was born in Japan in 1962. After graduated from GSAPP, Columbia University, he researched under Prof. Kenneth Frampton as Visiting Scholar at Columbia University, received Ph.D. from Waseda University in 1993, and established Satoshi Okada architects Inc. in Tokyo in 1995. His works have been published in numerous books and magazines around the world, and has lectured at many academies around the world. In 2009, the monograph “SATOSHI OKADA” was published from Modadori Electa, Milano, with an introduction by Francesco Dal Co. He has won the grand-prix at some of the most prestigious international architecture awards; such as “Dedalo Minosse International Prize” (Assoarchitetti, Italy, 2006), “International Architecture Award” (Salon Press, Russia, 2006), and “International Architecture Award” (The Chicago Athenaeum, USA, 2007, 2008). Okada is also Associate Professor at Graduate School of Architecture, Chiba University, Japan; where he is teaching Architectural Design and Theory. Recently, his works cover foreign projects such as Warsaw Gallery of Photography (Poland) and Villa in Budapest (Hungary) for realization.
MUSEUM FOR MURANO GLASS (MfMG)
Tutors: Matteo Dario Paolucci
Murano Glass is one of the most well-known products from Italy to the world; for the reason, there are lots of tourists visiting around and shopping in the island. One can appreciate the craftsmen’s highly sophisticated technique on handling the material of glass, functions for everyday uses, as well as the aesthetics as an object itself.
Indeed, because there are many beautiful shops and galleries in the island, one can visit them and enjoy the representation of the Venetian culture; however, on the other, one could not deny it seems to be more or less based on commercialism. What is a cultural essence upon Murano Glass? How do we place Venezia itself through the Glass of Murano? And how anarchitectiral space could work with the quality of Murano Glass in corporation with “water” of Venezia?
In this studio, we will be thinking of it by proposing and designing a museum, the space of an integrated knowledge of things, for Murano Glass. The museum will contribute to promote Murano Glass, a culture of Venezia, beyond mere commercialism, but also to rediscover the identity of Venezia in the age of globalism.
In the first meeting on the first day, the studio topic will be explained, then some design teams, less than ten, will be made. After the meeting, we will make a trip to Murano Island to observe and analyze the present condition of the island and the Glass Industry, as well as trying to seek for possible sites for the museum.
On the second day, in the morning, some lecture will be given. In the afternoon, again, we will go to Murano Island to deepen each analysis and research.
On the third day, whole day, students will make presentation materials (by power-point and models) for showing and explaining each team’s analysis, idea, and image based on each proposal.
On the fourth day, each design team makes a presentation based on the third day working. Based on the discussion, each design team will confirm the direction of proposal or attempt for making schemes.
From the fifth day, we are starting to develop the project. Studio critiques will be made appropriately each day. A mid-term presentation will be planned on the 10th day. Lectures will be made appropriately.
On the last day, we will make a final presentation by each design team. We invite some architects and possibly some executives from Murano Island Glass Industry as critics.