepthinhouseillustration,whilstsimultaneouslyattemptingtocatalogue24previoushousedesignsbyAtelierBow-Wow.Theuseofverticalandhorizontalperspectives,togetherwithmagnifiedconstructiondetailsallowsforanewwayofobservingarchitecturenotonlyasanobject,butwithinthatsingleframeconsistingofmanyspatialcompositions,betweenroomsandcomponents,betweeninteriorsandtheiradjacentexteriorenvironments,betweenactionsandlocations,andultimatelybetweenhumansandthespacestheyinhabit. “Architecturethatopensitseyesandstrainsitsearstothisdiversityofspatialpractice,encouragingandassistingit;thisistherediscoveryofarchitectureitself.ThatiswheretheaimsofAtelierBow-Wowlie.”[35] EchoofSpace/SpaceofEcho[edit] EchoofSpace/Spaceofechoisacompilationofessaysandimagesthatdiscussthefirm'sideologiesconcerningthebalancebetweenthe‘formofbeing’(physicalenvironment),and‘formofdoing’(systemsandrelationshipsoftheenvironment). Individualchaptersexplorearchitecturalspacesranginginscalefromurbanplanningtocraftedobjectstoshow“livelyspacewheretheformsofbeinganddoingechowitheachother”.”[36] Whimsicalstudiescomparedogbreedstochairtypes(dogsandchairs,differencesinexpressionsofhardandsofttoys(animalfigures)),anddescribewalkingthroughstairwaysintrainstationsasaperformance(transfer). Thebookhasafocusonthefirm’sownenvironmentofTokyoasa‘changingcity’,buttheobservationsandcritiquesmadecanbeappliedinallurbanenvironments.Thebookpushesforaunitybetweenenvironmental,human,andanimaloccupationsofspace. EchoofSpacecreatesanoverlyingdreamlikeanalogybetweenarchitectureandananimalworld,offeringinsightintoarchitecturalspacefromauniquelyJapaneseperspective. EchoofSpace/SpaceofEchowasfirstpublishedin2009,139pages,containscolourphotographs,textinJapanesewithEnglishtranslationsbyKumikoYamamoto. Projects[edit] Jighouse[edit] TheJighouseisatwo-storeyhouseinthenewlydevelopedareaofFunabashi,ChibaPrefecturebuiltin2003.TheclientwasShinSugawara,anarchitecturalpaintdealerandthe8thrankingKendomasterinJapan.[37] Thebriefwasfora‘dynamic,cleanandindividualistic’homethatincorporatestraditionalJapaneseelementssuchastheTatamimatsandShoji.AtelierBowWowreinterpretedtheelementsusingcontemporaryarchitecturallanguagesuchasreplacingWashi-translucent,multi-purposepaperwithfibreglassreinforcedplastic(FRP).[37]TheFRPisrepeatedthroughoutthehomeinshelving,Shintoaltar,bathrooms,etc.Traditionaluseoftimberfortheverandaisalsoreplacedwithindustrialmaterialssuchassteel,concreteandpaintinvariousshades.[37]However,theoveralleffectofthehomeisstillincoherentwiththecharacteristicsoftraditionalJapanesehome,balancingarchitecturewithitssurroundingnature. Duetothenatureofthearea,thesiteissurroundedwithtemporaryasphaltpathsandconstructionsites.Thearchitectsframedeachwindow'sviewcleverlytoavoidany‘visualnoise’.Thegroundlevelwindowsframetheformalgardenwhilsta4by4-foot(1.2 m)squarewindowinthemasterbedroomjustmissestheviewofthetrain. TheprecisedetailingandcompositionofeveryarchitecturaldetailprovidesthehousewithwhatTsukamotoreferstoas‘rhythmstothegroundless,eruptingflowwecalllife’.