yukahanawa | Architecture Portfolio

YUKA HANAWA November 27th, 1994 Helsinki, FINLAND E-mail : yukahanawa87@gmail.com

2

EDUCATION 2018.09-

Architecture Course Master Exchange Student Aalto University School of Arts, Design and Architecture | Espoo, FINLAND Studio: Architectural Studio 1”Exhibition in Museum of Finnish Architecture” Health and Wellbeing Architecture Design Studio”Design for End of Life Care”

2017.04-

Candidate of Master of Engineering, Tohoku University | Sendai, Miyagi, JAPAN Advisor:Prof. Yasuaki Onoda Major: Theory for Architectural space, Department of Architecture and Building Science Studio: Actual Renovation Project of Sendai City Hall”City Hub : urban activated device”

2013.04-2017.03

Bachelor of Engineering, Tohoku University | Sendai, Miyagi, JAPAN Advisor: Prof. Yasuaki Onoda Major: Theory for Architectural space Diploma design: “House in Motion ” Thesis: Study for the behavioral characteristics of the elderly with dementia referring living experience

EXPERIENCE 2016.032017.06 2016.03-04 2017 2015-2017

Onoda Lab | Sendai, Miyagi Group Leader of Student Restaurant Project in Tohoku University Group Leader of Early Childhood Education and Care Project in Hirono Nikken Sekkei Ltd | Iidabashi, Tokyo Internship: Basic Design (AutoCAD) Mitsubishi Jisyo Sekkei INC, Architects | Sendai, Miyagi Part Time: Basic Design (Modeling, Vector Works)

2015

o+h Architects | Hamacho, Tokyo Internship: Basic Design (Modeling)

2015

Makoto Yokomizo Architects | Waseda, Tokyo Internship: Basic Design (Modeling)

2014

University of California, Riverside, The Student of Short Study Abroad

2013-2016 2015-2016

Tohoku Architecture Student Organization Director of Tohoku Architecture Student Organization

2013-2015

Volunteer Group of the Great East Japan Earthquake

OTHER 2017.8 2017.6

Graduation Design Exhibitor of Tohoku Univ. | Architectural Institute of Japan Student Presenter | Graduates Alumni Association of Architecture and Building Science,Tohoku Univ.

2018.1 2017.8 2017.3

Selected in Studio | 2018s’ Master‘s Degree Architectural Design Studio Selected for Best 10 | International Exhibition Architecture Graduation Design 2017 Special Award | Design Girl National Championship Selected for Best 10 | National Graduation Design Competition Grand Prize | Dept. of Architecture, Tohoku Univ.

Jury Prize | ISAIA International Competition Selected in Studio | 2016s’ Architectural Design Studio Selected in Studio | 2015s’ Masahiro Harada Studio Student Award | Tonchiku championship Selected in Studio | 2015s’ Yasuaki Onoda Studio Selected | Tonchiku Furniture Competition Selected for Best 100 | Architectural Freshmen Championship

RECOGNITION

.2 2016.9 .8 2016.2 2015.12 2015.9

EXPERTISE Digital Modelings Digital Graphics Hands-On

ArchiCAD, Rhinoceros, Sketch Up, Laser Cutting Adobe Illustrator, Photoshop, InDesign, Vector Works, AutoCAD Drawing, Modeling

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C O N T E N T S

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ACADEMICS 01 l THE HOUSE IN MOTION GRADUATION DESIGN (03.2017, Tohoku Univ.)

032

02 l A PLACE FOR END OF LIFE CARE HEALTH AND WELLBEING ARCHITECTURE DESIGN STUDIO (01.2019 - 04.2019, Aalto Univ.)

046

03 l DWELLING WITH WIND AND SUNLIGHT BACHELOR 3rd DEGREE'S ARCHITECTURAL DESIGN STUDIO (2015, Tohoku Univ.)

PARTNERS : Shota Osanai, Kazuki Sato

056

04 l REFLECTOR OF NATURAL FLUID -BASED ON INSPIRATION FROM FILMBACHELOR 3rd DEGREE'S ARCHITECTURAL DESIGN STUDIO (2015, Tohoku Univ.)

064

05 l A HOUSE FROM LANDSCAPE BACHELOR 2nd DEGREE'S ARCHITECTURAL DESIGN STUDIO (2014, Tohoku Univ.)

070

06 l SEVEN GARDENS SCHOOL BACHELOR 3rd DEGREE'S ARCHITECTURAL DESIGN STUDIO (2015, Tohoku Univ.)

