Glass Workshop Building in Tokyo – Light as Air

A new workshop building in glass has come up in Japan for upcoming engineers and scientists; it has been designed by Tokyo-based architecture firm Junya Ishigami and Associates. This is a crystalline glass building that serves as a flexible studio and workplace for students at the Kanagawa Institute of Technology, Tokyo. Ishigami and his team aim to create an ideal environment for KAIT students to work on self-initiated projects and build things.

This single-story glass box workshop covers an area of 21,410 sq-ft. The glass studio has a large open floor plan topped with a roof and supported by columns of various sizes. A floor-to-ceiling glass facade and strips of skylight on the roof create a spectacular work environment for design projects.

The floor-to-ceiling glass makes the building appear weightless and elegant, and the open plan preserves the building’s sense of transparency as the viewer’s eye can shoot directly across the uninterrupted space. 305 slender steel columns of various sizes support the stripped roof of skylights and are scattered all over the building in a random fashion.

The white columns and the frameless glass façade almost make the building disappear. The façades are formed by 5m×1.5m glass panels that are just 10mm thick. They are stabilised by perpendicular fins, which offer complete transparency. The column arrangement and need for elimination of partition walls allow the studio to maintain its feeling of openness.

During the day time, glass skylights above the building offer unbeatable natural light. At night when the lights are lit, the glass building shines like a star on the ground. Ceiling fixtures and task lamps enable factory-like facilities to operate long after classes end for the day.

The one-room building contains 14 freely arranged, open spaces. These include a check-in area, denoted by an Ishigami-designed, donut-shaped counter, as well as specialized areas for pottery, woodworking, computer graphics, metal casting, and other media.

There are also four multipurpose work spaces, a small supply shop, and an office-like alcove for the facility supervisors. Ishigami eschewed organizational devices, such as structural grids, proscribed circulation paths, and even walls (the closest lavatories are next door). Instead, he used rectangular columns, furniture of brown wood or white steel, freestanding HVAC units, and potted plants to modulate the whole 16-foot-high space.

To blur the boundary between indoors and outdoors, Ishigami eliminated all openings on the glass walls except for doors and a few small floor vents that draw fresh air supplied by roof vents. Inside, the columns function as abstract trees and potted greenery—each plant carefully selected by the architect—serves a bona-fide design role, not just a decorative one.