SHIGERUBAN emergency shelter
VANESSA NAPIZA NICHOLAS LANE JULIEN AHCHING JOHNATHAN TERLATO JONATHAN TULLY
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,
shigeru ban
- a merging of architecture and social introduction justice. Ban says “even in disaster areas, AN INVESTIGATION OF SHIGERU as an architect I want to create beautiful BAN’S EMERGENCY SHELTER buildings. I want to move people and to improve people’s lives.”2
Shigeru Ban’s ability to draw together This recognition could mark a turning both his philosophy and world events point in redefining the role and has made profound contributions to the responsibility of the profession, in the architectural profession. Ban represents way that architects serve society. Ban an interesting model for architects. He has found a way to harness his talent holds a strong ethical position within to make lives better for all people by the profession not often pursued by simultaneously engaging in a private many architects yet is bestowed with the architectural practice as well as disaster highest honour. The Pritzker Prize has relief projects. a longstanding tendency to recognise glamorous design types with an aura Ban proves that innovative architecture of celebrity status.1 However, Ban and temporary shelter are not mutually 3 was awarded for his contributions to exclusive concepts despite changing humanity as well as design excellence contextual issues, constraints and
1 R. Pogrebin, ‘Pritzker Architecture Prize goes to Shigeru Ban’, The New York Times, 24 March 2014, para. 9, < http://www.nytimes. com/2014/03/25/arts/design/pritzker-architecture-prize-goes-to-shigeru-ban.html?_r=0>, accessed 8 September 2014. 2 S. Ban, Shigeru Ban, Laurence King, London, 2001.
Image: Shigeru Ban “The Paper Architect”, Research Project, 2012,
EMERGENCY SHELTER / 3 conditions. There is a place for the can be looked at in total numbers profession to play a critical role in produced and refugees sheltered, but post-disaster recovery to restore the the success of Ban’s work is the design physical and social fabric of post- and application to the context, using disaster communities.4 The multi- community labour and locally available faceted nature of post-disaster materials to set a foundation to which work engages in a different set of can be developed and knowledge parameters to traditional architectural transferred to locals to further respond practice, operating on a case-by-case to situations in the future, creating basis that is largely informed by 1) community resilience in times of dire contextual understanding, 2) community need. participation and 3) local resources.5 The ‘mega’ aspect of his paper tube shelters The uniqueness of Ban’s work can be is that he has developed one appropriate simplified by the material that gives architectural expression with strong him his status, the paper tube, and adaptive capacity for many different even though he has responded to many situations. It is ‘trans-national’ in that it disaster situations with these paper tube has been adopted across many national solutions, there is critique that Ban is boundaries yet has the ability to retain self-promoting his own architectural cultural meaning. brand and building material through their constant use. The argument sides Ban’s temporary shelters bring into that these paper tubes are not found question the mark of success of locally and have to be produced through emergency housing in disaster situations. machinery, instead of sourcing available The varying conditions that each disaster materials near the site of the particular produces results in a response that is disaster. customised to its environment and serves the need of the people affected, but Ban works with paper tubes as they are does it solve the problem, or is it a band- recyclable and can be disassembled and aid over the situation? relocated, but more importantly as a part of the humanitarian aid offered by Ban’s In Rwanda where Ban devised the paper response, paper tube manufacturing tube emergency shelters, two-million staff from different parts of the world Rwandans were left homeless after can teach locals how to operate and the civil war, but only 50 shelters were produce these tubes. This trans-national constructed; this is a significant shortfall effort shows Shigeru Ban working with to what was required, and certainly has aid volunteers throughout the world to not accommodated all in need. What devise solutions for these mega-projects Ban did, however, was set up a practice of humanitarian sensitivity, opening of construction that local volunteers potential possibilities for other architects could replicate and produce shelters. 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, < http://www.abc.net.au/radionational/programs/latenightlive/the-rise-of-humanitarian-architec- ture/5696600>, accessed 8 September 2014. 4 M.J. Aquilino, Beyond Shelter: Architecture and human dignity, Metropolis Books, New York, 2010, p. 8. 5 D. Felix, JM Branco & A Feio, ‘Temporary housing after disasters: A state of the art survey’, Habitat International, vol. 40, 2013, p. 139.
4 / SHIGERU BAN paper refugee shelter, rwanda
find new relevance in radically different mode of global practice circumstances.2 The recognition and RELEVANCE OF ARCHITECTS public attention Ban has gained with IN POST-DISASTER RELIEF AND the Pritzker Prize award could be an SHIGERU BAN’S MODE OF important factor in shaping the character GLOBAL PRACTICE of the profession in the way in which architects serve society. Ban represents a unique model for architects in that he BY VANESSA NAPIZA demonstrates a strong desire to create beautiful buildings and improve people’s With the increasing prevalence of lives, even in disaster. natural disasters and civil war, Shigeru Ban’s commitment to developing a There has been a haunting absence coherent response to emergency shelter of strategic spatial problem solving is ever more important. Humanitarian and design led solutions for long-term architecture has long been marginalised recovery in devastated communities. as an ‘alternative’ field of work in many In the past, architects’ role in aid and current models of architectural practice development have largely been logistical and education.1 There is strong argument and technical as opposed to design for the need of architects to evolve and thinking.3 Therefore, the capacity of
1 E. Charlesworth, Humanitarian Architecture: 15 Stories of Architects Working After Disaster, Routledge, New York, 2014, p. 1. 2 D. Sanderson, 'Architects are often the last people needed in disaster reconstruction', The Guardian, 3 March 2010, para. 7,
Image: Shigeru Ban Architects, Paper Refugee Shelters for Rwanda, Byumba Refugee Camp, Rwanda, Pritzker Prize, 1999,
EMERGENCY SHELTER / 5 architects to contribute to challenges municipal government to commence of physical and social reconstruction building. Altogether, two hundred following a disaster has yet to be fully people from all over Japan gathered to realised. Ban’s role goes beyond the volunteer in Onagawa. Ban noticed other traditional sense of an architect, so as temporary housing units were often to include being a facilitator, community crowded with furniture so with the help educator, and social reformer.4 Literature of Voluntary Architects’ Network (VAN) suggests that there is a critical role for and donation funds, volunteers installed the profession in a collaborative process built-in closet and shelves. to rebuild local culture, environment and economy of damaged communities. Ban engages local partners (architects and engineers) to perform a role Disaster relief projects operate on a case- in decision making and the design by-case basis largely dictated by rapidly management process.7 He recognises changing contextual issues, constraints that community participation guarantees and conditions.5 The provision, design solutions sensitive to local needs, and construction of temporary dwellings expectations and local living standards.8 are to be weighed against its context – Utilising the potential of the local the nature of the disaster, socio-cultural, community also helps recover a strong economic and ecological conditions, community spirit, sense of pride and disaster recovery funds, characteristics well-being that is very important in post- of the disaster affected community, and disaster situations.9 It also instills the time constraints for the recovery and adaptive capacity in survivors to facilitate reconstruction process.6 ongoing community resilence. Ban needs to ensure the ease of assembly by Contrary to traditional architectural non-skilled as many are local volunteers, practice, Ban works with various students and residents. A limitation to stakeholders, donors and communities this community led approach is that it on projects that require strategic only achieves a small number of units in solutions to vastly different comparison to government capacity to circumstances. As in the Onagawa deploy large quantities of units through case study, Ban learned of the mayor’s substantial funding and preparedness.10 difficulty to provide temporary shelter As in Rwanda, having only produced fifty after the earthquake and tsunami due to homes where there were two million lack of flat land. He presented a proposal refugees. It has been suggested that to the municipal government for multi- it would take a collaborative effort for storey units using shipping containers architect-designed shelters to achieve and soon received comission from the traction with official aid organisations.11
3 Charlesworth., p. 4. 4 Ibid., p. 7. 5 D. Felix, J.M. Branco & A. Feio, ‘Temporary housing after disasters: A state of the art survey’, Habitat International, vol. 40, 2013, p. 139. 6 H.A. Abulnour, ‘The post-disaster temporary dwelling: Fundamentals of provision, design and construction’, HBRC Journal, vol. 10, no. 1, 2014, p. 14. 7 Ibid., p. 13. 8 Felix,Branco & Feio, ‘Temporary housing after disasters: A state of the art survey’, Habitat International, vol. 40, 2013, p. 140. 9 Ibid., p. 139. 10 Abulnour, loc. cit. 11 D. Neustein, 'A paper-thin humanitarian ethos', Australian Design Review, 6 April 2011, para. 7,