[37] NoraHouse[edit] TheNoraHouseislocatedinthecountrysideoutsidethecityofSendai,190miles(310 km)northofTokyo,Japan.This2,500-square-foot(230 m2)sitebelongedtoaresidentialcommunitythatdevelopedinthe1960swhentheareawasmostlyfarmland.Additionallythesiteisacrossthestreetfromthewife'schildhoodhome. ItwasdesignedbyAtelierBow-WowincollaborationwiththeTokyoInstituteofTechnology,in2006.Thedwellingwasforacouplewithayoungchildwhohadjustmovedbackfromthecity.AspartoftheAtelier'sideology,tomaximisethepotentialofsmallspaces,theArchitectshadtostepawayfromworkingverticallyandstarttodevelopthedesignhorizontally. “InTokyo,wehavedonealotofone-roomliving,butinamoreverticalway,”explainsTsukamoto.“Here,wedevelopedtheideahorizontally.”[38] Theresultwasasinglestoreyhousewhichspreadsoutoverninedifferentlevelsdividedonlybyshortstairsandthreefreestandingpartitions.Sincethearchitectsdecidedtointegratefeaturesofthetraditionalminkafarmhouses,theywereabletocreateanewtypologyforthemixedagriculturalandurbanlandthatisfoundatthefringesofJapanesecities.Additionallybyusingthistraditionalbuildingstylethearchitectswereabletoblendthisexpressiveandopen-to-the-streethousewiththeadjacentpitchedroofresidencescoveredwithmetalsidingorstucco.Theminkastyleshowsinthehighpeakedroofthatservesasasubstituteofachimney,coveredporch,thelargefluidinteriorspaceandtimberconstruction.InadditiontheunusualroofwastoaccommodatefortheextensiveprecipitationexperiencedinmanypartsofJapan.Thusthesteeplypeakedroofallowedtherainandsnowtofallstraightoffit,preventingwaterfromgettingintothehome TheNoraHouseispartofthePetArchitecture,atermcreatedbyYoshiharuTsukamotoandMomoyoKaijima,thefounderOfAtelierBow-Wow.Itisatermforbuildingsthathavebeensqueezedintoleft-overurbanspaces.Thename"Petarchitecture"referstohouseswhichhavepet-likecharacteristics,suchasbeingsmall,humorous,charming,rebellious,unexpectedandadaptthemselvestotheirenvironments. Aspetarchitecturedoesnotusetheforefronttechnologyanddoesnotmaketheappearanceitsfirstconsideration,itisagreattoolforuserstocustomisetheirbuildingonalowbudget.Sinceitisdefinedbyusingcuriousshapesandinventivesolutionsfordrainage,windowsandairconditioning,theyhighlighttheiruniquelocation,producearelaxedatmosphereandthereforehelptorelievetheoccupant. Hanamidori[edit] TheHanamidoriCulturalCenterisamultipurposebuildingbuiltatShowaMemorialParkatTachikawa,[39]Tokyoin2005just10minutesofwalkingdistancefromtheTachikawarailstation.Itoccupiesatotalfloorareaof6,031.64m2withthedesigndevelopedbyprincipalarchitectsMasakazuSuzukiandMomoyoKaijimaincooperationwithAtelierBow-wow[40]andcentralisestheexperienceoftheGreenCultureZoneandthefunctionsforexchangingandprovidinginformation.[41] "Thebasicconceptwasfora“growingarchitecture”,inresponsetothedevelopingactivitiesofgreenculture,andfor'parkitecture'-architectureintegratingwithlandscape,inwhichinteriorandexteriorareconnected.Ourintentionwasforaspaceascomfortableasintheshadeofatreethatwouldprovidesupportforparkactivities.