FLEXIBLE ARCHITECTURE: The Cultural

Impact of Responsive Building

Robert Kronenburg
Abstract
This paper explores the genre of flexible architecture - buildings that are intended to respond to changing situations
in their use, operation, or location. This is architecture that adapts rather than stagnates; responds to change rather
than rejects it; is motive rather than static. It is a design form that is by its essence cross-disciplinary and multi-functional
and consequently, is frequently innovative and expressive of contemporary design issues. By revealing its basis and the
factors that are determining its development, the value and relevancy of flexible architecture to contemporary problems
associated with technological, social and economic change can be revealed.

Flexible Architecture: The Cultural Impact of...

The characteristics of flexible architecture are explored by examining the design decisions that lead to culturally
responsive buildings. It examines the underlying factors that generate a sense of place and why traditional and historic
building patterns have been successful in creating genuinely adaptable architecture. It relates the characteristics of flex-
ible architecture to Open Building principles and examines the effect that such design can have within the different lev-
els in the built environment. The paper focuses special attention on contemporary architecture by examining the recent
work of the Japanese architect Toyo Ito, in particular his recently completed Matsumoto Performing Arts Centre, Nagano
Prefecture, Japan. Based on conversation with the designer and first-hand study of the building, the specific factors that
make this new design a valuable resource in the search for flexible architecture strategies are explored.
This paper expands on the author's previous research into the foundation areas of this topic, in particular the genre
of portable architecture, the impact of technology on the development of architectural form, and the development of
experimental and innovative house design in the twentieth century. Its subject is expanded in his forthcoming book
Flexible: Architecture That Responds to Change to be published by Laurence King, London, in 2006.

K e y w o r d s : Flexible, Responsive, Cultural, Adaptable, Architecture.

In June 2004 I was fortunate to meet with the design route that had now taken precedence in his open house international Vol 30, No.2, June 2005
Japanese architect Toyo Ito in his Tokyo office to work - the search for a fluid architecture that only
discuss his recent work on new projects in Japan becomes complete once people inhabit and use
and Europe. Out of many things that we talked the building.
about, one in particular stood out. Ito described This aspiration is a key principle in the genera-
how many of his earlier buildings had been tion of flexible architecture - a term used to describe
designed in the modernist tradition in which he was buildings that are designed to respond easily to
trained. The aspiration in this form of architecture is change throughout their lifetime. The benefits of
to aspire to a lightness of geometry and minimalism flexible architecture are considerable: it remains in
where more and more 'non-essential' features are use longer, fits its purpose better, accommodates
taken away in order to achieve a state of purity. In users' experience and intervention, takes advantage
a wonderfully frank and perceptive statement Ito of technical innovation more readily, and is eco-
explained that although this created undeniable nomically and ecologically more viable. It also has
beauty, at some point it had become clear it to him greater potential to remain relevant to cultural and
that it also meant that people would also be taken societal trends (KRONENBURG, 2002:67). This
away. He had therefore developed a parallel paper seeks to establish the human cultural context

59
 for flexible architecture, relate it to the established Amongst the most sophisticated of our tools have
Robert Kronenburg

principles of Open Building, and through the exam- been the buildings that provide shelter for our activ-
ination of recent built projects focus on some of the ities at work and rest but also provide for our spiri-
characteristics that may be of value in the creation tual and cultural needs. The combination of
of a new generation of contemporary flexible build- resourceful creatures that have varying needs has
ing designs. resulted in an astounding range of responses to this
Human beings are flexible creatures. We move problem and on careful examination one can per-
about at will, manipulate objects, and manage to ceive that there are very few global constants in the
operate in a wide range of environments. There design of buildings. Building form changes
was a time, not too long ago in evolutionary terms, depending on a whole range of regional factors
when our existence was based on our capacity for including climate, location, available resources,
movement and adaptability - indeed; it is to this that culture and society. Traditional architecture incor-
we owe our survival as a species. After a few thou- porates a wealth of flexible building forms that are
sand years of more or less sedentary life, it could be adaptable to the varying conditions of life. Buildings
that flexibility is once more becoming a priority in that have been designed and created using local
human development and that technological, social resources and knowledge inevitably provide more
and economic changes are forcing, or at least appropriate solutions than imported ones, and
encouraging, a new form of nomadic existence because designers, builders and users are often the
Flexible Architecture: The Cultural Impact of...