6 / SHIGERU BAN 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 is a place for the profession to annotated bibliography play a critical role in the sector H.A. Abulnour, ‘The post-disaster towards safe, long-term and temporary dwelling: Fundamentals locally appropriate solutions. This of provision, design and collection of stories is a call to construction’, HBRC Journal, vol. action, for architects to find new 10, no. 1, 2014, pp. 10-24. relevance and challenge the role This is a discussion on the practical and responsibility of the profession. application of processes in post- It offers some solutions as to how disaster situations. Abulnour built environment professionals suggests that emergency shelter could engage with this dialogue operates on a case-by-case basis and profiles a diverse collection and is largely dictated by rapidly of projects within this realm. changing contextual issues, Beyond Shelter explores the same constraints and conditions. questions Ban holds about the This research proves to be architectural profession serving incredibly helpful in grasping the society. Ban is a living example of foundations to provisions, design a design professional that offers and construction of post-disaster problem solving solutions to aid temporary dwellings; particularly organisations to which Aquilino for someone who is unfamiliar. It states is largely missing. breaks down the complexities of post-disaster recovery into a highly E. Charlesworth, Humanitarian comprehensive well-structured Architecture: 15 Stories of paper. It provides a good basis for Architects Working After Disaster, understanding general concepts Routledge, New York, 2014. of this sector that differentiates Similar to Beyond Shelter, it from traditional architectural Charlesworth questions why there practice. It offers a broad snapshot is a strong absence of design of strategies that take place in professionals in post-disaster the field, weighing the success recovery and tries to unearth and failures of these strategies a proliferating movement in through various case studies. It architecture. This suggests that offers a better understanding of contributions the architectural the multi-faceted nature of Ban’s profession could make towards process, engagement with different actively rebuilding post-disaster stakeholders and reasons for communities has yet to be fully adopting chosen strategies. realised. Charlesworth presents the architect’s role in the post-disaster M.J. Aquilino, Beyond Shelter: arena as also being somewhat of Architecture and human dignity, a social reformer, facilitator and Metropolis Books, New York, 2010 community educator. As a whole, Aquilino states that there is a the book presents an honest haunting absence of architects in representation of the current state post-disaster recovery leaving towns of architects within the sector and villages with no coherent by way of interview transcripts response. She argues that there with fifteen practitioners working
8 / SHIGERU BAN directly in the field - many of which A state of the art survey’, Habitat discuss the good, bad and the ugly. International, vol. 40, 2013, pp. Such as past failures in approach 136-141. and instances where architects were A concise paper that discusses more of a hindrence during the how housing reconstruction plays reconstruction phase. An incredibly a decisive role in disaster recovery insightful and reliable resource of with regards to the physical and attitudes towards issues that arise social fabric of post-disaster from the infancy of ‘humanitarian communities. Temporary housing architecture.’ is a crucial step in that it helps restore a sense of normalcy. This E. Farrelly, ‘Victims need art like a hole paper explores the social affects in the head’, The Sydney Morning of losing shelter - changes in Herald, 22 September 2011, family life, comfort, protection and
EMERGENCY SHELTER / 9 work is in proving paper’s viability in rebuilding New Orleans. This or in helping people. Neustein project gained much public puts forward a very interesting attention and was largely criticised point in that Ban’s efforts have not for alien architecture. Interestingly, moved beyond prototype stage, Ban expressed, in Charlesworth’s having only constructed 50 to book, an air of dissatisfaction in the serve 2 million refugees. Also, he media attention that followed. questions the appropriateness of paper tubes as a universal solution D. Sanderson, ‘Architects are often to materiality. Particularly with lack the last people needed in of manufacturing facilities in more disaster reconstruction’, The disadvantaged countries. Neustein Guardian, 3 March 2010, exhibits a strong understanding
10 / SHIGERU BAN container temporary housing, onagawa, japan
for society’ they are simply visualizing a lifestyle engendered privileged peoples power and money USE OF BUILDING AND USE through an architectural medium.1 OF BUILT ENVIRONMENT, When examining Ban’s humanitarian WORKERS’ CONDITIONS, architecture, he developed diverse WORKERS’ HOUSING, LIFESTYLE approaches to suit emergency, temporary ENGENDERED BY THE BUILDING and semi-permanent living that were successfully implemented throughout the disaster-stricken world. Analysing specific BY NICHOLAS LANE examples of Ban’s assistance, the lifestyle engendered by the building and the use The influential architect Shigeru Ban of built environment will be discussed to has revolutionised the idea of disaster reiterate Jay Pritzker’s famous remarks relief through his commitment to ‘Shigeru has made our world a better humanitarian architecture and the place’.2 implementation of paper construction. By describing his architectural works for In terms of disasters, the lifestyles of the government, Ban rationalizes his occupants affected can’t simply be more important work for disaster relief, transformed with temporary shelters arguing that architects are not ‘working just as their memories of the particular
1 Emergency Shelters Made from Paper – Shigeru Ban, TED, TEDxTokyo, May 2013, http://www.ted.com/talks/shigeru_ban_emergency_ shelters_made_from_paper, accessed 30/08/14. 2 S. Phelan, Architecture in Extremis, Boston review, Vol. 39 Issue 4, p48, Humanities source, 2014.
Image: H. Hirai, Container Temporary Housing, Onagawa, Miyagi, Japan, Pritzker Prize, 2011,
EMERGENCY SHELTER / 11 circumstance can’t be forgotten. containers and paper tubes, the people However, the necessity of a shelter were able to emulate their previous can function as a temporary coping lives with fundamental daily routines, mechanism for the occupants in distress, consequentially expressing a desire to serving as the basic right for human live there for longer than the established beings.3 Shigeru Ban exemplifies his two-year term.8 Shigeru Ban regarded it emergency architecture and temporary highly important ‘psychologically, after housing through Japan, Turkey, India all the mental damage of the disaster, and Rwanda, explaining the spiritual that people should see something consequences associated in building beautiful.’9 and living within shelters that aren’t simply ready-made accommodations.4 When confronted with the use of built The use of paper tubes meant that environment, Shigeru Ban’s humanitarian they could be easily manufactured on architecture can be recognized as site, affordable, recyclable and sturdier environmentally friendly, in particular, his than usual flimsy tents.5 However, the response to the Rwandan refugee camps. philosophical merit of labor can be This was when serious deforestation witnessed by those affected, instilling a threatened the area to supply wooden personal level of gratitude and over time, poles for plastic sheet supports.10 potentially remaining in the minds of However, Ban proposed using paper those affected.6 For the people who lived tubes that could be manufactured on in rundown tents or plywood huts after site, thus reducing transportation, time, the earthquake, Ban’s Paper Log houses expense and waste11 while minimizing were an extreme improvement as they the threat of theft or reselling of the had appropriate insulated properties, materials.12 By originally creating and attractive aesthetics. The resident’s architecture to house people, Ban proved appreciation was illustrated through what a viable building material paper careful maintenance.7 was, comparing it to steel or concrete.13
Architecture is a mechanism to benefit Ban, along with his students from and perhaps improve the human his NGO, the Voluntary Architects’ condition. Ban’s Onagawa Container Network, would assist with building housing gave the occupants a sense the shelters out of paper tubes and of place, demonstrating overwhelming plastic beer bottle crates. However satisfaction after the Japanese they would always collaborate with earthquake. By building structures the local architects who had a proper for children’s art classes, community understanding of the regulations centre’s and markets out of shipping and climate that could facilitate
3 Ibid. p. 49. 4 M. McQuaid, Shigeru Ban, Phadion Press London, 2003, pg. 28-41. 5 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, 0003858X, Vol. 200, Issue 3, 2012, Academic Search Complete. 9 S. Phelan, Architecture in Extremis, Boston review, Vol. 39 Issue 4, p49, Humanities source, 2014. 10 R. N. Pollock, Ban-Aid, Architectural Record, 0003858X, Vol. 196, Issue 10, 2008, Avery Index to Architectural Periodicals. 11 M. McQuaid, Shigeru Ban, Phadion Press London, 2003, pg. 28-41. 12 P. Jodidio, Shigeru Ban: Complete Works 1985 - 2010, Taschen, Italy, 2010. 13 D. Neustein, A paper-thin humanitarian ethos, Australian Design Review, April 6 2011.