[39]" Thebuildingincludesexhibitionspace,workshops,cafeandlibraryallbuiltwithinthe15cylindersthatsupportinganundulatingroofcoveredbygreen.Thespacesbetweenthecylindersarearrangedwithfurniturethatcanchangedependingonfunctionandformwithaglazedexternalskinallowingforavisualconnectionwiththeexterior.Thefacadecanbeopenedupingoodweatherprovidinganunhinderedaccesstotheexterior.[39] HouseTower[edit] LocatedinShinagawa-kudistrictofTokyo,theHouseTower,settingbackfromthestreetandrisingover11metresinheight,occupiesonlyan18.5m2buildingareaofitsconstrained42m2site.Withitsunique‘tallness’andseeminglyirrationalopenings,thisre-enforcedconcretebuildingsomehowresemblesa‘one-eyedmonster’,hidingawkwardlyintheneighbourhood,sneakingaroundbehindobviously‘shorter’counterparts,asiftryingtofindachancetoescape. Duetothesiteconstraints,thehousebreaksfromtheconventionalarchitectureplanning,andisarticulatedasasinglevolume.Thedifferentspaceofacommonhouseisnotdefinedbywallsbutby10smallstaggeringlevels,eachwithitsownpurposeandallconnectedbyafloating“step-platehungonsteelrods”[42]staircase;thustheprimaryfunctionsofthishouseareallocatedtothese‘landings’.Thestaircasealsodividesthehouselengthwiseintotwoareas.Thefurnitureandfixturesarecarefullyalignedtotheareasattherear,leavingtheotherside“clear,flexibleandwithoutbuilt-ininstallations.”[42] Despitetheapparent‘individuality’ofthebuilding,theoversizedfrontwindow“resonateswiththescaleofthecityscapeoutside”,[43]whilehavingaconversationwithanadjacentneighbour'sarchedroof. AkoHouse[edit] AkoHouseislocatedinadenseresidentialdistrictzone,Setagaya,Tokyo.Itisathree-storeyresidentialbuildingandwithtotalsiteareaof51.26m2.Ittook7monthstodesignthehousewith5monthsofconstruction.Thestructure/constructionmethodofthehouseiswooden.[44] Akohouseisanexampleofabuilding‘behaviour’inincreasinglyfragmentedhigh-densityresidentialdistricts.[45]Duetotheconstrainednatureofthesitearea,thevolumeofthehousehadtoexpandverticallythuscreatingastrongverticalcirculation.Atelierbow-wow'sdesignobjectiveforthishousewas“toensurethemaximumcapacitythatcanbeplacedonthesite,whilediscoveringnewbehaviourswithindensityandwithinastateofverticalexpansion.[45] Thelocationofthesiteisacornerlotwithaslicedoffcorner.Reflectingthisparticularcharacteristicofthesiteintoitsdesign,thefacadeofthehouseisdividedintofivesegmentsofequallengthwithslightlyshiftedangles.Eachwallhasfewwindowsplacedtoallowviewsconnectingouttothenearbytreesandslopingstreet. Theinteriorofthehousehasaclearcompositionwiththestaircaseplacedatthecentreofthehouse.Eachlevelofthefloorsisstronglydistinguishedbyitsowncharacteristic.Howeverthedownsideofthispredominantthestaircaseisthatitsometimescreatespredominantvisualdistraction. Atelierbow-wowattemptedtosolvethisproblembyobscuringthestairasmuchaspossible.“Wecreatedslit-levelstolowertheverticalintervalsbetweenfloorsandtoshorteneachstairway.”