080

07 l THE WALL BACHELOR 4th DEGREE'S ARCHITECTURAL DESIGN STUDIO (2016, Tohoku Univ.)

PARTNERS : Ryo Sasaki, Soichiro Yoshida

092

08 l RADICAL THEATRE ARCHITECTURAL STUDIO 1 (09.2018 - 12.2018, Aalto Univ.)

PARTNERS : Maria Bjuhr, Laura Eerikäinen, Mengxue Gu, Kasperi Kuusento, Korbinian Schütze, Nora Sønstlien, Anniina Taivainen, Maisa Tirkkonen, Heikki Torkkeli, Niklas Turunen, Wang Xin, Yehan Zhang

104

09 l KAKERU TONCHIKU FUNITURE COMPETITION (2015) PARTNERS : Mayu Yokota, Sakura Kataoka, Yuki Shinohara

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10 l PUBLIC JUNTION -ACTUAL RENOVATION PROJECT OF SENDAI CITY HALLMASTER'S DEGREE ARCHITECTURAL DESIGN STUDIO (2017, Tohoku Univ.)

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MISCELLANEOUS GLASS WORK l IRREVERSIBLE GRAPHIC DESIGN / PHOTOGRAPH

A

C

A

D

E

M

I

C

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THE HOUSE I N MOTION 01 l THE HOUSE IN MOTION GRADUATION DESIGN (2017) SUPERVISOR : Prof. Yasuaki Onoda RECOGNITION : Selected for the best 10 / International Exhibition Architecture Graduation Design 2017, The special award / Design giarl national championship, Selected for the best 10 / National Graduation Design competition, Grand Prize / Dept. of Architecture, Tohoku Univ.

In my daily life with dementia grandma, I have identified that her way of dialogue with space was different from ours. Investigation of this idea revealed that the combination of scenes with sound, light and smell depending on time plays an important role in her spatial cognition. These are universal for not only dementia patients but also all people. That is why this project aims to create the housing based on the reverse order method which integrate the part scenes with the five senses.

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My grandmother (85 years old) / Alzheimer’s disease

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My grandmother's House 2-storied wooden, built in 1966, Ofunato, JAPAN

10 10

0

5

1:150

11 11

-

S

U

R

V

E

Y

H o w Do Elde rly with Dem entia R e c o g n iz e th e S p a c e ?

①

②

BEHAVIOR OBSERVATION FOR MY GRANDMOTHER

Flow line of my gramdmather Room that her memories remain Sound object Visible area examples

Series of Partical Scenes, Not Room Unit as Function She has moved the space by not refering the room as function but linking the series of partial scenes with five senses and daily habits in her house where past memory and present were mixed.

①

12 12

②

TRANSITION OF FUNCTIONAL MAPPING

STR PL

KR

STR

STR STR

K

FR

BR(GM) BUTSUMA 2016-

BR

1976-1981

KR

FR 1971-1076

2013-2016

STR WC DR

PR(GM)

G

OFFICE

L

G

1981-2013

1966-1971

K

BR ENGAWA

Renovation+Change of function

There were recurring changes in the functioning of each room because of having been run an office and guest house.

Renovation Change of function ?

Private space for family

13 13

5.DR 6.Grandma’ s Room

3.STR

8.BR

7.L

14

10.ST

16.D

TR

11.STR

１０ １

３

４

H

H

F

A

F

A ９ A

F

J

１４

J

H

１２

H H

F

A

１１

E

G

G

B

E

７

G

２

６ D

G

C

B

５ D

C

１３

H ８

H

１５

H

F

F １６

I

I

I

A

A

A

A

A

A

12.K 13.Bath Room

15.BUTSUMA

16.ENGAWA

15

- D E S I G N

P R O C E S S

E x t r act t

ORIGINAL HOUSE

SI

A

⃝

HE ⃝ SM

N

TO Several layers of translucent material which sound passes through

SI

B

⃝

HE SM ⃝ TO ⃝ Under the table, on the soft textile material which has specific smelling

