Lake Sagami Country Club (with Arata Isozaki)
レイク相模カントリークラブ クラブハウス, Yamanishi, Japan
Architect: Arata Isozaki
Size: 350 square metres (3,767 sq feet)
Stained glass lantern and skylights designed and fabricated by Brian Clarke for the Lake Sagami Country Club (レイク相模カントリークラブ クラブハウス), in collaboration with Pritzker Prize laureate, architect Arata Isozaki. The cylindrical tower which the lantern wraps around is visible from the surrounding roads and landscape, and Isozaki designed an internal lighting system in response so that the stained glass has a nocturnal presence, transforming the tower into a lighthouse beacon and local landmark at night. The original design of the building incorporated a pyramidical structure later abandoned, but Clarke retained the reference in the form of a blue directional triangle intersecting a field of olive green in his skylight composition.
“In the skylight windows, the islands of curved shapes seem to float in gentle motion above the latticework grids, through which one can see yet other dimensions created by subtle variations in colour, and this profusion of images inhabit grounds of deep celestial blue, sea green and brilliant orange – all of the elements are orchestrated in the specific context of Isozaki’s architecture, in which colours, shapes and forms combine in ‘a concord of contradiction.’” – Sir Peter Cook
Briam has said: “The lines of the skylight suggest and match the nave of a church, and indicate and match the plans of the building. Isozaki was very keen on that. Most important is the view at night: it glows from distance so you can see where you’re travelling to. I asked him to put a lighthouse lighting system into it, that slowly moves around at night.”
Sir Peter Cook writing in the ArtRandom book ‘Brian Clarke’: “In the windows for the Golf Club at Lake Sagami in Japan, Clarke is inserting his translucent architecture into the solid architecture of Arata lsozaki. The new golf club is a complex composition with a series of almost barrack-like elements suddenly challenged by wayward pavilions. Clarke admits to seeing the building context as an immediate and direct impression and the subsequent glass imagery as a comment or response. Hence we see the lsozaki building carrying within it another building that is inspired by itself. Readable in the glazed imagery is the barrack-like building and readable too is the orchestral tutti of a vast patch of colour that has window objects clearly quoted . . . all within a window: the building as picture within the building.”