[46] BlackDogHouse[edit] BlackDogHouse,2004[location]Karuizawa-cho,Nagan,Japan[structure]wood[sitearea]1136.03sqm[buildingarea]145.80sqm[totalfloorarea]145.80sqm TheBlackDogHouse,designedbyAtelierBow-Wowisadomesticresidencewhichcanbeseenasfairlyconventionalascomparedtosomeoftheirotherprojects.[47]However,likemanyoftheirotherworks,theBlackDogHouseisanintriguingexampleofspacecraftsmanship.Bow-Wowexplorethesubtlechangesinsurface–themorphingofelementsandtheindividualpiecingtogetherofahousethatgivesitexpression.[48] Justasinthecity,Bow-Wowcarefullyexaminedthesurroundingenvironsandinterpretedthemtodesignacustomisedbuilding.Visualcontactwithnatureisoneofthedictatingelementsofthehouse.Thehouseisveryopenplanned,andallowsforuninterruptedviewsrightthroughintotheforestbeyond.[49] TheHousecomprisesasequenceofsubdividedroomsallofequalsize:apetspace,bedroom,guestroom,kitchen,bathroomandgarage.Theinnerwallisacontinuouslinewhichisfoldedtocreatespacesoneitherside,whileacorridorcutsthroughvariousrooms.Eachroomisgivenadifferentvisualcondition.[49] Theroof'slowextrusiondividestheelevationintoupperandlowersections,althoughtheinteriorspaceshavequiteahighceilingheight(max5.1m).TheyoungartistTabaimopaintedmuralsalloverthewalls.Theceilingispaintedsilversoastobouncelightaround.[49] House&AtelierBowWow[edit] HouseandAtelierBow-Wow,2005 [location]Shinjuku-ku,Tokyo [structure]reinforcedconcreteandsteelframe [sitearea]109.03sqm [buildingarea]59.76sqm [totalfloorarea]211.27sqm AtelierBow-Wow’sconstructionoftheirdomesticresidenceandofficeinShinjuku-ku,Tokyosawthecompositionofpermeableinteriorspaces,wherepublicandintimateplacesco-mingle.[50]Locatedonaflagshapedsitethehouseestablishesaresponsivedialoguewithitsenclosingneighbours,expressingAtelierBow-Wow’surbanidioms.Surroundedbybuildingsandconnectedbyanarrowstripoflandtotheroad[51]HouseandAtelierBow-Wow‘pushesthecapacityofthemicroplot’[52]investingin‘thebroaderorderoftheurbanenvironment.’[53]Sensitivitytoavailablegapspacessawplacementofopeningstowardsadjacenthouses,positioning‘interiorspaceasapartofitssurroundings:aroomcoexistingwithitsnext-doorneighbour’sexteriorwall.’Functioningasasemi-publicbuilding,Bow-Wowsoughttoeasethedividebetweenlivingandwork,‘transposingactivities.’[53]‘Avoidanceofheavypartitionwallssoftensevenfurtherthedistinctionbetweensurroundingsandinteriorand,withinthisbetweenhouseandoffice.’[53]Enteredthroughanarrowpassagewayoccupantsemergewithina‘four-storeyinteriorthatiseffectivelyasinglevolume,withthefourprincipalfloordecksarrangedonthehalflevel,andgenerousinterstitiallandingssittingbetween.’[52]Occupantsfirstencountertheatelierspacewhichisspreadovertheupperandlowergroundlevels.AtelierBow-Wow’sarticulationofascentwithinthestructureseesthenatureofspaceschange.Asoccupantsrisethroughthebuildingwallsconvergetoconstrictupperlevels,shiftingtheinternalscaleofthebuildingtoadomesticsensesuitedforliving.Externalviewsalsocharacteriselevelsdirectingorientationofspace. Furthermore,AtelierBow-Wowaccountforthepracticalissuesofclimatecontrolinaspacethatisoccupiedtwenty-fourhoursperday;positioningaradiantheater/coolerverticallythroughthebuilding,diminishing‘boundariesbetweenterritoriesandestablishingintheirsteadmorenuancedrelationships.’