12 / SHIGERU BAN 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.15
14 Pollock op. cit. 15 Phelan op. cit.
EMERGENCY SHELTER / 13 the best people for sheltering annotated bibliography ‘distraught humanity’ and if there Anon. Container Housing, Architectural are ulterior motives involved. Record, 0003858X, Vol. 200, Issue 3, 2012, Academic Search P. J o d i d i o , Shigeru Ban: Complete Works Complete. 1985 - 2010, Taschen, Italy, 2010. The ‘Container Housing’ in In this book, Phillip Jodidio has Onagawa is reviewed in terms gathered Shigeru Ban’s complete of Shigeru Ban’s successful architectural work from 1985 to implementation of comfortable 2010. The relevant information living standards for its tormented to emergency architecture was occupants. By building with established through his Paper Log shipping containers, communal Houses in Turkey, India and Japan living was created in a short where alternative methods of time frame for those affected construction were used. However by the Earthquake. This brief a much more temporary and journal provides sufficient emergency style architectural information about the erection system was implemented by Ban of container housing and the within Rwanda’s refugee camps. positive resettlement surrounding The main limitation of this book is the occupants. However, the that the vast amounts of completed information doesn’t go into works have compromised the enough detail to draw a thorough amount of relevant information conclusion from. surrounding emergency architecture. This has therefore E. Farrelly, Victims need art like a hole in created a pragmatic analysis of the head, Sydney Morning Herald, Ban’s humanitarian architectural Sep 22 2011. response to disaster relief. Farrelly writes a very controversial opinion piece in the Sydney R. N. Pollock, Ban-Aid, Architectural morning Herald about some Record, 0003858X, Vol. 196, ineffective responses to Issue 10, 2008, Avery Index to architectural aid. Specifically, Architectural Periodicals. Shigeru Ban is mentioned in a In an interview, Shigeru Ban cynical approach to undermine discusses humanitarian architecture his disaster relief. Farrelly writes and what motivates him to assist in that ‘nothing succeeds like a disaster relief. The interview covers gimmick’, accentuating that what disaster work he chooses and paper construction in certain how the relationship with a relief circumstances may be ‘sometimes client can be directly related to entirely inappropriate’. This is that of a commercial client. Ban’s definitely an article that can be architectural philosophy is briefly heavily scrutinized, however it is emphasized when he refers to the important to see both sides of the architectural practice as one in spectrum. Therefore this article which serves only the privileged. stimulates discussion of whether The highly informative interview or not these iconic architects are provides the reasoning for paper
14 / SHIGERU BAN construction within disaster relief environment, workers conditions, while establishing the importance workers’ housing and lifestyle of collaborating with local builders engendered by the building. and architects to ensure successful completion. This interview is very D. Neustein, A paper-thin humanitarian helpful to draw information from. ethos, Australian Design Review, April 6 2011, http://www. M. McQuaid, Shigeru Ban, Phadion Press australiandesignreview.com/ London, 2003, pg. 28-41. opinion/2038-a-paper-thin- McQuaid’s book ‘Shigeru Ban’ is humanitarian-ethos an improved and more thorough David Neustein introduces Shigeru evaluation then that of Jodido’s Ban as a man who aids in disaster ‘complete works 1985-2010’. It relief. However he assesses how doesn’t provide the full scope of successful these projects have been Ban’s architectural career the same in terms of the large-scale effects way Jodido’s does, but informs the of natural disasters. In a persuasive reader of Ban’s more important and article, Neustein questions ‘How influential designs. In particular his much of this work is humanitarian, emergency architecture is explored and how much of it self- with highly detailed drawings and a promotional?’ By contrasting Ban systematic process of construction. with other humanitarian architects Therefore, this book is extremely in the world, it does appear that helpful for the understanding of Ban ‘discredits the enterprising Shigeru Ban’s response to disaster work done by his contemporaries’ relief. by failing to recognize their admirable work. This article also A. C. Miranda, Paper Tiger, Architect questions if the paper materials (Washington, D.C), Vol. 103, are easily recyclable and the most Issue 4, p19, 2014, Avery Index to necessary for specific jobs. Architectural Periodicals. Miranda and Carolina’s Journal Anon. Paper Log Houses, Architecture, ‘Paper Tiger’ is a short biography pg 107, 1996, Academic OneFile of Shigeru Ban in terms of what
EMERGENCY SHELTER / 15 information provided. perspective and not from an outside academic. We are confronted S. Phelan, Architecture in Extremis, with Ban’s motives and humorous Boston review, Vol. 39 Issue 4, p48- reasoning at a personal level, 51, Humanities source, 2014. which makes for informative and Stephen Phelan’s article examines thorough analysis of emergency the awarding of the Pritzker prize architecture. 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.
Emergency Shelters Made from Paper – Shigeru Ban, TED, TEDxTokyo, May 2013, http://www.ted.com/talks/ 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 container temporary housing, onagawa, japan
ideas. The severity of these situations the ban philosophy is defined by the extremes of disaster APPROACH TO PROJECT AND for example civil war in the Rwandan DESIGN STRATEGIES genocides and natural disasters in Japan.
BY JULIEN AHCHING His architectural language derives from the use of paper tubing – a material he first experimented with in 1986, Shigeru Ban’s philosophy to architecture ‘before people began talking about is arguably very primitive in the sense ecological and environmental issues’2. that it ‘depends not on the quality of The humble character of the cardboard materials but the quality of the space material is undoubtedly a statement of that is created by volume, light and intention of Ban’s work. He is interested shadow.’1 in two things – producing architecture that helps people and demonstrating Shigeru Ban is notably acclaimed for his that paper can be a feasible building attempts to respond to difficult disaster material like steel or concrete’3. It situations with simplistic and economical suggests his approach to be simplistic
1 A. Barrie, ‘Christchurch Transitional (Cardboard) Cathedral’, Architecture New Zealand, no. 3, May 2013, p. 34,
Image: H. Hirai, Container Temporary Housing, Onagawa, Miyagi, Japan, Pritzker Prize, 2011,
EMERGENCY SHELTER / 17 and economical, two requirements It is important to understand that his needed to respond to the complexity of design philosophy doesn’t revolve issues in post-disaster situations. These around paper tubing, but it revolves two requirements become considerably around economic simplicity and paper important when understanding Ban’s tubing fits these criteria perfectly. design philosophy. Other materials have fit these criteria of economic simplicity for example the Unlike most typical architects, one of Onagawa Container Housing project. the underlying notions of his philosophy is that he does not directly focus on His solutions to the natural catastrophes form4. He believes the unique language of Onagawa in 2011, saw the use of of his work naturally emerges from the shipping containers making up multi- weaknesses and limitations of using storey units for survivors. The economic paper. 5 An important consideration to simplicity of this solution addresses the factor into his design philosophy is his issues of affordability and availability of enthusiasm for technical challenges to temporary housing but also the issues develop his previous ideas further each of limited space available and desire to time. However the important thing to make room for community7. 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.