SI

E

⃝

HE SM ⃝ TO ⃝ High humidity air having a smell of concrete from storage space

SI

F

⃝

HE ⃝ SM

M

L

TO Edge of the house where a faint sound comes

COGNITIVE MAP

景の抽出 祖母の空間認知の手掛かりとなる景を抽出し、分析した。部屋という単位ではなく、これらの景の紡ぎ合わせによって、彼女の世界が構成されていると考える。

*

*

視覚情報だけでなく、聴覚・嗅覚・触覚で得る情報が絡み合うことで、空間を部屋を超えた領域ごとに把握している。

*

* 16 16

th e Sp at i a l C l u ster

*

SPATIAL CLUSTER MODEL

SI

C

⃝

A

C

B

D

E

K

F

I

HE SM TO ⃝ Dining room overlapping different brightness of a light

SI

D

⃝

HE ⃝ SM TO Stairs that sunlight and sound come from behind

G

SI

K

⃝

HE SM

H

TO Living room that light comes directly through several room

SI

I

⃝

HE ⃝ SM ⃝

J

TO The space under some laundry having the specific smell in ENGAWA

SI : Sight, HE : Hearing, SM : Smelling, TO :Touching

* *

Based on the survey, I extracted clusters from the partial scenes with five senses recognized by grandmother at staying places, and create 8 abstract models having five senses information.

As shown in the cognitive map, the grandma's cognition space is changed dynamically due to her behavior and the opening and closing of the door.

17 17

Ⅰ.

Winter wind

Sound of leave

Sunlight

Smell of gardenia

Summer wind

Ⅱ.

Smell

K

Shadow of shaking trees D

F

A

Sound

K

Sound of tree and chirp

Ⅲ.

B

C E B D

I

Sound of the leaves of Ichijiku

D

Smell of timber by sunlight

Ⅳ.

F C

Smell of Fallen leaves

A

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- P R O P O S A L

es shaking in the wind

E

C

Place to be heated in winter afternoon

The smell of lavender

I

Citrus leaf sticks leaves in autumn

A The shadow of the leaf by morning sun

Integrate the Clusters Configuration of wall thickness, ceiling height and materials (timber, concrete, soil) reflects various changes of sunlight, sound, smell and temperature, acting as a variable factor. The sensitive space with rain sounds, the smell of flowers and cool atmosphere by concrete introduce a new identity, redefining the house as a place to release from function.

19 19

Continuous living space intertwining the greenery and the residence contribute to sensitive experiences, while changing the atmosphere depending on the time and season.

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21 21

B

A

B’

1

2

1 Plan S=1/80

3

2 A-A’ Section S=1/160

4 5

22 22

3 B-B’ Section S=1/160 4 South Elevation S=1/160 5 West Elevation S=1/160

A’

23 23

Gardenia

Redundant boundaries between inside and outside enables people to enjoy change of the extensive space depending on the season. In spring, the bowers clinging to positions in wall oer a comfortable space accompanied by shade and sounds of trees. In summer, smells of gardenia and cool atmosphere of concrete ow into inside from opening doors, enabling sensitive experiences.

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SPRING Semi-Outdoor space ďŹ lling with indirect light

S U MME R Shade area having the smell of gardenia through from the narrow corridor

WINTER Winter garden which has several layers to block the wind

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MAPS OF FIVE SENSES

Spring / Autumnal Euinox Day AM11:00

Summer Solstice AM11:00

Winter Solstice AM11:00

1 Sun Shade Map Shade Sun

2 Sound Map Trees in garden Fallen leaves Trees inmountain Echo in a small space Diffuse in a wide space

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3 Smell Map Soil Timber Concreate Other

4 Heat Map Warm Cold Weak Strong

Weak Strong

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28

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A P L AC E F O R E N D O F L I F E C A R E 02 l A PLACE FOR END OF LIFE CARE HEALTH AND WELLBEING ARCHITECTURE DESIGN STUDIO (01.2019-04.2019 Aalto Univ.)

STUDIO MASTER : Prof. Laura Arpiainen EXHIBITION : 08. 2019, Väre Aalto University COLLABORATOR : Wingren Emily (Sound Designer)

This project aims to redefine the place to spend the end of life, hospice, by focusing on the interface between the dwelling and nature based on the Finnish lifestyle. This hospice is consists of eleven boxes, same scale with huts, located on the borders of indoor line and verdant outdoor lines. Inside, the redundant space formed by interconnected boxes and these borders, contribute a close relationship between human activity and nature. Hierarchal outdoor spaces arranged between the boxes function for private, semi-public and public gardens, while keeping the distance in each box by seeing through the different box beyond the gardens, without patient's isolation.

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SITE, Nuottalahdentie, Espoo, FINLAND

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A verdant place having the footpath connected to the sea, located o the suburban in Finland.

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Intimate interface with nature This concept is to create the intimate interface between living space and nature, while keeping the accessibility, by arranging the diused cluster on the border of inside and outside.

