At the end of his lecture at his alma mater, Cooper Union’s School of Architecture in New York on June 16, Japanese architect Shigeru Ban asked: “What is the difference between temporary architecture and permanent architecture?” No architect is more qualified to explore that question.
“Temporary” architecture, in disaster zones, is Ban’s calling card. For over 20 years, the 2014 winner of the Pritzker Prize, architecture’s Nobel, has best been known for his well-publicized humanitarian work. From Rwanda to Japan to Nepal, he has turned cheap, locally-sourced objects—sometimes even debris—into disaster-relief housing that “house both the body and spirit,” as Architectural League president Billie Tsien put it, as she introduced Ban to the audience in New York.
Cardboard tubes, beer crates, containers and cloth

Perhaps more than any architect in his generation, Ban, 57, best exemplifies the maxim, “it’s not what you use that matters, but how you use it.” From churches made of paper tubes, to a nomadic museum constructed from shipping containers, Ban is a bricoleur, and a Macgyver-level improviser with building materials.

Interior, Nomadic Museum(Shigeru Ban Architects)
In 1995, after the Great Hanshin-Awaji earthquake in Kobe left 310,000 people homeless, Ban devised the first “Paper Log House,” using cardboard tubes as walls and beer crates weighed down by sand bags as foundations. This would form the prototype for cheap, comfortable, and beautiful disaster-relief buildings that Ban deployed in India, Turkey, and the Philippines.

In difficult, resource-poor environments, Ban collaborates with the local universities, and engages students to rebuild structures for their own communities, giving them a hands-on lesson in the architect’s potential to better his situation.
Beauty, privacy as basic needs

Aesthetics is a primary concern for Ban—not despite, but especially in humanitarian scenarios. He believes that beauty is a basic need, an aspect of a person’s dignity. Erecting beautiful, if simple, structures can ensure that a refugee camp is not labeled a slum. So, when examining available materials in Kobe, he fussed about the color of the beer crates, choosing Asahi’s more neutral plastic bins over Kirin’s glaring red crates.
But he knows there are limits. “In the Philippines, the beer company San Miguel [which uses pleasing pine green crates] was so difficult to deal with,” Ban says. “So we went with the red Coca-Cola crates.” They didn’t go with his original plan, but that was okay. People who lost everything in Typhoon Haiyan needed shelter, fast.

Perhaps Ban’s most poetic intervention came from his outrage over refugees’ living conditions after the 2011 tsunami in Japan. “They were not thinking about privacy. It was not on their list of priorities,” Ban told Boston Review writer Stephan Phelan, referring to the government’s effort to cram evacuees in classrooms and gymnasiums. “But of course [privacy] is a basic right of human beings, and especially important if they are suffering.” Ban used paper tubes, canvas cloth, and pins, to erect instant walls, or “paper partitions,” within a couple of hours.
Some critics have accused Ban of making temporary dwellings too beautiful, inadvertently creating a disparity in evacuation camps. In Onagawa, Japan, families have been slow to move out of the cheerful, pastel-painted housing units made from stacked shipping containers—a pop-up shelter community built in a baseball field after the 2011 earthquake.

See the full report .

http://qz.com/431520/shigeru-ban-architect-of-sublime-cardboard-buildings-creates-a-permanent-legacy/

400billionman:
At the end of his lecture at his alma mater, Cooper Union’s School of Architecture in New York on June 16, Japanese architect Shigeru Ban asked: “What is the difference between temporary architecture and permanent architecture?” No architect is more qualified to explore that question.
“Temporary” architecture, in disaster zones, is Ban’s calling card. For over 20 years, the 2014 winner of the Pritzker Prize, architecture’s Nobel, has best been known for his well-publicized humanitarian work. From Rwanda to Japan to Nepal, he has turned cheap, locally-sourced objects—sometimes even debris—into disaster-relief housing that “house both the body and spirit,” as Architectural League president Billie Tsien put it, as she introduced Ban to the audience in New York.
Cardboard tubes, beer crates, containers and cloth

Perhaps more than any architect in his generation, Ban, 57, best exemplifies the maxim, “it’s not what you use that matters, but how you use it.” From churches made of paper tubes, to a nomadic museum constructed from shipping containers, Ban is a bricoleur, and a Macgyver-level improviser with building materials.

Interior, Nomadic Museum(Shigeru Ban Architects)
In 1995, after the Great Hanshin-Awaji earthquake in Kobe left 310,000 people homeless, Ban devised the first “Paper Log House,” using cardboard tubes as walls and beer crates weighed down by sand bags as foundations. This would form the prototype for cheap, comfortable, and beautiful disaster-relief buildings that Ban deployed in India, Turkey, and the Philippines.

In difficult, resource-poor environments, Ban collaborates with the local universities, and engages students to rebuild structures for their own communities, giving them a hands-on lesson in the architect’s potential to better his situation.
Beauty, privacy as basic needs

Aesthetics is a primary concern for Ban—not despite, but especially in humanitarian scenarios. He believes that beauty is a basic need, an aspect of a person’s dignity. Erecting beautiful, if simple, structures can ensure that a refugee camp is not labeled a slum. So, when examining available materials in Kobe, he fussed about the color of the beer crates, choosing Asahi’s more neutral plastic bins over Kirin’s glaring red crates.
But he knows there are limits. “In the Philippines, the beer company San Miguel [which uses pleasing pine green crates] was so difficult to deal with,” Ban says. “So we went with the red Coca-Cola crates.” They didn’t go with his original plan, but that was okay. People who lost everything in Typhoon Haiyan needed shelter, fast.

Perhaps Ban’s most poetic intervention came from his outrage over refugees’ living conditions after the 2011 tsunami in Japan. “They were not thinking about privacy. It was not on their list of priorities,” Ban told Boston Review writer Stephan Phelan, referring to the government’s effort to cram evacuees in classrooms and gymnasiums. “But of course [privacy] is a basic right of human beings, and especially important if they are suffering.” Ban used paper tubes, canvas cloth, and pins, to erect instant walls, or “paper partitions,” within a couple of hours.
Some critics have accused Ban of making temporary dwellings too beautiful, inadvertently creating a disparity in evacuation camps. In Onagawa, Japan, families have been slow to move out of the cheerful, pastel-painted housing units made from stacked shipping containers—a pop-up shelter community built in a baseball field after the 2011 earthquake.

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