4 Barrie, op. cit., p. 35 5 Ibid. 6 D. Nuestein, ‘A paper-thin humanitarian ethos’, Australian Design Review, Opinion, 6 April 2011,
18 / SHIGERU BAN L.C. Bank, & S.J. Preston, ‘Portals to an annotated bibliography Architecture: Design of a temporary A. Barrie, ‘Christchurch Transitional structure with paper tube arches’, (Cardboard) Cathedral’, Construction and Building Architecture New Zealand, no. 3, Materials, vol. 30, 2012, pp. 657- May 2013,
EMERGENCY SHELTER / 19 Ebook Library [online database], each of the social contexts in accessed 20 August 2014. each site. Furthermore, McQuaid This article provides a background writes about the construction understanding of the context process of the shelters in Rwanda, of Onagawa following the which was extremely important earthquakes on March 11, 2011. It in understanding the simplicity of discusses essential site conditions its assemblage. Following this it that had to be considered for helped me further my knowledge Shigeru Ban’s Container Housing of this idea of simplicity being solution. The article mainly focuses a major factor in responding to on the assemblage and logistics these complex situations. Although of the project and parameters she did not discuss the design such as size of apartments and philosophy in great detail, McQuaid functions. However it does examines the chronological process identify few critical responses of of phases that his projects have the post-disaster situation that gone under to become the mega pertain to Ban’s philosophy and project that it is today. approach to architecture. The article was essential in discussing D. Nuestein, ‘A paper-thin humanitarian the importance of Ban’s approach ethos’, Australian Design Review, to economic design, as the project Opinion, 6 April 2011,
20 / SHIGERU BAN 2014. privileged. It was essential in Stephen Phelen’s Architecture discussing how his philosophy has in Extremis is an interesting remained the same but has been read about the awarding of the further refined by these emergency Pritzker prize to Shigeru Ban. projects, rendering it an ongoing Phelan analyses how Ban won megaproject as it is continuously the Pritzker Prize and that the developing. It provided a deep beauty of his works resides in the understanding of his solutions to humble character of the materials the disappointments that architects used. This symbiotic quality comes historically and presently work from Ban’s idea that beauty primarily for the privileged and is part of the mental healing not society. Moreover he then process. Understanding this idea outlines the idea that natural was essential in discussing the disasters do not kill the people, it importance of Ban’s involvement is the buildings that do. This was as an architect in post-disaster important was discussing his desire situations. to work in disaster relief and how this has influenced and continues N.R. Pollock, ‘Ban-Aid’, Architectural to influence his architectural Record, vol. 196, no. 10, Art Source language. [online database], accessed 28 August 2014. M. McQuaid, Shigeru Ban, Phaidon Press, Shigeru Ban explains the London, 2003. importance of his involvement This book examines several of in post-disaster situations in an Shigeru Ban’s projects and explores interview. The interview explores each of the social contexts in the decision making process behind each site. Furthermore, McQuaid Ban, understanding how and why writes about the construction he chooses specific disasters to process of the shelters in Rwanda, work on. which was extremely important in understanding the simplicity of Shigeru Ban: Emergency shelters made its assemblage. Following this it from paper [video], TEDxTokyo, May helped me further my knowledge 2013,
EMERGENCY SHELTER / 21 22 / SHIGERU BAN paper log house, kobe, japan
Bhuj, India (2001) to house those influence of morphology who lost their homes during massive INFLUENCES OF SITE earthquakes in each region respectively1. AND CONTEXT ON THE The Onagawa Container Temporary MORPHOLOGY OF SHIGERU Housing project was undertaken to BAN’S EMERGENCY house those who had lost their homes ARCHITECTURE in the earthquake and tsunami that hit Japan in 2011. Shigeru Ban works on both commission and humanitarian BY JOHNATHAN TERLATO architecture however he approaches these projects the same way and works The siting and context of Shigeru on them equally. Ban’s emergency architecture is always based in the areas effected by disaster. “There is no difference working for The Paper Emergency Shelters for the normal building commission or disaster UNHCR where sited in the Byumba relief projects I do as a pro bono. The Refugee Camp in Rwanda between only difference is whether I’m paid the 1995 and 1996 during the aftermath fee or not, so for me it is the same.”2 of the Rwandan genocide. The Paper- Log Houses where sited in Kobe, Japan The morphology and scale of each of (1995), Kaynasil, Turkey (1999), and Ban’s emergency architecture projects
1 M. McQuaid, Shigeru Ban, Phadion Press London, 2003, pg. 36. 2 AD Interview: Shigeru Ban, ArchDaily, 25th of March 2014, https://www.youtube.com/watch?v=vi5gHU4ckm4, accessed 30/08/14.
Image: T. Sakuma, Paper Log House, Kobe, Japan, Pritzker Prize, 1995,
EMERGENCY SHELTER / 23 changes based upon the siting, context this instance his temporary housing and availability of materials in each structures take on an entirely new disaster area he works within. The scale morphology. This was mainly due to the and morphology of the Paper Emergency topographic context in the Onagawa Shelters for the UNHCR for example disaster area. There were not enough flat determined by a number of factors. open spaces for Ban to construct single Firstly, Rwandan refugees began cutting story paper structures as he had done in down trees to build their own temporary Rwanda, Kobe and Bhuj, so he decided shelters causing deforestation became to use shipping containers as the basic a serious problem, so Ban proposed the element for two to three story housing use of recycled paper tubes to eliminate blocks for around 190 families.5 this and also because they were cheap, reducing the risk that they would be sold Different locations and disasters will or stolen by other desperate refugees.3 always require a different or altered Their scale was also determined by the morphological and scalar responses size of plastic sheet (4x6 –meter) that in terms of emergency architecture. was supplied to the refugees by the Shigeru Ban’s architectural responses UNHCR. to disasters are always firmly planted within the siting and context of the The morphological changes to the areas affected. Ban does not follow a Paper-log Houses between its iterations generic and repeatable template for in Kobe, Japan and Bhuj, India are vast emergency architecture as the siting and and are based upon the availability of topographical contexts as well as the materials. In Kobe, Japan, the Paper-Log availability of materials in the areas in Houses had a foundation of beer crates, which he works do not allow for one. 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
Shigeru Ban’s Onagawa Container Temporary Housing project differs from his other disaster relief projects as in
3 McQuaid, op. cit. pg. 32 4 A. Hiremath, K. Shodhan, Disaster Relief: Ahmadabad, Perspecta. Vol. 34 2003, MIT Press, pg. 150-153, 156-157, 160-161. 5 C. Hildner, Future Living: Collective Housing in Japan, De Gruyter, Basel, Nov 20 2013.
24 / SHIGERU BAN A. Hiremath, K. Shodhan, Disaster Relief: annotated bibliography Ahmadabad, Perspecta. Vol. 34 M. McQuaid, Shigeru Ban, Phadion Press 2003, MIT Press, pg. 150-153, 156- London, 2003, pg. 28-41, 74-87 157, 160-161. Matilda McQuaid describes many This article is a correspondence of Shigeru Ban’s projects in great between Ameer Hiremath, the detail, the most relevant of which co-editor of Perspecta, The Yale being the Paper Emergency Shelters Architectural Journal, and Kartikeya for the UNHCR and the Paper Log Shodhan, the local architect Houses. McQuaid provides many working with Shigeru Ban on the useful details about these projects Paper Log Houses in India. This is including assembly diagrams and especially useful because it is a first technical drawings as well as results had account of the progression from the material laboratory testing of the project, difficulties and of the paper tubes. solutions to problems.
S. Ban, A. Barrie, Christchurch J. F. Audefroy, Post-disaster emergency transitional (Cardboard) and reconstruction experiences Cathedral: Shigeru Ban’s design in Asia and Latin America: an for the ‘Cardboard’ Cathedral assessment, Development in bases itself on a system of Practice. Vol. 20 No. 6, August proportions derived from the 2010, pg. 664-677. original Christchurch Cathedral, Audefroy dissects a number of Architecture New Zealand, 2013 post-disaster housing examples in May-June, n.3, p.30-36. Asia and Latin America in order While not directly related to the to evaluate what makes for good three projects focused on, this practice in post-disaster emergency interview of Shigeru Ban given housing and reconstruction. The by Andrew Barrie provides some Paper Log Houses constructed by helpful insights into Ban’s approach Shigeru Ban Architects in Kobe, to providing temporary and Japan after an earthquake in 1995 emergency architecture in disaster is analysed and quantified in terms zones. of cost and size.
S. Ban, K. Shodhan, Paper-Tube Housing, C. Hildner, Future Living: Collective Perspecta. Vol. 34 2003, MIT Press, Housing in Japan, De Gruyter, pg. 54, 56, 58-59. Basel, Nov 20 2013. This article does not contain any This article focuses on the Onagawa written text but provides drawings Container Temporary Housing by and sketches of how the design Shigeru Ban Architects. This project of the Paper Log Houses where differs from the majority of Ban’s adapted for use in Bhuj, India emergency architecture because it after a massive earthquake. It also using shipping containers instead of contains photographs at various paper tubes. This particular source stages of construction of the Paper is useful as it provides information Log Houses in India. on the siting and morphology of the housing as well as technical
EMERGENCY SHELTER / 25 drawings.
P. J o d i d i o , Shigeru Ban: Complete Works 1985 - 2010, Taschen, Italy, 2010. Jodidio’s book documents the complete works of Shigeru Ban from 1985-2010 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, http://www.ted.com/talks/ 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, 25th of March 2014, https://www.youtube.com/ 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 paper refugee shelter, rwanda
solution to an urgent problem that emergency procedure suited the unique location. METHOD OF CONSTRUCTION, TIME FRAME AND WHO’S In the spring of 1995 Ban became INVOLVED involved with the United Nations High Commission for Refugees (UNHCR) and began testing possible materials that BY JONATHAN TULLY would effectively suit the conditions; with paper tubes the clear winner over The civil war in Rwanda left over two bamboo, aluminium or plastic. This million refugees homeless, and whilst began the first phase of the construction the efforts of the UN to provide basic period, with three prototypes initiated shelter led to the materials being sold to investigate a suitable construction and rampant deforestation from the method of shelters. A Swiss furniture surrounding trees being cut down, manufacturer was utilized for testing Shigeru Ban’s paper-tube emergency of their durability, cost and termite- shelter utilized the standard 4x6-metre resistance, before the preferred plastic sheets provided, and initiated a prototype was presented to the UNHCR solution that limited these problems. at the United Nations headquarters in Introducing a method to be produced Geneva in July 1996. The use of local on site, the outcome was a reduction resources throughout the world enabled in transportation, time, expense and an efficient process; reducing production potential waste; allowing for an effective costs and time.