Patient Family / Living Staff / Medication

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SPIRITUAL ROOM

S-A

Water drapping

Steel Pipes

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プ ャン

gat a na s hi at us pr oduce ed w / 11/18/ 2009

ャン プ シ

シ

シ

ャン プ

S-C’

S-B’

+500

S-A’

S-C

S-B

37

1:400

20

10

5

0

S-A

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Diffused cluster provides an interactive network between each room and nature, while maintaining the privacy for individual room. Two indoor lines having the louver as a surface extend the atmosphere of the forest, while offering a sense of belonging to the community without isolation, by creating the space that people can see through the other boxes beyond the courtyards.

S-A’

0

5

10

1:200

39 39

S-C

S-A

S-B

40 40

S-C’

S-B’ 0

5

10

1:200

41 41

42 シ シ

ャン プ

ャン プ

t ga a s hi na e ats u uc pr od

/ 11/1 2009

8/ wed

t ga a s hi na e ats u uc pr od

/ 11/1 2009

8/ wed

ャン プ

ャン プ

シ

シ シ

プ ャン

シ

プ ャン

4,200

1,500

SUIKINKUTSU S-D

S-D’

S-E

S-E’

H : 685 H : 432

S-D

S-D’

S-E

S-E’

H : 685 H : 432

S-A

S-A’

S-B

2,660

4,600

2,660

4,600

0

S-B’

43

5

1:100

The sloped roof and diused conďŹ guration of several huts, same scale with surroundings, harmonize with the inclined forest. Dierent height and skin of each volume contribute to varied scenes by resonating the natural phenomena.

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DWELLING WITH WIND AND SUNLIGHT 03 l DWELLING WITH WIND AND SUNLIGHT BACHELOR 3rd DEGREE'S ARCHITECTURAL DESIGN STUDIO (2015) STUDIO MASTER : Assoc. Prof. Masashige Motoe PARTNERS : Shota Osanai, Kazuki Sato RECOGNITION : Selected in Studio

This project aims to redefine the residence as an institution that offer opportunities for social interaction. The site is an area in which community was separated by the Great East Japan Earthquake. To incorporate 3 specific factors on this site (optical axis of the season, vista, wind on the site) , this design slices the volume and create slits. This slits generate the dynamic intersection of urban and architecture.

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Area affected by The Great East Japan earthquake, Arai, Sendai, Miyagi, JAPAN (03.11.2011)

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Summer

Winter

Wind

Vista

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This building, intersected with natural dynamics and urban diversity function as a activate device to conserve the memory and update in this area, by importing the sense of place and creating an intimate relationship with residents.

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Residence Ă— Commerce

Junction

The project consists of commercial and residential functions.

Courtyards of voids and hall enlighten communication between residents and visitors while providing spaces for privacy by having intimate passage connecting the volumes. Interactive place as a unique encounter between retail, nature and public space it averts the predictability of shopping and living.

50 50

EV

Commerce

Residence

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RESIDENCE SAMPLE TypeA

TypeB

EV TypeC

52 52

This building generates impressive perspective, while also fostering a sense of community and maintaining individuality and identity.

S-B

S-A

S-A’

GL+1,000 S-B’

GL+9,000

GL+19,000

0

5

10

20

1:500

53 53

S-A

54 54

S-A’

S-B

S-B’ 0

5

10

20

1:500

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R E F L E C TO R O F N AT U R A L F L U I D -BASED ON INSPIRATION FROM FILM04 l REFLECTOR OF NATURAL FLUID -BASED ON INSPIRATION FROM FILMBACHELOR 3rd DEGREE'S ARCHITECTURAL DESIGN STUDIO (2015) STUDIO MASTER : Prof. Yasuaki Onoda RECOGNITION : Student Award/2015’s Tonchiku Chanpionship, Selected in Studio

This mission is to develop the atmosphere inspired by a film into architecture. In this project, I tried to incorporate sunlight and wind dynamics into architecture and to enable to feel someone from invisible space. Inside, the space is not physically divided, but gently partitioned by obliquely inclined walls. The angles of the walls are set based on analysis of reflection of sunlight and sound entering into each space at a certain time.