[53] ‘Wealsodugawellandusethewaterforradiantcoolingandheating.Thewellwaterpumpeduptotheroofstreamsdownonsurfaceoftheexternalwall,coolingthewallbyvaporizationinthesummer.Theexternalwalliscoveredwithgranule-facedasphalttoholdthewater.Itisfuntothinkofthebuildingasamassiverocksweating,withadragonlikeinternalwatervein,whichcanbeglimpsedbetweenthehouses.’[51] AniHouse,1998[edit] Locatedinthemiddleofsuburbiaandanhour’strainridefromTokyo,AtelierBow-Wow’sAniHouseissetonasmallsectionoflandonly10mby11minsize.[54]AkeyideaoftheAniHousewasfirsttoestablishadistancefromitssurroundingboundariesandenvironment,andthen“remakerelationshipsineverydirection”.[55]YoshiharuTsukamotoandMomoyoKaijimahaveresistedtheconventionalmethodsofcoveringasmuchofthesmallsiteaspossiblewiththebuilding,andinstead,thesmallfootprintofthethree-storeystructureisplacedinthecentre.TheHouseissetatleast2.5mawayfromitsboundariesandneighbours.[56]ThisallowslargeopeningstobemadefreelyineachelevationofthebuildingwithoutcompromisingtheHouse'sprivacy. TheinteriorlevelsofAniHousearesingle-roomspaceswithoutanypartitioning,withthekitchenandbathroomprotrudingfromthemainvolume.TheHouseissethalfalevelintotheground,thusoffsettinglinesofsightbetweenthestreetandthebuilding'sinterior,soanopenyetprivatespaceisachievedinside.Theuseofafence,whichcanbeconstrictingaroundasmallsite,hasbeeneliminatedtoopenthelandtothestreet.[55] WindowsintheHouse'selevationscombinedupperandlowerflooropeningstocreatelargeopeningsincontrasttothebuilding'ssmallvolume.Thewindowsarenotalignedwithinteriorfloorlevels,andtheirsizesobscurethescaleandseparationoftheinternalspacesbehindthebuilding'sfaces.[55] AniHouseusestheexistingsurroundingenvironmenttoexamineitsmutualrelationshipwitharchitecture,anddevelopsakindofopencommunicationwiththeHouse,itsoccupant,anditstown.[57] GaeHouse[edit] 2001-2003 Theunconventional“GaeHouse”,setinSetagayaTokyo,isamongsthomesthatlineuplikehedgerowsthatattesttothedivisionofpropertiesfromlandinheritanceandtheremnantsofgardenfencesthatoncesurroundedthewholeblock.GaeHouseembracestheintentofthesurroundinghomeswiththeuseofthelargestpossibleroofformedaccordingtosunandsiterestrictions,[58]whilethewallsaresetbackfromtheboundaries.Theresultinggapbetweentheseelementsintegratesthesurroundingenvironmentwiththehouse. "Thismisalignmentnotonlyprovidesarooftotheparkingspacebutintroducesthehedgesequencetotheboundarieswiththeneighbours,embodyingtheenvironment'sintentionexpressedinthepresenceoflivefences."[59] Thehouseisorganisedwiththebedroomandworkplaceplacedunderground,thelivingroomandkitchenplacedundertheroofwhileentranceisonthesecondfloor.Thesecondfloorwithahorizontalopening,andstarkwhitewallsallowslighttoenter,creatingimagesofandemulatingtheoutsideenvironment.