Ire­ne Gu­z­man

Il nuo­vo Ter­mi­nal 3 di Na­ri­ta, Giap­po­ne, al po­sto dei ta­pis rou­lant of­fre ai viag­gia­to­ri cam­mi­na­men­ti mor­bi­di e co­lo­ra­ti si­mi­li a quel­li usa­ti per le pi­ste di atle­ti­ca. Le zo­ne di so­sta han­no im­bot­ti­ti sen­za schie­na­le e brac­cio­li per po­ter­si an­che sdra­iar

Abitare - - CONTRIBUTORS - TXT_ IRE­NE GU­Z­MAN PHOTOS_ KEN­TA HA­SE­GA­WA

Si oc­cu­pa di co­mu­ni­ca­zio­ne nei set­to­ri di ar­te, de­si­gn ed edi­to­ria. Ha la­vo­ra­to al­la ri­cer­ca ico­no­gra­fi­ca di pub­bli­ca­zio­ni nel cam­po del­la moda e col­la­bo­ra co­me gior­na­li­sta free-lan­ce con Abi­ta­re e la ri­vi­sta Te­ca dell’Uni­ver­si­tà di Bo­lo­gna. Di tan­to in tan­to, cu­ra e or­ga­niz­za pro­get­ti di ar­te con­tem­po­ra­nea. She works on com­mu­ni­ca­tion in the art, de­si­gn and pu­bli­shing sec­tors. She has car­ried out ico­no­gra­phi­cal re­sear­ch on pu­bli­ca­tions in the field of fa­shion and con­tri­bu­tes as a free­lan­ce jour­na­li­st to Abi­ta­re and the Uni­ver­si­ty of

Bo­lo­gna’s ma­ga­zi­ne Te­ca. From ti­me to ti­me, she or­ga­ni­zes and cu­ra­tes pro­jec­ts of con­tem­po­ra­ry art.

Ar­chi­tet­tu­ra e in­te­rior de­si­gn es­sen­zia­li e fun­zio­na­li. È co­sì che il nuo­vo Ter­mi­nal 3 del Na­ri­ta In­ter­na­tio­nal Air­port, ad ap­pe­na un’ora dal­la sta­zio­ne cen­tra­le di To­kyo, ha po­tu­to es­se­re rea­liz­za­to in po­co tem­po e con co­sti ri­dot­ti (a cu­ra del la­bo­ra­to­rio crea­ti­vo Par­ty e del co­los­so giap­po­ne­se dell’ar­chi­tet­tu­ra Nik­ken Sek­kei). L’inau­gu­ra­zio­ne è av­ve­nu­ta l’8 apri­le scor­so, e il Ter­mi­nal 3 è de­di­ca­to so­lo ai vo­li na­zio­na­li con ta­rif­fe a bas­so co­sto. In omag­gio al­le Olim­pia­di che nel 2020 sa­ran­no ospi­ta­te nel­la ca­pi­ta­le giap­po­ne­se, i pro­get­ti­sti han­no pre­fe­ri­to ai co­sto­si ta­pis rou­lant e al­le in­se­gne lu­mi­no­se un cir­cui­to in­ter­no di cam­mi­na­men­ti co­lo­ra­ti dal­la tex­tu­re am­mor­tiz­za­ta e con­for­te­vo­le, esat­ta­men­te quel­li uti­liz­za­ti per le pi­ste di atle­ti­ca. Per­cor­si blu (per le par­ten­ze) e ros­si (per gli ar­ri­vi) per­met­to­no Es­sen­tial and func­tio­nal ar­chi­tec­tu­re and in­te­rior de­si­gn. This is what has ma­de it pos­si­ble for the new Ter­mi­nal 3 of Na­ri­ta In­ter­na­tio­nal Air­port, ba­re­ly an hour’s jour­ney from To­kyo’s cen­tral sta­tion, to be built in a short ti­me and at li­mi­ted co­st (thanks to the Par­ty crea­ti­ve agen­cy and the Ja­pa­ne­se ar­chi­tec­tu­re co­los­sus Nik­ken Sek­kei). Ope­ned on 8 April la­st, Ter­mi­nal 3 is de­di­ca­ted ex­clu­si­ve­ly to na­tio­nal flights wi­th low-co­st car­riers. In ho­ma­ge to the Olym­pic Ga­mes that will be sta­ged in the Ja­pa­ne­se ca­pi­tal in 2020, the de­si­gners ha­ve cho­sen to fo­re­go ex­pen­si­ve tra­vel­la­tors and il­lu­mi­na­ted si­gns and go­ne in­stead for an in­ter­nal cir­cuit of co­lou­red wal­k­ways wi­th a cu­shio­ned and com­for­ta­ble tex­tu­re, exac­tly li­ke the kind used for run­ning tracks. Blue pa­th­ways (for de­par­tu­res) and red ones (for ar­ri­vals) al­low tra­vel­lers to find their way

