妄想都市ノ解体絵図～抽象画から見た都市空間の気づき～

妄想都市ノ解体絵図 DEMOLITION PAINTING OF DELUSION CITY ∼ Proposal of urban follies inspired by abstract paintings ∼

HARUKA KAJIURA

HARUKA KAJIURA 1997

Born in Nagoya, Japan

2017

JIA(The Japan Institute of Architects) Design competition 2nd Prize

2018

Competition of Chulalongkom University in Thailand Special Award

2019

Diploma project 1st Prize in Meijo University 8th Prize in Desing Review

そ し て 戦 争 と 平 和 は 等 価 値 と な り 、

人 は 無 力 。 私 は 有 力 。

重 力 に 縛 ら れ 続 け る 私 た ち 。

かつて私は１つの家族を

守っていた

孤独で、他と変わりない

夫婦が死んで私だけ残された

つまらないただの箱

私は裸になってみた

live

mov e wor k city

y

wa high

d

a

ad

ro

un

「Died once more」 /Union DC(2018)

「Demolition painting of delusion city」 /Diploma(2019)

ty

highw

co

ay

pe

op le

ro

rb bu su

「Useless architecture」 /Korea(2018)

すると人が集まった

「Kaleidoscope」 /School Pj(2018)

「Chao Phraya」 /Bangkok(2018)

彼らはかつて長く巨大なインフラ

「Monumental house」 /JIA(2017)

だった場所に住んでいる

あ き れ る

彼らの世代を渡るコミュニティは

あ き れ る

左 右 で 人 が 争 う 。

どこまでも続くあたたかな

あぁ、私は生きている。

何 何 が が 豊 機 か 能 さ だ 戯 だ 言 が 。

インフラだった

重 力 に 縛 ら れ 続 け る 私 た ち 。

separation between residential and working place

「Behind the city」 /School Pj(2018)

鯉“KOI”/To Mr.& Mrs. Tezuka(2019)

妄想都市ノ解体絵図 ∼抽象絵画を用いた設計手法の提案∼

時々、ほんの一瞬、この世界とは違う場所に行きたくなる時がある。その一瞬はロウソクが消える前の瞬きのようなもので、すぐにこの世界へと戻される。 決まりきったルール、スーツ姿の作り笑い、しがらみだらけの風景、固結びの世間体など、この世界を許容できるほど私たちはそれほど強くはできていない。 私たちはほんの一瞬の別世界を感じながら今の世界を生きている。

引きこもりがちだった私は絵を描くことによって別の世界を見ていた。それはこの世界を写した具象画ではなく、目に見えない抽象画によって… 幼い頃から何百枚と描いた抽象画は周りから馬鹿にされ、理解はされなかったが、確信していた事があった。抽象画にはふと立ち止まる一瞬を与える力と、 何かと何かを繋ぐ 2 つの力がある事。例えるなら前者は偽善のような一瞬で、後者は受精のような繋がりに近い。私は抽象画が持つ力で都市と世界がどこま で繋がる事ができるのかを知りたかった。

都市は小説や評論、建築書物など読む限り、汚い。騒がしい。つまらない。窮屈だ…と言わんばかりに同じことが述べられているのをよく見るだろう。確か にそうだ。そんなこと分かってる。誰もが思ってる。改まって言うことでもないであろうが。昔から言われ続けているそれをこれまではるかに優れた建築家 や都市計画者 ( 日常を変える者 ) が構想してきたが、治る気配がない。むしろ悪化と言わんばかりに恩着せがましく世界が膨らむ。その上で日常を送る者は 手のつけられないそれに不満を持ちながら暮らし、轢かれた猫の死骸や親の性行為、見てはいけない腫れ物のようにタブー事と思っている。 私がこの作品に取りかかった時、それならそれでいいと思った。その人のズルさや、身勝手さごと、このつまらない世界を愛する。愛する方法を見つけ、別 の世界を少しだけ覗く扉を探したかったのである。

世界を変えるのではなく、平行世界を見ることで少しだけこの世界を愛せるであろう。

0-1.BACKGROUND

Unstable,unsure,stiff...

The urban image everyone holds is always gloomy. That is like an invisible huge monster.Nobody can see or touch it. We look at a city as if we were manipulated by it.

0-2.BACKGROUND

I lived in the center of Nagoya, Japan, and I had a nagative urban image.

But I hoped to love this city.

I drew the city to love it, and to find its charm.

0-3.BACKGROUND

My painting became more and more abstract.

And there was the charm of the city.

The small abstract imagination that even children could think of made the city interesting.

And that disappeared my negative urban image.

0-4.BACKGROUND

Originally, a city is attractive.

