QUESTIONS FOR DANA BUNTROCK

CONSTRUCTION & CRAFT

Japanese architects seem to possess a better understanding of the importance of specialization in craft. One of the major downfalls of western architecture, and perhaps the main contribution to why less than 5% of buildings are designed by architects, is due to a lack of focused areas of study that generate a higher level of craft in the built environment. Do you feel that this is an issue that can be addressed academically through studio exploration and increased emphasis on more focused areas of study, or is this lack of specialization in craft a socio-cultural state in which the western world is in a sense trapped?
[Rogerson]

In your article “Collaborative Production: Building Opportunities in Japan,” you highlighted a difference between the practice of architecture in Japan and the United States. Architects in Japan typically become masters of a few materials and their use. They maintain a close relationship with contractors and sub-contractors that allows for greater architectural experimentation without the exorbitant cost differential that might be found in the United States. This model seems more closely related to the ancient role of the architect as the master builder and craftsman on projects. A number of architects in the United States and Canada practice architecture that in many ways is similar to this Japanese model, namely Tod Williams and Billie Tsien, or John Brown who work with a few preferred materials, have developed relationships with materials manufacturers and they personally design many of the finishes and forms the materials. What do you view is the difference between the way they practice architecture and the way Japanese architects practice?
[Sandy]

The article "Collaborative Production: Building Opportunities in Japan” raises several interesting questions about the ethics of the Japanese building industry. For example, you discuss the close relationship between architect, contractor, and client, as well as the legacy that practitioners pass down to their apprentices. In this, you note the ability for such lineage to make those who are "well connected" in the industry more likely to sell materials, even when their products are at a much higher price than some competitors. Do you feel that this is nothing more than a romanticized "good ole boy" network that exists within classist and sexist values? Would this also allow a clearly less skilled architect to win a job over a more skilled architect, simply because of the politics of the profession, and, if so, do you see anything wrong with such practice?
[H. Wallace]

Considering the great difference between Japanese construction and construction in the United States, how do architects from either country come to terms with these differences when designing in the other country?
[Ham]

According to the readings architects, craftsmen, builders, and clients seem to have a higher degree of respect for each other in Japanese culture then they do in American culture. If this is so then what are the factors that contribute to this interdisciplinary animosity and how do you foresee America adopting the Japanese mentality in the future, if at all?
[Brown]

In the Japan construction process there are multiple levels of collaboration throughout the design process with architects, contractors,etc... In architecture in its current state in America today, do you find it necessary that we re-examine are modes of process for our own survival?
[White]

FUJIMORI

In the article "Neolithic Daddy" Fujimori exerts an intense amount of sincerity and feeling into his work. Granted his work is influenced by his religion and culture. How do you think we can approach designing with this level of sensitivity since our culture is so diverse?
[White]

I admire the use of primitive techniques and materials Fujimori uses and how he believes in and incorporates the traditions of his culture. Do you think there is an American form of this even though America has few set traditions because they are all base on those from another country's emigrants? What would you say is an American example?
[Sena]

In the article “Fujimori Neolithic Daddy,” Fujimori relies heavily on the site and culture for his buildings. In a previous lecture, Kazys Varnelis stated that architects are inventors, but what is Fujimori accomplishing by using dated building methods and resisting the use of more effective building materials? I also realize Fujimori tries to achieve a certain “feel” to a building, but can this “feel” not be attained with our current position in architecture?
[Felton]

It seems that Fujimori used what we would call today, very natural sustainable building concepts. He built a building from the trees that existed on site, used earth for insulation, and incorporated green roofs. Even though he began designing prior to the sustainability popularity boom, did he design with the intention of being an environmentally friendly architect, or did he design, the way he did, simply because he felt that is what buildings should be like?
[Malinowski]

In Neolithic Daddy, you talk about how Terunobu Fujimori had this idea of the two different types of schools of Red and White. Which of these schools do you feel is more pertinent to the direction that architecture should be headed?
[Bradley]

RESEARCH INTEREST

I am very intrigued by your interest in Japan and now Korea. My question is what made you choose Japan as the focus of her research and interest. What was it about Japan that captured you?
[Hamm]