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Paris, Texas (film), Wim Wenders, 1984

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SENDAI

The movie "Paris· Texas”

Inspiration

Object

Space

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PM:4:00

C O N FIG U RA T I O N O F W A L L T O C AP T U RE SU NL I GH T Location : An inclined site near to a river Sunlight Sound

AM8:00

View 59

a n agat atsushi produce

d

/18/we

2009/11

S-A’

S-A

GL+2,500

a n agat produce atsushi

d

0

/18/we

2009/11

5,900

5

10

1:500

7,100

5,600

4,100

7,900 5,800 12,300 10,500

5,400

8,900

6,400

10,900 0

6,900

6,000 4,800 6,000

6,200 6,400

60 60

4,800

3,100

GL+5,500

To be effective the concept, this building accommodate share offices and galleries. Interweaving action of nature and signs of colleagues into space provide people with extensive experiences, such as sound resonance, multireflection of natural light from visible/invisible space.

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S-A

62 62

ŠIzuru Echigoya

The project generates ample spaces and opportunities for social interaction and shared activities while blending seamlessly with sensitive natural surroundings.

S-A’ 0

5

10

1:300

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A HOUSE FROM LANDSCAPE 05 l A HOUSE FROM LANDSCAPE BACHELOR 2nd DEGREE'S ARCHITECTURAL DESIGN STUDIO (2014) STUDIO MASTER : Prof. Toshikazu Ishida

This project aims to explore a new relationship between garden and space for modern living. Based on the methods from the Japanese painting to make the "Oku", which means being shown the scene optically deeper than actual depth by manipulating balances of the object scale and layout, this house provides new experiences, which enjoy seeing the overlapping several scenes of occupant's livelihood, and rhythm and motion in garden, at a small space in the density city.

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The view from my parents' house, from photo album

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秋冬山水図 (Shuto Sansui-zu) / 雪舟 (Sesshū Tōyō)

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E xtr a c t 3 M ethods from Japane se P a intin g

1. Overlapping the different layers

2. Equivalence layout of the contrasted object

3. Repeating the winding road

1+2

3

Inside Garden

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S-A

S-A’

0

68 68

5

1:100

2F 1:200

S-A

S-A’

This house is arranged in the clusters that the various functions are organized into distinct blocks, and deďŹ ning a garden as a hub for family interaction.

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SEVEN GARDENS SCHOOL 06 l SEVEN GARDENS SCHOOL BACHELOR 3rd DEGREE'S ARCHITECTURAL DESIGN STUDIO (2015) STUDIO MASTER : Prof. Toshikazu Ishida RECOGNITION : Selected in Studio

This primary school is permeable for the activities of the park located on this site while keeping secure, establishing the stimulating connection of each place by workspaces extension and exclusion of the divided room. The workspaces are accommodated in a single "drape" as a major route over which the life of the school can extend in all directions without separating. The garden between the drapes and a major route which has different widths provides the variation for experiences by changing a landscape depends on time and weather.

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Kimachi Street Primary School, Sendai, Miyagi, JAPAN

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Several areas facing distinct neighborhoods: park, tree avenue, old residential area and route 31, accommodate dierent function such as classroom for each grade, special classroom, space for teachers.

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S-A

S-B

S-B’

S-A’

0

10

20

1:600

73 73

74 74

Inside, space will be a place where people circulate in the varying scale of rooms with a rhythmic sequence. Gardens provide shortcut path and interactive relationships in each workplace.

75 75

S-A

After-school activity class

Public space

S-B

76 76

S-A’

0

5

1/300

10

8,200

750

3,000

Individual study space

3,700

Middle grades work space

S-B’

0

5

1:100

77 77

T

H

E

W

A

L

L

07 l THE WALL BACHELOR 4th DEGREE'S ARCHITECTURAL DESIGN STUDIO (2016) PUBLISHED : Towards the Future of Lost Belt -ISAIA 2016 International Student Design CompetitionPARTNERS : Ryo Sasaki, Soichiro Yoshida RECOGNITION : Jury Prize / ISAIA International Competition, Selected in Studio

After the East Japan earthquake, a sea wall has acted as a catalyst of human activity, without only functioning as an architectural device to secure community. This project aims to make a cultural heart attracting the this coast's vital energy to inland and inject it back into the community in Shichigahama, the disaster-stricken area from the East Japan earthquake, by extending the sea walls to the area positioned at the border between residential area and beach. It will forge a new type of park that becomes a destination by promoting and instilling the unique and diverse activity happening in this area.

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ISAIA2016 INTERNATIONAL STUDENT DESIGN COMPETITON, Qatar Science Capmus Hall, Tohoku Univ.