Just, we don't notice its charm.

If we want to make a city better, I think that necessary is a small architecture changing the urban image, not big violent urban design.

1. Site

Nagoya is one of the largest cities in Japan. Nagoya has diversity of complex potentials, including many buildings, factory areas, traditional castle town, and natural green areas.

Japan

Aichi

Nagoya

Nagoya Castle

Nagoya Station

Arimatsu street

Green park

Nagoya Port

Nakagawa Canal

2.-1 Conversion The Map to Canvas

First,make the map look like a canvas.

So, Nagoya map is a new white canvas.

・・・Nagoya City

2.-2 Creation of Abstract Urban Painting

Of course, Nagoya City comprises artificial and non-artificial elements.

These are visible forms on the map.

Such visible forms are drawn by lines.

In addition, the City also comprises historical elements. Such invisible forms are painted by surfaces. Next, while being inspired by the flow of lines and the power of surfaces, an abstract urban painting is created.

1. Artificial and non-artificial element

Artifact

on the map (Visible form)

A ＋

Non-Artifact

Draw by line

B ＋

2. History and origin element

History

(Invisible form)

Nagoy a City

＝

3. Inspire by“flow of lines”and “power of surfaces”

INVISIBLE

C

＝

Paint by surface

VISIBLE

Original MAP

Abstr

act P aintin

g

4. Completion of the abstract painting

Another MAP

ABSTRACT PAINTING IN NAGOYA

What is the silent point ?

One of the pioneers of abstract modern art, Wassily Kandinsky exploited the evocative interrelation between color and form to create an aesthetic experience that engaged the sight, sound, and emotions of the public. He believed that total abstraction offered the possibility for profound, transcendental expression and that copying from nature only interfered with this process. Highly inspired to create art that communicated a universal sense of spirituality, he innovated a pictorial language that only loosely related to the outside world, but expressed volumes about the artist's inner experience. His visual vocabulary developed through three phases, shifting from his early, representational canvases and their divine symbolism to his rapturous and operatic compositions, to his late, geometric and biomorphic flat planes of color.

Kandinsky's art and ideas inspired many generations of artists, from his students at the Bauhaus to the Abstract Expressionists after World War II. Wassily Kandinskyďźˆ1866â€?1944

平成 30 年度 卒業論文

I wrote a thesis about abstract paintings.

Found: ・In the early days of abstract expression, many abstract painters had erased the

抽象絵画からみた建築空間の可能性

vanishing points. ・Kandinsky alone said that there was an important point in abstract painting. ・That point is“silent point”. ・The silent point is necessary and important to form the whole painting.

名城大学理工学部建築学科 150450038 梶浦悠翠

2.-3 Plot The Silent Points Mondrian

Composition Ⅱ,1913

「silent points」

Kandinsky

Composition Ⅵ ,1913

a.

d.

d a

f

c

c.

e

f.

b

e.

b.

There are 6 silent points in this abstract painting.

2.-4 Return to The Map

a

f

a

f

a

b

Important point in the painting

e

f

c

c

c e

d

d

d

b

e

b

The canvas is returned to the map. Therefore,“important points”in the painting can be interpreted as“important spots”in the city.

d a

d

f

a

c e

d

f

a

c b

e

f

c b

e

b

Important spot in the city

d f 001. choja-machi Street

a c

e

b

002. Togasa Park

003. Kanayama Station

004. Obata Green Park

005. Nagoya Canal

006. Nekogahora Cemetery

3. Creation of Abstract Site Paintings Generally, we deign architecture while using photos taken on the site in order to understand context there.

However, that's not enough to understand. So, I made the following rules.

1. To create an abstract site painting while feeling various senses that cannot be in the photos.(e.g.:sound, wind, color, smell, atmosphere...)

2. Deadline:12 hours × 2days for a site drawing.

(This time,12hours×2days×6sites 144hours in total) 3. To put“notices”together.

notice = charm

001. Choja-machi Street

「Gap between buildings」

002. Togasa Park

「Encounter someone」

003. Kanayama Station

「Looking up to the sky」

004. Obata Green Park

「Territory of human and forest」

005. Nagoya Port

「Forgotten child's mind」

006. Nekogahora Cemetery

「Facing myself」

4. How to Design Follies

A folly form is determined by using a this cube because a fixed scale and abstracted that when considering the volume.

8500

And the notice is function of the folly.

600

0 6000

Site

001.

002.

003.

004.

005.

006.