Image: Shigeru Ban Architects, Paper Refugee Shelters for Rwanda, Byumba Refugee Camp, Rwanda, Pritzker Prize, 1999,
EMERGENCY SHELTER / 27 On-site production proceeded in between the tubes. Utilizing a ridge- February 1997 and commenced the beam construction, the ceiling and roof second phase of the process. Specialists were made of a PVC tent membrane from a paper-tube manufacturer were that allowed the house to ventilate and sent with machinery and raw materials address the climate of the area. Beer to the logistics base in Bordeaux, crates weighed down with sandbags France, where they trained Medecins formed the plinth of the house with sans Frontieres (MSF) staff to operate plywood sheets laid over horizontal the manufacturing process. This tubes. demonstrated the ease of producing large quantities of tubes on-site in an The method of construction meant emergency situation, enabling external that local unskilled volunteers could be volunteers to work within the affected utilized for construction labour to erect area of Rwanda, and by 1999 fifty these houses without prior knowledge. shelters were under construction and monitored as part of the final phase of The success of emergency shelters is this construction period. dependent on locally sourced materials and ease of construction, instead of The period of construction and source sending the material, if it is possible to of labour involved many foreign find it on location without shipping, that organisations uniting on a solitary is the best way to make it economical2. objective to solve an emergency crisis, Ban formulated a way to provide shelters the humanitarian effort of a global in all parts of the world through the practice is shown to be the element of use international standard size shipping success when handling a reconstruction containers and their ability to be rented project of this sensitivity. throughout the world.
In January 1995 an earthquake tore The earthquake and tsunami that struck apart Kobe, Japan, resulting in a need Onagawa, Japan on March 11, 2011, for shelters within proximity of refugees’ created a need for temporary housing, work and school. The criterion was but the area was hindered by lack of defined by Ban to be a cheap structure flat land, rendering previous paper-tube that could be built by anyone1 meaning shelters incompatible. Ban’s solution was inexpensive materials and simple to stack shipping containers of varying construction method, but also had to floor plans in a checkerboard pattern, be satisfactorily insulated and visually utilizing light and spaces between appealing. to create temporary replacement apartments for 190 families. The three Ban developed the Paper Log House that plans consisted of floor areas of 19.8m2, were built by teams of ten volunteers, 29.7m2 and 39.6m2 accommodating including a construction leader, and families of one-to-two, three-to-four, consisted of a 16-square-metre floor and above four, respectively. area with walls formed from paper tubes 108mm in diameter and 4mm thick, water-proofed with self-adhesive taped
1 P. Jodido, Shigeru Ban: Complete Works 1985 – 2010, Taschen, Italy, 2010, p. 169. 2 P. Jodido, Shigeru Ban: Complete Works 1985 – 2010, Taschen, Italy, 2010, p. 12.
28 / SHIGERU BAN structures. Ban explains his intent annotated bibliography that a temporary structure can be S. Ban, N. Pollock, ‘Ban-aid: The permanent as long as quality of Japanese legend discusses architect’ space is created, this statement duty to do good’, Architectural can be taken as insight into Ban’s Record, vol. 196, no. 10, 2008, pp. work in the temporary shelters of 90-93, retrieved 28.08.2014, Avery Rwanda and the Paper Log House. Index to Architectural Periodicals. This interview with Ban does This interview with Shigeru Ban provide an interesting exchange delivers on his disaster work, briefly on the topic of funding for post- informing of the shelters provided disaster projects that outlines the and how they respond to each difficulties faced when approaching situation. The interview discusses relief aid, this answer exhibits Ban’s the reason behind Ban’s choice humanitarian nature and further into emergency shelter and how he explains that his work is for the choses which situations to respond, people no matter what. Despite his response that he tends to prefer the article not being related to the disasters that are not government selected works, this insight into the funded gives an insight into the challenges that Ban must face is humanitarian work of Ban, and worth a closer consideration. although this does not directly relate to the topic of the research, C. Calamaio, ‘ Shigeru Ban wins 2014 it does help to inform the decisions Pritzker Architecture Prize: award behind the empirical data. The honours Ban’s career including interview between Ban and Pollock humanitarian design work’ covers all topics of relevance to Contract, vol. 55, no. 3, pp. 26, trans-national and megaprojects, retrieved 28.08.2014, Academic but the information lacks depth in OneFile. the response to be of significant This resource is limited in contribution to the assignment. information but does associate the prestigious Pritzker Prize award S. Ban, A. Barrie, ‘Christchurch to Ban’s disaster relief work and Transitional (Cardboard) Cathedral: provides a useful quote from Shigeru Ban’s design for the Ban that he sees this award as ‘Cardboard’ Cathedral bases itself encouragement to keep doing his on a system of proportions derived humanitarian work. Instead of an from the original Christchurch in-depth analysis of Ban’s work Cathedral’, Architecture New into the reason for his award, this Zealand, vol. 2013 May-June, no. short statement gives an insight 3, pp. 30-36, retrieved 28.08.2014, into Ban’s ideology towards what Avery Index to Architectural he does, which explains in greater Periodicals. detail to the reason in to Ban’s Although this resource is about honour. In relation to the assigned an example of Ban’s work that is research, this article offers little not focused on for this report, the in terms of empirical data, but an interview with Ban reveals insight understanding into Ban instead. into his philosophy for temporary
EMERGENCY SHELTER / 29 J. Benhamou-Huet, ‘Shigeru Ban… was in that is steers clear of describing creating shrines out of sustainable the work Ban does in the disaster materials when the word green zones, but explains the work prior, only described a colour’, Interview, the organisation and acquiring vol. 39, no. 4, pp. 70-73, retrieved of volunteers, this particular 28.08.2014, General OneFile information is useful to the report The interview with Ban is more as it defines the trans-national an insight into the man rather nature of the work. A further point than his emergency work, and of relation to this unit assignment is it covers a wide range of topics that Finch explains that Ban mainly that predominantly relate to works outside of his birthplace of his path of architecture, than Japan, that it feels very natural. This his emergency relief shelters. is an interesting paragraph as it is Although it is a welcome change not covered in other resources that for an interview to focus on Ban to tend to focus on the work of Ban, understand him behind the paper and although it is not related to tubes, this interview offers little empirical data, it certainly reserves factual information related to the a thought for this unit. chosen emergency shelters for this assignment. It does however P. J o d i d i o , Shigeru Ban: Complete Works offer information into the practices 1985 - 2010, Taschen, Italy, 2010. and associates Ban deals with, it This resource provided precise also suggests his need to travel information on Ban’s entire body constantly to work with firms of work without specific detail in around the world, an explanation regards to the chosen examples. of the trans-national agenda of The standout facts established a his work. This interview was an quick understanding of each project interesting read with insightful but did not suit the intended knowledge on Shigeru Ban, in purpose of this assignment as terms of the relevance to this the information did not deliver assignment this interview should extensive knowledge that different be taken as a research into where to other resources. This entry was Ban sees his work in the scheme of however useful in establishing a architecture. background philosophy of Shigeru Ban and his approach to design, P. Finch, ‘Shigeru Ban’s emergency zone and although this did not directly experiments make him a worthy relate to the topic of research, the Pritzker Prize winner’, Architect’s overall understanding did influence Journal, vol. 239, no. 12, pp.28, the approach to other resources. retrieved 28.08.2014, Avery Index to Architectural Periodicals. M. McQuaid, Shigeru Ban, Phaidon Press This praise article to Ban delivers a Limited, New York, 2003. strong case for this award of the McQuaid’s resource was the most 2014 Pritzker Architecture Award, thorough explanation of the whilst providing information on temporary shelters in Rwanda and Ban’s practice and operations. This Paper Log Houses. The extent of journal alters from other sources information provided well-detailed