[60]Thishorizontal'ribbon'windownowbecomesaformalizeddeviceforengagementoflightinsideandoutsideofthehouse,aswellascreatingavisualconnectiontobemadewiththeexteriorandallowingamplenaturallightingtocomeintotheatticarea.Thissenseofenvelopmentistermed'granularspace'.[59] Theinseparablecharacterofthehousefromitsmodeofexistenceuponitssitebecomesan"organicarchitecturalexperience";[61]architecturethatexplorestherelationshipsbetweentheinhabitant,immediatesurroundingsandwiderurbancontext. MiniHouse[edit] MiniHouseislocatedinNerima-ku,Tokyo,adenseresidentialsuburb,onasmallsiteof77sqm.Thehousecoversonly41sqmofthesitebuthasatotalfloorareaof90sqmovertwoandahalffloors.[62] ThedesigndrawsonAtelierBow-Wow'stheoriesofVoidMetabolismandTheFourth-GenerationHousewhichputsanemphasisontheformandnatureofthespacesbetweenbuildingsaswellastheirinternalqualities.AtelierBow-WowseestheFourth-GenerationHouseasbeingtheproductofthreeimportantconditions. “…thattheinteriorspacebeinvitingforthosewhoarenotmembersofthefamily;thatquasi-exteriorspacesbeintroducedinapositivemanner,coaxinginhabitantsoutoftheirhomes;andthatthegapspacesbetweenneighbouringbuildingsberedefined.’’[63] Minihousesitsonasmallsitewitha4mwideroadtotheeast,aprivatepathtothesouthandanopenfieldtothewestwhichistobecomearingroad.Thehousesitswithitsmainvolumeinthecentreofthesitewithvolumesprojectingfromeachsidemediatingthehouse'srelationshiptoitssurroundings.Forexample,ontheeastfaçadefacingtheroadtheprojectingvolumesitsabovethegroundcreatingaspacetoparkacarunderneathandstairsrunningalongthesouthernedgeallowaccess.Windowsarelocatedsoastoopenontothesmallvoidsarticulatedbytheformallowingnaturallightregardlessoffuturedevelopmentonsurroundingsites.[64] OtherProjects: FourBoxesGallery-2009-Krabbesholm,Denmark IkushimaLibrary–2008–Tokyo,Japan SwayHouse–2008–Tokyo,Japan TowadaArtCenter–2005–Aomori,Japan ShallowHouse–2002–Tokyo,Japan KawanishiCampingCottageB–2000–NiigataPrefecture,Japan References[edit] ^"HelsinkiGuggenheimcompetitionattractsrecordnumberofentrants".Dezeen. ^MasonWhite,AtelierBow-Wow:TokyoAnatomy,Archinect,May22,2007 ^Yoshiharu,Tsukamoto(2002).PetArchitectureGuideBookVol2.Tokyo:WorldPhotoPress,Japan.ISBN 4-8465-2327-6. ^EmilyGertz,BrightGreen:PetArchitectureArchivedAugust6,2010,attheWaybackMachine,WorldChanging,March17,2004. ^http://www.behaviourology.com[permanentdeadlink] ^Fujimori,Terunobu,Bow-Wow,Atelier,&Nango,Yoshikazu.(2010).Architecturesofatelierbow-wow,pg15the.RizzoliIntlPubns. ^Behaviorology.Behaviorology.Retrievedon2015-06-01. ^Fujimori,Terunobu,Bow-Wow,Atelier,&Nango,Yoshikazu.(2010).Architecturesofatelierbow-wow,the.RizzoliIntlPubns. ^AtelierBow-Wow(2010)."Behaviorology",p.250.RizzoliInternationalPublications,Incorporated.ISBN 0-8478-3306-2 ^AtelierBow-Wow(2010)."Behaviorology",p.251.RizzoliInternationalPublications,Incorporated.ISBN 0-8478-3306-2 ^AtelierBow-Wow(2006)."PostBubbleCity",p123.INAX.ISBN 4-87275-133-7. ^abcdKaijima,M.,Kuroda,J.,&Tsukamoto,Y.