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Sea wall as a catalyst to evoke activity The sea walls perform as not only the architectural device to secure community but also catalyst to evoke human activity 82

Extend The Sea Wall

- D E S I G N

F A C T O R

Sea Wall

VISTA

83 Field Flooded distinct

Site

Sea wall

84

４

６

５

４

1. Path following along the outline of past house 2. Series of windows on the line of the past walk path

３

3.Past gathering place 4. Exhibition space having a slit of light with the pitch of past house

２ １

5. Observatory to see the sea 6. Facilities for the beach activity

0

20

85

40 1:1,600

86 86

The design plays with the ambiguities between present and memory. The walls are organized in a diused conďŹ guration to enhance the experience of walking around this site by injecting the scene and the footprint of the past landscape.

87 87

©Izuru Echigoya

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Overlapping walls perform as an interface of dierent function, and the redundant place between the walls enable interaction of human activity and enhance identity in this place. The gaps between walls will be the intersection of diversity in multi-purpose such as surfer, visitor and resident.

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R A D I C A L

T H E A T R E

08 l RADICAL THEATRE ARCHITECTURAL STUDIO 1 (10.09.2018-10.12.2018, Aalto Univ.)

STUDIO MASTER : Assoc. Prof. Jenni Reuter, Tuomas Siitonen EXHIBITION : 5.3.–2.6.2019, The Museum of Finnish Architecture REPORTED : http://www.mfa.fi/opiskelijat-museossa PARTNERS : Maria Bjuhr, Laura Eerikäinen, Mengxue Gu, Kasperi Kuusento, Korbinian Schütze, Nora Sønstlien, Anniina Taivainen, Maisa Tirkkonen, Heikki Torkkeli, Niklas Turunen, Wang Xin, Yehan Zhang.

This project is the actual exhibition design about P.E. Blomstedt (1900-1935), a Finnish architect and designer, at the Museum of Finnish Architecture in spring 2019. The exhibition presents Blomstedt’s vision of a new radical theatre, people’s theatre, in its context of space and time. In addition, it shows our own interpretation of his theatre proposal, and the temporal movements we think could have affected on it.

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Exhibition Opening Events, The Museum of Finnish Architecture, Helsinki, FINLAND

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The first room, a dark room with vivid colours and dramatic lights, gives the feeling of 1930 s architecture of the night. The main elements are the neon sign, the site model, the wall-sized Hakaniemi photograph, and the selected originals in colourful frames. The neon sign represents the modern city life and works as an attracting symbol of the exhibition. As a centrepiece the site model shows how Blomstedt s theatre would have been in todays Hakaniemi.

The second room, an enclosed, intense space, shows our interpretation of Blomstedt s theatre. The main elements are the wall projections with avant-garde soundscape, the section model and the colourful seats inspired by shapes found in Blomstedt s sketches.

The wall projections are divided to two different sections; one presents a walk through the theatre and the other association pictures to show influences of the time. In addition, the section model shows the interior of the theatre hall.

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The wall projections are divided to two dierent sections; one presents a walk through the theatre and the other association pictures to show inuences of the time.

96

MULTIMEDIA INSTALLATION

PART I

(approx. 1:30 minutes)

・Free associations and our interpretations of the time and theatre’ s background

P A R T I I (approx. 3:00 minutes) ・Virtual walk through 3D reconstruction of theatre building in abstract line drawing style

・Photographs, posters, drawings, and short video clips

・Spatial impressions of entrance hall, theatre hall and

・Fast speed and different images popping up

restaurant spaces

・Background music: Cecil Taylor - Bemsha Swing

・Slow speed according to real-time walking speed

John Cage - Tossed As It Is Untroubled

・Background music: Igor Stravinsky - Le Sacre du Printemps

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SPATIAL CONCEPT

ROOM 1 - DESIGN AND CONTEXT INTRODUCTION HISTORY RADICAL THEATRE ORIGINALS SITE-HAKANIEMI SITE MODEL

ROOM 2 - EXPRERIENCE OUR VISION PROJECTIONS SOUNDSCAPE DETAIL-CHAIRS SECTION MODEL

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ELEVATION

E-1

Blomstedt s design of the People s Theatre was radical in many respects, as it borrowed many ideas from Piscator and Gropius.

Rather than utilizing sophisticated technology, it incorporated various clever solutions that facilitated new forms of artistic experimentation.

The stage, sets and stalls could be moved mechanically, allowing the entire auditorium to be used for performances. A film projector enabled live performances to be combined with projected images, light effects and film footage.