based on global markets, the world wide web, and same people (or closely associated) the issues of
cheap, fast, transportation. reuse and adaptation are well understood (OLIVER,
The success of architecture is directly connected 1975). Inflexible design, particularly in developed
to its flexibility. People use their homes and work- cultures, has arisen when designers' knowledge and
places in their own individual way. Altering your objectives have become separated from users'
environment to your own requirements is a com- experience and needs, resulting in inappropriate,
mon characteristic of transforming a building from inflexible and unloved architecture.
an anonymous space into a specific 'place'. The Of course, all buildings are flexible to a degree,
German philosopher Martin Heidegger argued doors open, furniture can be moved, curtains
convincingly that a building is not a place - it sim- drawn, lights switched on and off. These flexible
ply brings a place into existence (HEIDEGGER, elements are generally assumed to be essential fea-
1993:355). Günter Nitschke also maintained that tures that allow a building to operate - though
time is a key factor in the generation of place designers seeking to freeze their process at han-
(NITSCHKE, 1993:49). In order to be at home dover have removed even some of these freedoms
somewhere you have to live there, the appreciation (for example environmental controls, opening win-
of place in the building or landscape emerges over dows, and movable furniture). It is therefore sur-
open house international Vol 30, No.2, June 2005

time. So for architecture to work it has to be expe- prising that until comparatively recently the history
rienced; lived in, worked in, used, over time. The of the vast majority of building design was based
creation of a perfect piece of architecture, fully around the creation of multi-functional spaces that
complete in all its working components at comple- could be used in different ways dependant on the
tion is therefore clearly impossible. Time in use will occupants, the location, the season, and the time of
generate the essence of place that mature architec- day. This was particularly so of the dwelling - a
ture requires, with the application of the occupants' workplace in the day became a domestic space for
gained experience and subsequent adaptation, an relaxation in the evening and a sleeping place at
essential ingredient in this success (KRONENBURG, night. Furniture and services were mobile and multi-
2002:20). purpose. Tables became beds, storage became
The essence of Homo sapiens success as a chairs and stairways, and room heaters became
species has been our adaptability. Human beings cookers. It is only in the last three centuries that
have always made tools that respond to our needs European houses have adopted specific functions
and are changed and improved with regard to for separate rooms (RYBCZYNSKI, 1987). Though
developing situations. Flexible design has been a in some parts of the world the flexible dwelling
constant component in human design activity. remains common, for most of us releasing the flex-
60
ibility of the building we inhabit requires consider- hood into a vibrant and developing community.

Robert Kronenburg
able effort, inconvenience and expense because The fact that it was also a revolutionary building in
the way it has been built has not allowed for the constructional, aesthetic and operational terms had
possibility that significant changes may be required. a significant bearing on its impact, which it can be
However, lifestyle change is now becoming the convincingly argued, extends to the city of Paris and
norm rather than the exception. Home and work is beyond (KRONENBURG, 2001:39).
becoming more about a set of activities than a spe- Toyo Ito's Sendai Mediatheque (2001) has had
cific geographic location and people are demand- a similar extended impact, which although less dra-
ing more choice in not only how they live but also matic, is perhaps no less significant in that it is a
where they live. Different ways of living and working more sensitive approach, tuned to local rather than
are resulting in the demand for buildings that must international audiences. Though designed for a
be flexible for ecological and economic reasons as specific site with a specific limited function this
well as social and cultural ones. Architecture needs building has had an important effect on both its
to fit its users' needs better, be easier and more eco- neighbourhood within the city of Sendai, and the
nomic to operate, and when change is necessary, city's image as communicated to the rest of Japan.
avoid the waste associated with difficult demolition The site for the Mediatheque is on an extension of
and rebuilding. one of the city's main roads but some distance away
These pressures on contemporary built environ- from the main commercial and business district