(2001).MadeinTokyo.Tokyo,Japan:KajimaInstitutePublishingCo.,Ltd.p.9. ^[1]ArchivedFebruary12,2010,attheWaybackMachine ^abKaijima,M.,Kuroda,J.,&Tsukamoto,Y.(2001).MadeinTokyo.Tokyo,Japan:KajimaInstitutePublishingCo.,Ltd.p.12. ^Kaijima,M.,Kuroda,J.,&Tsukamoto,Y.(2001).MadeinTokyo.Tokyo,Japan:KajimaInstitutePublishingCo.,Ltd.p.13. ^AtelierBow-Wow,'WalkingwithAtelierBow-WowKanazawaMachiyaMetabolism' ^AtelierBow-Wow,"Behaviorology". ^AtelierBow-Wow,"Behaviorology".p.15 ^Japanarchitect2008Autumn,n.71,p.60 ^abAtelierBow-Wow,Behaviorology;NewYork :Rizzolip13 ^AtelierBow-Wow,Behaviorology;NewYork :Rizzolipp339-340 ^AtelierBow-Wow,Behaviorology;NewYork :Rizzolip339-340 ^AtelierBow-Wow.(2010),Behaviorology;NewYork :Rizzoli,p15 ^AtelierBow-Wow.(2010),Behaviorology;NewYork :Rizzoli,p8 ^AtelierBow-Wow.(2010),Behaviorology;NewYork :Rizzoli,p128 ^AtelierBow-Wow.(2010),Behaviorology;NewYork :Rizzoli,244 ^AtelierBow-Wow.(2010),Behaviorology;NewYork :Rizzoli,p322 ^AtelierBow-Wow.(2010),Behaviorology;NewYork :Rizzoli,p347 ^Culham,J.(2003).MadeinTokyo."Archivedcopy".Archivedfromtheoriginalon2011-06-13.Retrieved2010-07-26.CS1maint:archivedcopyastitle(link) ^abKaijima,M.,Kuroda,J.,&Tsukamoto,Y.(2001).MadeinTokyo.Tokyo,Japan:KajimaInstitutePublishingCo.,Ltd.p.9. ^Kaijima,M.,Kuroda,J.,&Tsukamoto,Y.(2001).MadeinTokyo.Tokyo,Japan:KajimaInstitutePublishingCo.,Ltd.p.11. ^abAtelierBow-Wow(2006)."Bow-WowfromPOSTBUBBLECITY",INAXPublishingLtd ^AtelierBow-Wow(2006)."Bow-WowfromPOSTBUBBLECITY",p.8.INAXPublishingLtd ^AtelierBow-Wow(2006)."Bow-WowfromPOSTBUBBLECITY",p.25.INAXPublishingLtd ^abcAtelierBow-Wow(2007),p5."GraphicAnatomyAtelierBow-Wow",TOTOpublishing(TOTOLTD).ISBN 4-88706-278-8,ISBN 978-4-88706-278-8 ^AtelierBow-Wow.(2009),EchoofSpace/SpaceofEcho;Tokyo:INAXPublishing,p16 ^abcdHohler,Maggie,'ChibaJapan',Dwell,2003Oct,122 ^DeArasis:NoraHouse,AtelierBow-Wow.Dearasis.blogspot.com(2008-04-18).Retrievedon2015-06-01. ^abcHanamidoriCulturalCenter/AtelierBow-Wow.ArchDaily.Retrievedon2015-06-01. ^"Hanamidori"CulturalCenter.Bow-wow.jp.Retrievedon2015-06-01. ^Azone|AreaGuideArchivedAugust27,2010,attheWaybackMachine.Showakinenpark.go.jp.Retrievedon2015-06-01. ^abTsukamoto,Y.,Kaijima,M.,andWan,A.(2010).Behaviorology/AtelierBow-Wow.NewYork :Rizzoli.ISBN 978-0-8478-3306-1. ^"AtelierBow-Wow",Japanarchitect2009Summer,n.74,p.16-25 ^AtelierBow-Wow(2007)."GraphicAnatomyAtelierbow-wow",p136.TOTOpublishing(TOTOLTD).ISBN 4-88706-278-8,ISBN 978-4-88706-278-8 ^abAtelierBow-Wow(2007)."GraphicAnatomyAtelierbow-wow",p113.TOTOpublishing(TOTOLTD).ISBN 4-88706-278-8,ISBN 978-4-88706-278-8 ^AtelierBow-Wow(2006)."PostBubbleCity",p45.INAX.ISBN 4-87275-133-7. ^"ParentCategory-IconMagazine".iconeye.com.Archivedfromtheoriginalon2010-01-15. ^AtelierBow-Wow–JapanesePetArchitecture.DesignBuildNetwork.Retrievedon2015-06-01. ^abcAtelierBow-Wow:pockets,pets,andpetitesmaisons,Domus2004Sept.,n.873,p.74-87ISSN 0012-5377 ^TheArchitecturesofAtelierBow-Wow:Behaviorology.Dexigner.com(2010-02-27).Retrievedon2015-06-01. ^abHouse&Atelier/AtelierBow-Wow.ArchDaily.Retrievedon2015-06-01. ^abGregory,R.