Rather than utilizing sophisticated technology, it incorporated various clever solutions that facilitated new forms of artistic experimentation.

The stage, sets and stalls could be moved mechanically, allowing the entire auditorium to be used for performances. A film projector enabled live performances to be combined with projected images, light effects and film footage.

Blomstedt s design of the People s Theatre was radical in many respects, as it borrowed many ideas from Piscator and Gropius.

Rather than utilizing sophisticated technology, it incorporated various clever solutions that facilitated new forms of artistic experimentation.

The stage, sets and stalls could be moved mechanically, allowing the entire auditorium to be used for performances. A film projector enabled live performances to be combined with projected images, light effects and film footage.

Rather than utilizing sophisticated technology, it incorporated various clever solutions that facilitated new forms of artistic experimentation.

The stage, sets and stalls could be moved mechanically, allowing the entire auditorium to be used for performances. A film projector enabled live performances to be combined with projected images, light effects and film footage.

Rather than utilizing sophisticated technology, it incorporated various clever solutions that facilitated new forms of artistic experimentation.

Blomstedt s design of the People s Theatre was radical in many respects, as it borrowed many ideas from Piscator and Gropius.

Rather than utilizing sophisticated technology, it incorporated various clever solutions that facilitated new forms of artistic experimentation.

The stage, sets and stalls could be moved mechanically, allowing the entire auditorium to be used for performances. A film projector enabled live performances to be combined with projected images, light effects and film footage.

Rather than utilizing sophisticated technology, it incorporated various clever solutions that facilitated new forms of artistic experimentation.

The stage, sets and stalls could be moved mechanically, allowing the entire auditorium to be used for performances. A film projector enabled live performances to be combined with projected images, light effects and film footage.

Rather than utilizing sophisticated technology, it incorporated various clever solutions that facilitated new forms of artistic experimentation.

The stage, sets and stalls could be moved mechanically, allowing the entire auditorium to be used for performances. A film projector enabled live performances to be combined with projected images, light effects and film footage.

Blomstedt s design of the People s Theatre was radical in many respects, as it borrowed many ideas from Piscator and Gropius.

Blomstedt s design of the People s Theatre was radical in many respects, as it borrowed many ideas from Piscator and Gropius.

Rather than utilizing sophisticated technology, it incorporated various clever solutions that facilitated new forms of artistic experimentation.

The stage, sets and stalls could be moved mechanically, allowing the entire auditorium to be used for performances. A film projector enabled live performances to be combined with projected images, light effects and film footage.

Rather than utilizing sophisticated technology, it incorporated various clever solutions that facilitated new forms of artistic experimentation.

The stage, sets and stalls could be moved mechanically, allowing the entire auditorium to be used for performances. A film projector enabled live performances to be combined with projected images, light effects and film footage.

Rather than utilizing sophisticated technology, it incorporated various clever solutions that facilitated new forms of artistic experimentation.

Rather than utilizing sophisticated technology, it incorporated various clever solutions that facilitated new forms of artistic experimentation.

Blomstedt s design of the People s Theatre was radical in many respects, as it borrowed many ideas from Piscator and Gropius.

Rather than utilizing sophisticated technology, it incorporated various clever solutions that facilitated new forms of artistic experimentation.

The stage, sets and stalls could be moved mechanically, allowing the entire auditorium to be used for performances. A film projector enabled live performances to be combined with projected images, light effects and film footage.

Blomstedt s design of the People s Theatre was radical in many respects, as it borrowed many ideas from Piscator and Gropius.

Blomstedt s design of the People s Theatre was radical in many respects, as it borrowed many ideas from Piscator and Gropius.

Rather than utilizing sophisticated technology, it incorporated various clever solutions that facilitated new forms of artistic experimentation.

The stage, sets and stalls could be moved mechanically, allowing the entire auditorium to be used for performances. A film projector enabled live performances to be combined with projected images, light effects and film footage.

Rather than utilizing sophisticated technology, it incorporated various clever solutions that facilitated new forms of artistic experimentation.

The stage, sets and stalls could be moved mechanically, allowing the entire auditorium to be used for performances. A film projector enabled live performances to be combined with projected images, light effects and film footage.

Rather than utilizing sophisticated technology, it incorporated various clever solutions that facilitated new forms of artistic experimentation.

The stage, sets and stalls could be moved mechanically, allowing the entire auditorium to be used for performances. A film projector enabled live performances to be combined with projected images, light effects and film footage.

Rather than utilizing sophisticated technology, it incorporated various clever solutions that facilitated new forms of artistic experimentation.