Flexible Architecture: The Cultural Impact of...

ment design are recognised in the principles adopt- (Fig.1). The building's presence and its success in
ed by the advocates of Open Building policies. attracting local and visiting users has extended the
Toyo Ito's statement about his ambitions for his commercial viability of this street so many new busi-
architecture relates directly to one of the key princi- nesses are now opening there. Ito has stated that
ples of Open Building, that the realisation of the the Mediatheque was the first building in which he
built environment is the result of collaboration with successfully fused his ideas about creating beautiful
many people with many different sorts of skills. It spaces that are also flexible enough for adaptation
also supports the concept that a new design is not and change based on experience and developing
finite at the point of delivery to the client but is part demands.
of an ongoing continuous process of use, adapta-
tion and evolution under the influence of users and
inhabitants. A key idea in Open Building is that
environmental design operates at a number of
related but distinct levels of complexity ranging from
the city to the individual room. In this scenario flex-
ible architecture is most significant at the level of the open house international Vol 30, No.2, June 2005
building and the levels subordinate to that such as
an apartment would be within a residential building
and a room within the apartment. However, its
impact extends to higher levels too, particularly at
the neighbourhood level but also, on occasion at
the city. For example, the Beaubourg Cultural
Centre (1977) in Paris was designed by Renzo
Piano and Richard Rogers for a specific function as
a multi-media arts complex. However, its organisa-
tion and relationship with the surrounding area was
such that it completely changed the nature of its
neighbourhood through the physical introduction of
new open space, new routes to the locality, but also
through the economic and cultural changes it
brought. This one building was the catalyst that
changed a neglected and undesirable neighbour- 1
61
 The building consists of a series of flat floor
Robert Kronenburg

plates surrounded by an opaque and clear glass

wall and supported by a group of steel lattice 'trees'
made from steel tubes of different undulating
shapes (Fig.2). The centre of each tube is open
allowing light and space to move between levels,
though some of them also contain lifts and services.
Each floor has different though linked uses - library,
information technology centre, exhibition spaces,
meeting rooms, café, and shop. All the spaces are
fully accessible within the building and open plan
wherever possible, and a large number are multi-
functional. Much of the furnishings and partitions 2
are easily movable. When walking around you can
browse books and magazines, eavesdrop on peo-
ple watching films in open plan booths, take in a
flower-arranging class, or an art exhibition. Yet all
the time you are also constantly aware of the city
Flexible Architecture: The Cultural Impact of...

around you, its different levels giving different views

as you ascend to the top floor where the roofscape
opens up to the countryside beyond.
Ito's most recently completed building is the
Matsumoto Performing Arts Centre in Matsumoto,
Nagano Prefecture, Japan completed in March
2004. Ito's design was chosen in competition
against ten other teams by a unanimous jury includ- 3
ing a client who had thought very hard about the Ito's response to this range of problems had to
building's function and siting (Ito 2004). The build- deal with two critical issues. The first is not untypical
ing's main programme is centred around two the- of many large new urban buildings; how to deal
atres with 240 and 1800 seats respectively and a with situating such a building effectively alongside
range of rehearsal spaces, studios, workshops and its neighbours whilst creating a civic presence for an
a restaurant. The large hall is a key venue for the important public function. Normally theatres have a
annual opera performances staged during the hierarchical presence on the site - front of house
Saito Kinen Festival held each summer though it with its entrance, circulation, hospitality etc. at the
open house international Vol 30, No.2, June 2005