ai viag­gia­to­ri di orien­tar­si con fa­ci­li­tö tra i ga­te an­che gra­zie ai sim­bo­li e al­le in­di­ca­zio­ni sul­le di­stan­ze stam­pa­ti sul­la su­per­fi­cie. Men­tre a ren­de­re con­for­te­vo­le l’at­te­sa all’im­bar­co ci pen­sa­no gli ol­tre 400 am­pi e co­lo­ra­ti di­va­ni-pan­ca fir­ma­ti Mu­ji e pro­get­ta­ti ad hoc sot­to la di­re­zio­ne crea­ti­va di Nao­to Fu­ka­sa­wa: in­te­ra­men­te im­bot­ti­ti e sen­za brac­cio­li, per po­ter­si se­de­re o sdra­ia­re, a se­con­da del­le ne­ces­si­tö. Mi­ni­ma­le ma al­lo stes­so tem­po di­ver­ten­te e den­so di sti­mo­li gra­zie al­la sua gra­fi­ca ori­gi­na­le e coin­vol­gen­te, il Ter­mi­nal 3 si svi­lup­pa in un edi­fi­cio di ol­tre 23mi­la me­tri qua­dra­ti sud­di­vi­si in quat­tro pia­ni (di cui uno sot­ter­ra­neo) do­ve tra­scor­re­re pia­ce­vol­men­te le ore di at­te­sa in uno spa­zio che dö la sen­sa­zio­ne di aper­tu­ra, ea­si­ly bet­ween the ga­tes, ai­ded by sym­bols and in­di­ca­tions of di­stan­ces prin­ted on their sur­fa­ce. Whi­le the wait to be boar­ded is ma­de com­for­ta­ble by the over 400 am­ple and co­lour­ful so­fa-ben­ches designed by Mu­ji for the pur­po­se un­der the crea­ti­ve di­rec­tion of Nao­to Fu­ka­sa­wa: ful­ly pad­ded and wi­th no arms, they can be used to sit on or lie do­wn, de­pen­ding on need. Mi­ni­mal but at the sa­me ti­me fun and sti­mu­la­ting thanks to its ori­gi­nal and en­ga­ging gra­phics, Ter­mi­nal 3 is hou­sed in a buil­ding of over 23,000 squa­re me­tres laid out on four floors (one of them un­der­ground) whe­re it is pos­si­ble to pass the ti­me wai­ting for your pla­ne plea­san­tly in a spa­ce that gi­ves an im­pres­sion of open­ness, owing to the ab­sen­ce of cei­lings; and of light­ness, thanks

per l’as­sen­za di sof­fit­ti; e di leg­ge­rez­za, gra­zie al­la sua strut­tu­ra in ac­cia­io a vi­sta e le pa­re­ti di re­te me­tal­li­ca. Al se­con­do pia­no dell’edi­fi­cio ci so­no una li­bre­ria e tan­ti ne­go­zi, tra cui un “con­ve­nien­ce sto­re” aper­to 24 ore su 24. Po­co di­stan­te si tro­va an­che la più gran­de zo­na ri­sto­ra­zio­ne mai vi­sta in un ae­ro­por­to giap­po­ne­se, con i suoi 450 po­sti a se­de­re. I clien­ti dei set­te di­ver­si ri­sto­ran­ti pos­so­no usu­frui­re di un’at­mo­sfe­ra si­cu­ra­men­te più av­vol­gen­te del­le al­tre aree del ter­mi­nal, con ta­vo­li e se­die dal­le li­nee es­sen­zia­li in quer­cia na­tu­ra­le, di­se­gna­ti sem­pre da Fu­ka­sa­wa per Mu­ji. Il co­lo­re di que­sto le­gno, ot­te­nu­to esclu­si­va­men­te da fo­re­ste nord ame­ri­ca­ne do­ve la cre­sci­ta de­gli al­be­ri su­pe­ra il lo­ro ab­bat­ti­men­to, di­ven­te­rö via via più am­bra­to e cal­do con il pas­sa­re del tem­po. to its exposed steel struc­tu­re and walls of wi­re me­sh. On the se­cond floor of the buil­ding the­re are a book­shop and ma­ny other shops, in­clu­ding a con­ve­nien­ce sto­re open 24 hours a day. Not far away is the lar­ge­st re­fresh­ment area in any Ja­pa­ne­se air­port, wi­th sea­ting for 450 peo­ple. The cu­sto­mers of the se­ven dif­fe­rent re­stau­ran­ts can en­joy an at­mo­sphe­re that is un­doub­ted­ly co­sier than the other areas of the ter­mi­nal, wi­th ta­bles and chairs of es­sen­tial li­nes in na­tu­ral oak, again designed by Fu­ka­sa­wa for Mu­ji. The co­lour of this wood, ob­tai­ned ex­clu­si­ve­ly from Nor­th Ame­ri­can fo­rests whe­re the gro­w­th of the trees ex­ceeds the ra­te of fel­ling, will gra­dual­ly ta­ke on a war­mer and mo­re am­ber sha­de wi­th their use and the pas­sing of ti­me

Ar­ti­co­la­to su quat­tro pia­ni, il nuo­vo Ter­mi­nal 3 dell’ae­ro­por­to di Na­ri­ta è ar­re­da­to con i mo­bi­li del­lo sto­re giap­po­ne­se Mu­ji.

Na­ri­ta air­port’s new Ter­mi­nal 3, whi­ch spreads over four floors, is fur­ni­shed wi­th items from the Ja­pa­ne­se sto­re Mu­ji.

Pro­ject Na­ri­ta In­ter­na­tio­nal Air­port, Ter­mi­nal 3 Ar­chi­tec­ts Nik­ken Sek­kei, Ryo­hin Kei­ka­ku, Par­ty Fur­ni­tu­re con­tract Mu­ji Client Na­ri­ta In­ter­na­tio­nal Air­port Cor­po­ra­tion Con­trac­tor Tai­sei Cor­po­ra­tion

Ti­ming

2013-2015

Built area

23,679.81 sqm

Lo­ca­tion

Chi­ba, Ja­pan

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