30 / SHIGERU BAN information on the timeline, Review, 2011, http://www. process, materials and organisations australiandesignreview.com/ involved with the two examples, opinion/2038-a-paper-thin- whilst providing accurate plans and humanitarian-ethos details of the emergency housing. This opinion piece gives a quick This resource influenced the report and precise account of the Rwanda due to the clear and precise facts emergency shelters and Paper alongside informative pictures and Log Houses work that Ban has diagrams. The complete instruction undertaken, along with other work, process of building the temporary but Neustein points out, that with shelters of which were constructed the odd exception, all of Ban’s work in Rwanda was utilised to form is produced using his trademark ‘the paper tube refugee shelter paper tubes, and brings into kit’ pamphlet produced for this question if this work if more about assignment, which resulted in the branding than functionality. This construction of a prototype model opinion piece is effective in opening being produced. up the argument for humanitarian work or self-promotional with C. Miranda, ‘Paper tiger: known for his some cleverly sourced quotes and paper structures and social mission, strategic information. Although this Shigeru Ban is the winner of the is an opinion article and should be 2014 Pritzker Prize’, Architect used for discussion purposes rather (Washington, D.C.), vol. 103, no. than factual data, Neustein puts 4, pp. 19-20, retrieved 28.08.2014, forward a convincing argument Avery Index to Architectural and notes that Ban profits little Periodicals. by discrediting the work done by This article is a quick and precise his contemporaries. This is the overview of Ban’s emergency opposing side of the research that shelters work to establish a cause has lacked in all other resources for his award of the 2014 Pritzker researched, it should be considered Architecture Prize. It does reference to persuade the readers opinion the works in Rwanda and the and not considered as discrediting Paper Log House in Japan, Turkey the data of emergency shelters and India but fails to offer new carried out by Shigeru Ban. information from that offered in other resources. Miranda Shigeru Ban: Emergency shelters made focuses on brief explanations from paper, TED Talk – Video and background information recording, TED, Tokyo, May to establish Ban in the likes of 2013, https://www.youtube.com/ previous Pritzker Prize recipients, watch?v=q43uXdOKPD8 although a good introduction Shigeru Ban presents his work into Shigeru Ban, this article does for TED Talks, talking about his not offer much relevance to the development of using paper assigned task. tubes as a building material; the presentation touches on some of D. Neustein, A paper-thin humanitarian Ban’s early commercial work with ethos, Australian Design the paper tubes and then explains
EMERGENCY SHELTER / 31 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
SRA743 TRANS-NATIONAL MEGA PROJECTS TUTORS MIRJANA LOZANOVSKA SALLY WINKLER THE PAPER TUBE REFUGEE SHELTER KIT Tubong papel na kanlungan ng mga takas
Design by Shigeru Ban Architects
Drawings Replicated by SRA743 - Trans-National Mega Projects CONTENTS Mga nilalaman
COMPONENTS 4 Mga bahagi
CONNECTION 5 Koneksyon
SECTIONS 6 Mga seksyon
1 - PREPARING THE SITE 7 1 - Paghahanda ng pagtatayuan
2 - ASSEMBLE THE PAPER TUBES 7 2 - Pagtipun-tipunin ang mga papel na tubo
3 - FASTEN THE ROPES 9 3 - Higpitan ang mga lubid
4 - PULL THE SHEETS 11 4 - Hilahin ang mga bahagi
5 - MAKE AN ENTRANCE 13 5 - Gumawa ng pasukan
6 - MAKE A DRAIN 14 6 - Gumawa ng daluyan ng tubig
2 The Components of The Paper Tube Refugee Shelter Kit Mga bahagi ng tubong papel na kanlungan ng mga takas
Components Size Quantity
Sheet A (Stripe Reinforcements) 4m x 6m 1 Sheet B (White, Blue) 4m x 2m 2 Paper Tube A Length 1,850mm 10 Paper Tube B Length 1,300mm 12 Plastic Joint 15 Plastic Anchor 6 Plastic Peg Length 222mm 10 (+ 1 extra) Plastic Fastener Length 300mm 29 Aluminium Stopper Length 40mm 18 Rope Length 3,500mm 18 Bag For Kit 1
Sheet A (x1) Sheet B (x2) Paper Tube A (x10) Papel na tubo A (x10) Paper Tube B (x12) Papel na tubo B (x12)
B
A
Plastic Joint (x15) Plastic Anchor (x6) Plastic Fastener (x27 + 2)
Rope (x18) Aluminium Stopper (x18) Plastic Peg (x10 + 1) Lubid (x18) Pampahinto na yari sa aluminyo (x18)
4 The Components of The Paper Tube Refugee Shelter Kit Mga bahagi ng tubong papel na kanlungan ng mga takas
Components Size Quantity
Sheet A (Stripe Reinforcements) 4m x 6m 1 Sheet B (White, Blue) 4m x 2m 2 Paper Tube A Length 1,850mm 10 Paper Tube B Length 1,300mm 12 Plastic Joint 15 Plastic Anchor 6 Plastic Peg Length 222mm 10 (+ 1 extra) Plastic Fastener Length 300mm 29 Aluminium Stopper Length 40mm 18 Rope Length 3,500mm 18 Bag For Kit 1
Sheet A (x1) Sheet B (x2) Paper Tube A (x10) Papel na tubo A (x10) Paper Tube B (x12) Papel na tubo B (x12)
B
A
Plastic Joint (x15) Plastic Anchor (x6) Plastic Fastener (x27 + 2)
Rope (x18) Aluminium Stopper (x18) Plastic Peg (x10 + 1) Lubid (x18) Pampahinto na yari sa aluminyo (x18)
4 4605 3525
0 02 16
1 60 00 PLASTIC BRACING ROPE PAPER TUBE 1,725 Taas 1,725 SHEET L = 1,300 HEIGHT 1,725 Hamba ng lubid Papel na tubo
DRAIN DRAIN Padaluyan ng tubig PLASTIC PEG
3,450 WIDTH 3,450 Lapad GABLE SIDE Gable gilid 24 40
4375 4065 4275 4,000 Haba 125215 4,000 LENGTH 658 1850222 658 1850227 658
PLASTIC JOINT PLASTIC SHEET
PLASTIC JOINT
PLASTIC SHEET PAPER TUBE L = 1,850 PLASTIC FASTENER Papel na tubo 1,725 Taas 1,725 1,725 HEIGHT 1,725
PAPER TUBE L = 1,300 Papel na tubo PAPER TUBE
LONGER SIDE
ANCHOR Ang mas mahahabang gilid CONNECTION 5 6 4605 3525
0 02 16
1 60 00 PLASTIC BRACING ROPE PAPER TUBE 1,725 Taas 1,725 SHEET L = 1,300 HEIGHT 1,725 Hamba ng lubid Papel na tubo
DRAIN DRAIN Padaluyan ng tubig PLASTIC PEG
3,450 WIDTH 3,450 Lapad GABLE SIDE Gable gilid 24 40
4375 4065 4275 4,000 Haba 125215 4,000 LENGTH 658 1850222 658 1850227 658
PLASTIC JOINT PLASTIC SHEET
PLASTIC JOINT
PLASTIC SHEET PAPER TUBE L = 1,850 PLASTIC FASTENER Papel na tubo 1,725 Taas 1,725 1,725 HEIGHT 1,725
PAPER TUBE L = 1,300 Papel na tubo PAPER TUBE
LONGER SIDE
ANCHOR Ang mas mahahabang gilid CONNECTION 5 6 1. Prepare the Site 2-2 The space should be wide, open and without any inclinations. 2-2 Put it on the ground and set out the anchor points on the ground. Prepare the space for the sheler with the help of the supplied ropes. The external measurement of the frame width is equivalent to the The shelter's width is about the ropes' length of 3.5m. rope's length. The shelter's length is a little longer than it. Make sure to prepare extra space for the assembling work. 2-2 Ilagay sa lupa at itakda at markahan ang mga dulo ng pagbabaunan Be aware that the entrance will be on either one of the Gable Side sa lupa. 1. Ang mga panlabas na pagsukat ng baskagan ng kanlungan ay katumbas ng haba ng lubid. 1. Ihanda ang pagtatayuan Ang lugal ay dapat na malawak, walang anumang sagabal at patag . Ihanda ang lugal para sa kanlungan sa tulong ng mga kasamang lubid. Fig. B Ang lapad ng kanlungan humigit kumulang na 3.5m kasing haba ng lubid. Ang pahaba ng kanlungan ay dapat mas mahaba ng konti kaysa sa lapad. Tiyaking may sapat na lugal para sa pag tatayuan. Magkaroon ng kamalayan na ang pasukan ay dapat sa mag kabilang gilid 2-3 Drive the anchors in the ground. ng Gable. When knocking the anchors, do not use something hard like a stone. A wood piece or something not too hard is desirable
2-3 I-baon ang mga pag tatalian sa lupa. Sa pag babaon ng pagtatalian, huwag gumamit ng isang bagay na 2-3 matigas tulad ng isang bato. Kahoy o isang bagay na hindi masyadong matigas ay sapat na.