Choja-machi Street

Togasa Park

Kanayama Station

Obata Green Park

Nagoya Port

Nekogahora Cemetery

「Encounter」

「Looking up」

Abstract site painting （410×318 ㎜）

Notice

「Gap」

「territory」

「Child's mind」 「Facing myself」

001. Choja-machi Street

002. Togasa Park

003. Kanayama Station

004. Obata Green Park

005. Nagoya Port

006. Nekogahora Cemetery

Design drawings

「Gap between buildings」

NAGOYA CASTLE

WHOLESALER ST

REET

ATION MARUNOUCHI ST

GS

OFFICE BUILDIN

BUSINESS DISTRICT CHO-JA MACHI

DOWNTOWN

a

ENTERTAINMENT DISTRICT NISHIKI. 3

c

b a

b

GS

OFFICE BUILDIN

SAKAE STATION ATION FUSHIMI ST

D STREET

c

Project No.

UNDERGROUN

001

Choja-machi

Drawing time

22.4h

0

SIENCE MUSEUM

20

40

100

3 0 0 ( m)

Site

Environment

Business area

Site area

206.5㎡ Scale

1/4000

A’ A

PLAN1 1/100

A’

A’

PLAN2 1/100

A

A

+1000

PLAN3 1/100

A‐A’SECTION 1/200

「Encounter someone」

HOUSING COMPLEX TECHNOLOGICAL UNIVERSITY

d

JUNIOR HIGH SCHOOL

f e

TOGASA POND

TOGASA PARK

e

M ELEMENTARY SCHOOL

d

KAM IZA WA

N O

ST AT I

T ELEMENTARY SCHOOL

20

40

100

002

23h

3 0 0 ( m)

Environment Residental area

Site

f

Togasa park

Drawing time

RESIDENTAL AREA 0

Project No.

Site area

222.5㎡ Scale

1/4000

A

A’

PLAN1 1/100

A

A’

PLAN2 1/100

A‐A’SECTION 1/100

「Looking up to the sky」

OFFICE BUILDINGS RESTAURANT AREA

h

SHOPPING MALL JR

g

ine

oL

u Ch

g

KANAYAMA STATION

FUSHIMI-DORI ST

M i

ei

te

ts

u

RESIDENTAL AREA N

ag

oy

a

M

ai

n

h

Lin

e

JR ai

k To

OFFICE BUILDINGS

do

i

e Lin

0

20

40

100

3 0 0 ( m)

Site

Project No.

003

Kanayama

Drawing time

Site area

23.5h

Environment Near station

96.7㎡ Scale

1/4000

A’

A’ PLAN1 1/100

A

A

+400

PLAN2 1/100

A’ A

A’ A PLAN3 1/100

PLAN4 1/100

A‐A’SECTION 1/100

「Territory of human and forest」

GOLF COURSE

POND

j

OBATA GREEN MIDDLE PARK

ｋ

ing

Walk

route

k

ｌ

ｊ

HACHIRYU SHRINE

RES

IDE

NT AL

Project No.

KICHIJO TEMPLE

004

AR

0

KINJO UNIVERSITY

20

40

100

3 0 0 ( m)

l

Obata green park

Drawing time

141.7㎡

Environment

Scale

24h

EA

Site

Green lung

Site area

1/4000

A’

+1600

±0

+200

A

A

+200

PLAN1 1/100

A

A’

A’

PLAN2 1/100

PLAN3 1/100

A‐A’SECTION 1/100

「Forgotten child's mind」

NAGOYA STATION

GRASSY FIELD

o

FACTORY (RE.)

HOUSING COMPLEX

FACTORY (TP.)

m BUS STOP

m

n FACTORY (HM.)

n

PUMPING STATION

FACTORY (JTP.)

NAKAGAWA CANA L

RESIDENTAL AREA

0

NAGOYA PORT

20

o

Project No.

005

Site

Nagoya Port

Drawing time Site area

23.5h

40

100

3 0 0 ( m)

Environment Industrial area

95.5㎡ Scale

1/4000

A’

A

A’

A PLAN1 1/100

PLAN2 1/100

A’

A’

A

A PLAN3 1/100

PLAN4 1/100

A‐A’SECTION 1/100

「Facing myself」

ION JIUGA OKA ST AT

HOSPTAL

SPECIAL SCHOOL

ANIMAL SHELTER

KANOKO PARK

N

EE

GR

LD

p

FIE

r

HOUSING COMPLEX

CEMETERY

q

NEKOGAHORA POND p

GRE

EN

r

PAR K

Project No.

006

q

RESIDENTAL AREA 20

40

100

3 0 0 ( m)

Nekogahora Pond

Drawing time

154.0㎡

Environment

1/4000

23h

0

Site

Cemetery area

Site area Scale

A’ A

PLAN1 1/100

A‐A’SECTION 1/100

fin.