(2006).Snakesandladders:house-atelier,Tokyo,Japan.ArchitecturalReview.220(1314),78-81. ^abcdTsukamoto,Y.,Kaijima,M.,andWan,A.(2010).Behaviorology/AtelierBow-Wow.NewYork :Rizzoli.ISBN 978-0-8478-3306-1. ^JapanArchitect1999,n.34,p.22 ^abcAtelierBow-Wow(2007)."GraphicAnatomyAtelierBow-Wow",p.111.TOTOPublishingLtd ^AtelierBow-Wow(2006)."PostBubbleCity",p.25.INAX ^AtelierBow-Wow(2007)."GraphicAnatomyAtelierBow-Wow",p.119.TOTOPublishingLtd ^AtelierBow-Wow,TsukamotoLab.+AtelierBow-Wow:GaeHouse.JapanArchitect,no.52,63. ^abTsukamoto,Y.TsukamotoLab.+AtelierBow-Wow:GaeHouse.GAHouses(2003),no.77,126. ^AtelierBow-Wow,TsukamotoLab.+AtelierBow-Wow:GaeHouse.JapanArchitect,no.52,64. ^Tsukamoto,Y.TsukamotoLab.+AtelierBow-Wow:GaeHouse.GAHouses(2003),no.77,127. ^JapanArchitect2000,n.37,p.57 ^Tsukamoto,Y.,Kaijima,M.,andWan,A.(2010).Behaviorology/AtelierBow-Wow.NewYork :Rizzoli.Page14 ^Tsukamoto,Y.,Kaijima,M.,andWan,A.(2010).Behaviorology/AtelierBow-Wow.NewYork :Rizzoli. Externallinks[edit] AtelierBow-Wow(OfficialSite) ArchinectInterview-AtelierBow-Wow:TokyoAnatomy AtelierBow-Wow:DroogTownhouse AtelierBow-Wow:ASelectiveBibliography,AileenSmith,2006,AALibrary AuthoritycontrolGeneral IntegratedAuthorityFile(Germany) ISNI 1 VIAF 1 WorldCat Nationallibraries UnitedStates Japan CzechRepublic Artresearchinstitutes ArtistNames(Getty) Other SUDOC(France) 1 Retrievedfrom"https://en.wikipedia.org/w/index.php?title=Atelier_Bow-Wow&oldid=978729201" Categories:ArchitecturefirmsofJapanCompaniesbasedinTokyoJapanesebrandsHiddencategories:WebarchivetemplatewaybacklinksAllarticleswithdeadexternallinksArticleswithdeadexternallinksfromOctober2016ArticleswithpermanentlydeadexternallinksCS1maint:archivedcopyastitleWikipediaarticleswithpossibleconflictsofinterestfromJuly2010ArticleslackingreliablereferencesfromDecember2009AllarticleslackingreliablereferencesArticleswithmultiplemaintenanceissuesArticleswithGNDidentifiersArticleswithISNIidentifiersArticleswithVIAFidentifiersArticleswithWORLDCATIDidentifiersArticleswithLCCNidentifiersArticleswithNDLidentifiersArticleswithNKCidentifiersArticleswithULANidentifiersArticleswithSUDOCidentifiers Navigationmenu Personaltools NotloggedinTalkContributionsCreateaccountLogin Namespaces ArticleTalk Variants expanded collapsed Views ReadEditViewhistory More expanded collapsed Search Navigation MainpageContentsCurrenteventsRandomarticleAboutWikipediaContactusDonate Contribute HelpLearntoeditCommunityportalRecentchangesUploadfile Tools WhatlinkshereRelatedchangesUploadfileSpecialpagesPermanentlinkPageinformationCitethispageWikidataitem Print/export DownloadasPDFPrintableversion Languages DeutschFrançais日本語 Editlinks