must also accommodate a wide range of other per- street access side; back of house with its deliveries,
formances. The small hall is principally a commu- workshops, and rehearsal rooms at the rear. This
nity theatre for use by the people of Matsumoto particular site made that difficult to achieve and so
rather than professionals. The site is a difficult one, the designers situated the main theatre in the cen-
long and thin, surrounded by nondescript buildings tre of the site and the auditorium to the rear, with
and car parks, its presence on the main street the entrance and minor theatre and rehearsal
restricted to its smallest end (Fig.3). Furthermore, rooms to the front. This unusual disposition also
the high ground water in this location and the fact helped solve Ito's other main objective - to create a
that many local buildings still used individual wells building that would be adopted by its users and vis-
for water supply meant that below ground building itors and capable of adaptation and response to
would not be possible. The Centre's location is not their developing needs (Fig.4).
dissimilar to the Sendai Mediatheque, the street Entry into the Matsumoto Performing Arts Centre
being an extension of one that runs to the city cen- is into a large multi-level space, box office and
tre, but currently without buildings of significant reception to one side, with a curved wall on the
merit or public functions. other that flows beside a gently ramped stairway

62
 Robert Kronenburg
Flexible Architecture: The Cultural Impact of...
4

open house international Vol 30, No.2, June 2005

5 7
and travelater that leads to the upper floor (Fig.5).
The visitor ascends through this space in a sweep-
ing movement that gradually opens out into a lin-
ear volume that Ito has dubbed the 'theatre park'
(Fig.6). In front is the rear wall of the main audito-
rium, a large glass wall giving a view down to the
stage (Fig.7). Behind, the square box of the small
theatre protrudes into the space. Beyond this is the
restaurant that faces onto the street. The curved
wall encircles all the public spaces of the building
in an organic form that is a continuous volume that
provides access to both theatre auditoria, restau-
rant, foyer and entrance, but also creating an
6
63
 ambiguous and amorphous place in its own right.
Robert Kronenburg

On top of this space is a public roof garden onto

which the rehearsal rooms face (Fig.8).
Though the large spaces of this building are very
simple in form great care has gone into their
detailed design. The carpeted floor has been
graphically processed to indicate changes in shade
in relation to furniture and building structure. The
colour patterns in the auditoria form a shaded
matrix that visually reflects the acoustic and illumi-
nation qualities of the space. Most remarkable is
the great curved wall which consists of glass-rein-
forced-concrete panels with seven kinds of recycled 8
glass inlaid from inside to the outside surface in a
random pattern. This provides a soft natural light
diffused in a natural manner but also a unique wall
surface, smooth and continuous, that reflects its
shape and the pattern and articulated colour shad-
Flexible Architecture: The Cultural Impact of...

ing of the interior surfaces.

This building exhibits Ito's approach to allowing
the users to respond and adapt the functionality of
the architecture in a number of new and sophisti-
cated ways. He creates forms and spaces that utilise
new technology to expand the possibilities of what
the building can do but also to increase its capaci-
ty to adapt to future changes. He communicates 9
ideas about the architecture in a clear and direct
of natural lighting or full blackout for different types
manner to its occupants so that the messages can
of performance. These changeable elements
be understood by them and developed further. He
encourage the users of the building to be creative
creates a building that responds to its very specific
in finding ways to help it serve their needs.
problems in a unique way thereby creating a form
Multi-PPurpose Spaces: The building makes use
of architecture that is special to its site and pro-
of space in a multi-function way. All theatres need
gramme.
breakout space from the auditorium to allow the
There are, however, three special ways in which
open house international Vol 30, No.2, June 2005