Fig. C 2-1 A Fig. B Fig. C
B The Required depth is about the half of the anchor. Make sure that the plastic lids are set on each anchors.
Ang kailangan lalim ay katumbas sa kalahati ng sukat ng pagtatalian. Fig. A 2. Assemble the Paper Tubes Tiyakin ang taklob na plastic ay nakapatong sa bawat pagtatalian. Connect the paper tubes with the pastic joints to make the frame of the 2-1 shelter. 2-4 2-4 Set the frame to the anchors 2. Pagbuoin ang mga papel na tubo. 2-4 Itakda ang pagkakapitan sa pagtatalian. Ikabit ang papel na tubo sa may plastic na pangdugtong upang gumawa 2-1 ng baskagan ng kakanlungan.
Fig. A 7 8 1. Prepare the Site 2-2 The space should be wide, open and without any inclinations. 2-2 Put it on the ground and set out the anchor points on the ground. Prepare the space for the sheler with the help of the supplied ropes. The external measurement of the frame width is equivalent to the The shelter's width is about the ropes' length of 3.5m. rope's length. The shelter's length is a little longer than it. Make sure to prepare extra space for the assembling work. 2-2 Ilagay sa lupa at itakda at markahan ang mga dulo ng pagbabaunan Be aware that the entrance will be on either one of the Gable Side sa lupa. 1. Ang mga panlabas na pagsukat ng baskagan ng kanlungan ay katumbas ng haba ng lubid. 1. Ihanda ang pagtatayuan Ang lugal ay dapat na malawak, walang anumang sagabal at patag . Ihanda ang lugal para sa kanlungan sa tulong ng mga kasamang lubid. Fig. B Ang lapad ng kanlungan humigit kumulang na 3.5m kasing haba ng lubid. Ang pahaba ng kanlungan ay dapat mas mahaba ng konti kaysa sa lapad. Tiyaking may sapat na lugal para sa pag tatayuan. Magkaroon ng kamalayan na ang pasukan ay dapat sa mag kabilang gilid 2-3 Drive the anchors in the ground. ng Gable. When knocking the anchors, do not use something hard like a stone. A wood piece or something not too hard is desirable
2-3 I-baon ang mga pag tatalian sa lupa. Sa pag babaon ng pagtatalian, huwag gumamit ng isang bagay na 2-3 matigas tulad ng isang bato. Kahoy o isang bagay na hindi masyadong matigas ay sapat na.
Fig. C 2-1 A Fig. B Fig. C
B The Required depth is about the half of the anchor. Make sure that the plastic lids are set on each anchors.
Ang kailangan lalim ay katumbas sa kalahati ng sukat ng pagtatalian. Fig. A 2. Assemble the Paper Tubes Tiyakin ang taklob na plastic ay nakapatong sa bawat pagtatalian. Connect the paper tubes with the pastic joints to make the frame of the 2-1 shelter. 2-4 2-4 Set the frame to the anchors 2. Pagbuoin ang mga papel na tubo. 2-4 Itakda ang pagkakapitan sa pagtatalian. Ikabit ang papel na tubo sa may plastic na pangdugtong upang gumawa 2-1 ng baskagan ng kakanlungan.
Fig. A 7 8 3. Fasten the Ropes
3-1 Put the rope through a hole of the aluminium stopper and make a 3-3 3-3 Put the rope around the other joint, also diagonally, and tie it thoroughly. knot on the concave side. 3-1 3-3 Ilagay ang lubid sa paligid ng iba pang mga dugtungan, na lahat pahilis, 3. Higpitan ang mga lubid at Itali itong mabuti.
3-1 Isuot ang lubid sa isang butas ng pampigil na yari sa aluminyo at gumawa ng isang buhol na pahilis sa gilid.
Fig. F
Fig. F 3-2 Hang the rope diagonally around the joint so it won't slide down (Fig.D) Thread the rope through the other hole, from the convex side to the concave side (Fig. E) Try not to mistake the stopper's sides, or it will not work properly 3-2 3-2 Ibitin ang lubid na pahilis sa paligid ng dugtong para hindi matanggal. 3-4 Fasten the rope with the stopper. (Fig.D) 3-4 There are 5 ropes to be fastende on each Gable Side, 2 of which are to Itali ang lubid sa iba pang mga butas, mula sa pataas na tambok na be fixed to the ground with the pegs (Fig. G) bahagi hanupang sa pababang gilid. (Fig . E) The effective way to fix the frame firmly is to fasten the rope on the Subukang huwag magkakamali sa gilid ng pampatigil at baka hindi diagonal side of the frame at the same time. Fig. D gagana nang maayos. 18 ropes are to be used in total
3-4 Ipitan ang lubid sa mga pampigil. May 5 lubid na iipitin sa bawat gilid ng Gable , 2 nito ay nakataling mabuti sa mga patulsukan na naka baon sa lupa. (Fig. G) Ang tamang paraan upang maging maayos ang mga paglalagyan ng matatag ay hapitan ng lubid na pahilis ang mga paglalagyan ng sabay sabay. 18 lubid ay gagamitin sa kabuuan
6, 7, 8, 9, 10 18 13, 14
17 15 Fig. E
16 12 1 3 4 11 2 5 Fig. D, Fig. E
Fig. G 9 10 3. Fasten the Ropes
3-1 Put the rope through a hole of the aluminium stopper and make a 3-3 3-3 Put the rope around the other joint, also diagonally, and tie it thoroughly. knot on the concave side. 3-1 3-3 Ilagay ang lubid sa paligid ng iba pang mga dugtungan, na lahat pahilis, 3. Higpitan ang mga lubid at Itali itong mabuti.
3-1 Isuot ang lubid sa isang butas ng pampigil na yari sa aluminyo at gumawa ng isang buhol na pahilis sa gilid.
Fig. F
Fig. F 3-2 Hang the rope diagonally around the joint so it won't slide down (Fig.D) Thread the rope through the other hole, from the convex side to the concave side (Fig. E) Try not to mistake the stopper's sides, or it will not work properly 3-2 3-2 Ibitin ang lubid na pahilis sa paligid ng dugtong para hindi matanggal. 3-4 Fasten the rope with the stopper. (Fig.D) 3-4 There are 5 ropes to be fastende on each Gable Side, 2 of which are to Itali ang lubid sa iba pang mga butas, mula sa pataas na tambok na be fixed to the ground with the pegs (Fig. G) bahagi hanupang sa pababang gilid. (Fig . E) The effective way to fix the frame firmly is to fasten the rope on the Subukang huwag magkakamali sa gilid ng pampatigil at baka hindi diagonal side of the frame at the same time. Fig. D gagana nang maayos. 18 ropes are to be used in total
3-4 Ipitan ang lubid sa mga pampigil. May 5 lubid na iipitin sa bawat gilid ng Gable , 2 nito ay nakataling mabuti sa mga patulsukan na naka baon sa lupa. (Fig. G) Ang tamang paraan upang maging maayos ang mga paglalagyan ng matatag ay hapitan ng lubid na pahilis ang mga paglalagyan ng sabay sabay. 18 lubid ay gagamitin sa kabuuan
6, 7, 8, 9, 10 18 13, 14
17 15 Fig. E
16 12 1 3 4 11 2 5 Fig. D, Fig. E
Fig. G 9 10 4. Put the Sheets
4-1 Put Sheet A over the frame up to half and tie it to the middle of the ridge pole using the plastic fastner. 4-1
4. Ilagay ang mga bahagi
4-1 Ilagay ang Bahagi A sa ibabaw ng paglalagyan hanggang sa kalahati at itali ito sa gitna ng poste at gamitan ng plastic na pang ipit. When fastening, make small holes on the reinforced area on Sheet A to slip the plastic fastener through Sheet A. If you use a cutter or a knife to make the holes, cut the sheet hoizontally. (Fig. L) 11, 12, 13, 14, 15 21, 22, 23, 24, 25 4, 5 1 6 16 7 Kapag hihigpitan, gumawa ng maliit na butas sa matibay na lugal ng 17 8 Bahagi A para mailagay ang plastik na pang ipit para gamitin ng Fig. H 18 9 Bahagi A. 2 19 Kung gumamit ka ng pamutol o ng kutsilyo upang gawin ang mga butas, kunin ang mga sheet nang pahalang. (Fig. L)
10 3 20 Fig. H Fig. M 4-2 4-2 Cover the rest if the frame with the remaining Sheet A. 4-2 Takpan ang natitirang baskagan ng matitirang Bahagi A.