audience to circulate from entrance to bar to per-

this particular design responds to the issue of creat-
ing a flexible architecture that have general appli- formance. The Centre's two theatres merge this
cation: space into a continuous fluid volume that express-
Changeable Elements: Spaces that are nomi- es no particular function but suggests many - extra
nally dedicated to a specific function (thereby fulfill- informal performance space, exhibition, meetings
ing the present brief for the building) are also and events. Seating, ticket and refreshment stalls,
designed to support and even encourage other cloakroom facilities are all provided with mobile
methods of use. The large theatre has a ceiling that furnishings (Fig.9). The servicing of this environment
can be lowered to give different acoustic conditions in terms of natural and artificial light allows for dif-
or a more intimate auditorium. Behind the stage ferent sorts of activities to take place. The 'theatre
there is a large area of adaptable seating to allow park' is a space where anything could happen - an
different audience perspectives or the incorporation art show, a conference, a crafts workshop, a dance,
of an on-stage choir. The back-stage area has a or a wedding.
glass wall to allow views into the auditorium from Freedom of Operation: Careful planning and
behind a performance. The small theatre has an organisation of spaces in the building design
extendible stage, removable seating, and a choice encourages greater freedom of movement for the
64
visitor and greater interaction with the user. As a REFERENCES

Robert Kronenburg
community building it is essential that local people
feel that they have access to the facility. Like the HEIDEGGER, M. 1993. Martin Heidegger, Basic Writings, ed.
Sendai Mediatheque, Ito has created a series of Krell, D. 'Building, Dwelling, Thinking' first published 1951.
interconnected spaces, a much more difficult task London: Routledge.
considering the enclosed functions of some of the
spaces required in the Matsumoto programme. ITO,T. 2004. Toyo Ito/Under Construction. Architecture and
This has been done by creating new sorts of spaces Urbanism, 2004:05, No.404, p.18.
that are genuinely valuable public areas from what
would normally be identified solely as circulation. KRONENBURG, R. 2001. Spirit of the Machine: Technology as
The 'theatre park' is the most important of these, an Inspiration in Architectural Design. London: Wiley-Academy.
connecting readily accessible functions such as the
entrance, box office, and restaurant with the the- KRONENBURG, R. 2002. 'Modern Architecture and the
atres. However, the roof garden is also important in Flexible Dwelling' in Living in Motion: Design and Architecture
this regard providing views into the rehearsal rooms for Flexible Dwelling, ed. Schwartz-Clauss, M. Weil am Rhein:
and back over the city and its surroundings. The Vitra Design.
public are also visible from the street, primarily in
the restaurant and the roof garden, communicating NITSCHKE, G. 1993. From Shinto to Ando: Studies in

Flexible Architecture: The Cultural Impact of...

to the passer-by that this is a readily accessible Architectural Anthropology in Japan. London: Academy.
building. This is a building design that encourages
people to come in and see what is happening and OLIVER, P. 1975. Shelter, Sign and Symbol. London: Barrie and
then to use it in many different ways. Jenkins.
Ito's Matsumoto Performing Arts Centre exempli-
fies many characteristics of a new viable form of RYBCZYNSKI, W. 1987. Home: A Short History of an Idea.
flexible architecture that corresponds with Open New York: Penguin.
Building principles. Though it is a building which
establishes cultural identity for the people of the city
which it serves, and thereby permanence and con-
tinuity, it has allowed, and even promoted the
opportunity for changing uses from the day it
opened. It is designed to respect the wishes and
needs of the people for whom it has been built,
both the professionals who will operate and utilise
the building and the community who will also make open house international Vol 30, No.2, June 2005
use of its facilities as audiences or performers. Its
potential for success lies in that it is designed to be
a responsive tool but one that also has its own dis-
tinctive character - the measure of its achievement
will be in the way its use develops over years to
come.

ACKNOWLEDGEMENTS

I must thank the following for assistance in making possible the

research upon which this paper is based: The Daiwa Anglo-
Japan Foundation for a grant enabling me to visit Japan in Author’s Address:
2004: Professor Vladimir Krstic, Kansas State University, for Robert Kronenburg
arranging the meeting at Toyo Ito's office. Figures 1-3, 5-9 [email protected]
©Robert Kronenburg, Figure 4 ©Toyo Ito. University of Liverpool, Great Britain
65