Fig. L
Fig. K Fig. K
4-3 Put Sheet B on the Gable Side of the frame and tie it to the paper tube together with Sheet A. Sheet B goes under Sheet A Make sure that all the joints are enough covered by the sheets. Where there are joints, tie the sheets nearby so that they won't get 4-3 Ilagay ang Bahagi B sa gilid ng Gable ng paglalagyan at itali ito sa papel na tubo kasama ang Bahagi A. Bahagi B ay dapat sa ilalim ng exposed. Bahagi A. 25 Fastners are to be used in this process. (Fig. M) 4-3 Sheet A Tiyakin ang lahat ng mga pinag dugtungan ay may sapat na taklob. Kung saan man mayroong dugtong, i-tali sa malapit ang mga labis na bahagi para hindi sila nakalantad. 25 Pang ipit ay gagamitin sa prosesong ito. (Fig. M) Sheet B
Fig. I
Fig. I On the entrance side, leave some slack at the middle of Sheet B so that after cutting the opening the sheets will overlap. Leave extra length to the foot ends to protect from water and dust
Fig. J Sa pasukan gilid, mag-iwan ng lundo sa gitna ng Bahagi B para sa Fig. I ganoon pagkatapos ng pag-putol ng pambungad na ang mga bahagi ay nagsasapawan. Mag-iwan ng dagdag na haba sa paanan upang maprotektahan mula sa tubig at alikabok.
Fig. J 11 12 4. Put the Sheets
4-1 Put Sheet A over the frame up to half and tie it to the middle of the ridge pole using the plastic fastner. 4-1
4. Ilagay ang mga bahagi
4-1 Ilagay ang Bahagi A sa ibabaw ng paglalagyan hanggang sa kalahati at itali ito sa gitna ng poste at gamitan ng plastic na pang ipit. When fastening, make small holes on the reinforced area on Sheet A to slip the plastic fastener through Sheet A. If you use a cutter or a knife to make the holes, cut the sheet hoizontally. (Fig. L) 11, 12, 13, 14, 15 21, 22, 23, 24, 25 4, 5 1 6 16 7 Kapag hihigpitan, gumawa ng maliit na butas sa matibay na lugal ng 17 8 Bahagi A para mailagay ang plastik na pang ipit para gamitin ng Fig. H 18 9 Bahagi A. 2 19 Kung gumamit ka ng pamutol o ng kutsilyo upang gawin ang mga butas, kunin ang mga sheet nang pahalang. (Fig. L)
10 3 20 Fig. H Fig. M 4-2 4-2 Cover the rest if the frame with the remaining Sheet A. 4-2 Takpan ang natitirang baskagan ng matitirang Bahagi A.
Fig. L
Fig. K Fig. K
4-3 Put Sheet B on the Gable Side of the frame and tie it to the paper tube together with Sheet A. Sheet B goes under Sheet A Make sure that all the joints are enough covered by the sheets. Where there are joints, tie the sheets nearby so that they won't get 4-3 Ilagay ang Bahagi B sa gilid ng Gable ng paglalagyan at itali ito sa papel na tubo kasama ang Bahagi A. Bahagi B ay dapat sa ilalim ng exposed. Bahagi A. 25 Fastners are to be used in this process. (Fig. M) 4-3 Sheet A Tiyakin ang lahat ng mga pinag dugtungan ay may sapat na taklob. Kung saan man mayroong dugtong, i-tali sa malapit ang mga labis na bahagi para hindi sila nakalantad. 25 Pang ipit ay gagamitin sa prosesong ito. (Fig. M) Sheet B
Fig. I
Fig. I On the entrance side, leave some slack at the middle of Sheet B so that after cutting the opening the sheets will overlap. Leave extra length to the foot ends to protect from water and dust
Fig. J Sa pasukan gilid, mag-iwan ng lundo sa gitna ng Bahagi B para sa Fig. I ganoon pagkatapos ng pag-putol ng pambungad na ang mga bahagi ay nagsasapawan. Mag-iwan ng dagdag na haba sa paanan upang maprotektahan mula sa tubig at alikabok.
Fig. J 11 12 5. Make an Entrance 6. Make a Drain
5-1 Cut Sheet B on either one of the end walls to make the entrance. 6-1 Dig a drain around the shelter and leave the streets' ends in there. The opening should be up to the height of the rope which is fastened (Fig. P) horizontally 6. Gumawa ng isang daluyan ng tubig 5. Gumawa ng pasukan. 6 6-1 Maghukay sa lupa ng paduluyan ng tubig sa paligid ng kanlungan 5-1 5-1 Gupitin ang Bahagi B sa alinman dulo ng dinding upang gumawa ng at hayaan na lamang sa dulo ng kalsada. (Fig. P) pasukan. Ang pagbukas ay dapat kasing taas ng lubid na naka ipit nang pahalang.
6-1 Fig. P 6-3 Fig. R
6-2 Fig. Q 6-2 Make sure to make a water route to lead the water put of the drain, to lower ground. (Fig. Q) Fig. N 6-2 Tiyaking makagawa ng daanan ng tubig at mapalayo sa daluyan at Fig. N humantong sa mababang lugal ng lupa. (Fig. Q)
5-2 Tie the foot ends of Sheet B (both sides) to the pegs driven in the gable side ground. Use the rest 4 plastic fasteners.
5-2 Itali ang mababang Bahagi B (magkabila) sa naka baon sa lupang End Wall (Gable Side) pagtatalian. Fig. P, Fig. R Gamitin ang natitirang 4 na plastic na pang ipit. Elevation / Section Katapusang dinding Taas mula sa lupa / Seksyon
5-2 6-3 Drive the pegs to the foot end of the Sheet A and staple them to the ground. (Fig. R) 6-3 I-baon ang mga tuusukan sa paanan dulo ng Bahagi A at ipitin sa lupa. (Fig. R)
12
Fig. O 34 Fig. O
Longer Side Fig. P, Fig. R Elevation / Section Fig. P, Fig. R Ang mas mahahabang gilid Taas mula sa lupa / Seksyon 13 14 5. Make an Entrance 6. Make a Drain
5-1 Cut Sheet B on either one of the end walls to make the entrance. 6-1 Dig a drain around the shelter and leave the streets' ends in there. The opening should be up to the height of the rope which is fastened (Fig. P) horizontally 6. Gumawa ng isang daluyan ng tubig 5. Gumawa ng pasukan. 6 6-1 Maghukay sa lupa ng paduluyan ng tubig sa paligid ng kanlungan 5-1 5-1 Gupitin ang Bahagi B sa alinman dulo ng dinding upang gumawa ng at hayaan na lamang sa dulo ng kalsada. (Fig. P) pasukan. Ang pagbukas ay dapat kasing taas ng lubid na naka ipit nang pahalang.
6-1 Fig. P 6-3 Fig. R
6-2 Fig. Q 6-2 Make sure to make a water route to lead the water put of the drain, to lower ground. (Fig. Q) Fig. N 6-2 Tiyaking makagawa ng daanan ng tubig at mapalayo sa daluyan at Fig. N humantong sa mababang lugal ng lupa. (Fig. Q)
5-2 Tie the foot ends of Sheet B (both sides) to the pegs driven in the gable side ground. Use the rest 4 plastic fasteners.
5-2 Itali ang mababang Bahagi B (magkabila) sa naka baon sa lupang End Wall (Gable Side) pagtatalian. Fig. P, Fig. R Gamitin ang natitirang 4 na plastic na pang ipit. Elevation / Section Katapusang dinding Taas mula sa lupa / Seksyon
5-2 6-3 Drive the pegs to the foot end of the Sheet A and staple them to the ground. (Fig. R) 6-3 I-baon ang mga tuusukan sa paanan dulo ng Bahagi A at ipitin sa lupa. (Fig. R)
12
Fig. O 34 Fig. O
Longer Side Fig. P, Fig. R Elevation / Section Fig. P, Fig. R Ang mas mahahabang gilid Taas mula sa lupa / Seksyon 13 14 THE PAPER TUBE REFUGEE SHELTER KIT Tubong papel na kanlungan ng mga takas
Design by Shigeru Ban Architects
Drawings Replicated by SRA743 - Trans-National Mega Projects