The stage, sets and stalls could be moved mechanically, allowing the entire auditorium to be used for performances. A film projector enabled live performances to be combined with projected images, light effects and film footage.

Rather than utilizing sophisticated technology, it incorporated various clever solutions that facilitated new forms of artistic experimentation.

The stage, sets and stalls could be moved mechanically, allowing the entire auditorium to be used for performances. A film projector enabled live performances to be combined with projected images, light effects and film footage.

Rather than utilizing sophisticated technology, it incorporated various clever solutions that facilitated new forms of artistic experimentation.

The stage, sets and stalls could be moved mechanically, allowing the entire auditorium to be used for performances. A film projector enabled live performances to be combined with projected images, light effects and film footage.

Rather than utilizing sophisticated technology, it incorporated various clever solutions that facilitated new forms of artistic experimentation.

E-2

Blomstedt s design of the People s Theatre was radical in many respects, as it borrowed many ideas from Piscator and Gropius.

Rather than utilizing sophisticated technology,

E-3

VISUAL IDENTITY

2,000 Blomstedt s design of the People s Theatre was radical in many respects, as it borrowed many ideas from Piscator and Gropius.

Rather than utilizing sophisticated technology, it incorporated various clever solutions that facilitated new forms of artistic experimentation.

The stage, sets and stalls could be moved mechanically, allowing the entire auditorium to be used for performances. A film projector enabled live performances to be combined with projected images, light effects and film footage.

Rather than utilizing sophisticated technology, it incorporated various clever solutions that facilitated new forms of artistic experimentation.

Visual identity of the exhibition is based on the materials,colours and fonts inspired by the 1930 s

Blomstedt s design of the People s Theatre was radical in many respects, as it borrowed many ideas from Piscator and Gropius.

Blomstedt s design of the People s Theatre was radical in many respects, as it borrowed many ideas from Piscator and Gropius.

Rather than utilizing sophisticated technology, it incorporated various clever solutions that facilitated new forms of artistic experimentation.

The stage, sets and stalls could be moved mechanically, allowing the entire auditorium to be used for performances. A film projector enabled live performances to be combined with projected images, light effects and film footage.

Rather than utilizing sophisticated technology, it incorporated various clever solutions that facilitated new forms of artistic experimentation.

The stage, sets and stalls could be moved mechanically, allowing the entire auditorium to be used for performances. A film projector enabled live performances to be combined with projected images, light effects and film footage.

Rather than utilizing sophisticated technology, it incorporated various clever solutions that facilitated new forms of artistic experimentation.

Rather than utilizing sophisticated technology, it incorporated various clever solutions that facilitated new forms of artistic experimentation.

1,600

Blomstedt s design of the People s Theatre was radical in many respects, as it borrowed many ideas from Piscator and Gropius.

Rather than utilizing sophisticated technology, it incorporated various clever solutions that facilitated new forms of artistic experimentation.

The stage, sets and stalls could be moved mechanically, allowing the entire auditorium to be used for performances. A film projector enabled live performances to be combined with projected images, light effects and film footage.

Rather than utilizing sophisticated technology, it incorporated various clever solutions that facilitated new forms of artistic experimentation.

1,000

99

DETAIL3 DETAIL3

Projection

Original drawings

History text + photos

Bench

Hakaniemi market place wall size photograph, printed on fabric

DETAIL1 DETAIL1

ELEVATION 3 ELEVATION 3

A A

ROOM 2 Bench

Original drawings

Text about sketches

Projection

Painted floor

Introduction text + photos

ROOM 1

Section model 1:100

ELEVATION44 ELEVATION

ELEVATION22 ELEVATION

A A

Scale model 1:500

Curtain

Chairs

Carpet floor Projection

ELEVATION ELEVATION 11

Radical theatre

Entrance

PLAN 1:20 1:50

PLAN 1:100 GSEducationalVersion

DETAIL2 DETAIL2

DETAIL4

LIGHT SWITCH

DETAIL2

A-A SECTION 1:100 1:50 A-A SECTION

ELEVATION 1 1:50 100

CEILING

LAMP

MDF

DETAIL4 1:10

JOINTS

Alarm

Wall Socket

Wall Socket

MATERIALS MDF 16 mm Screws 14mm / 3mm

ELEVATION 2 1:50 101

K

A

K

E

R

U

09 l KAKERU TONCHIKU FUNITURE COMPETITION (2015) PARTNERS : Mayu Yokota, Sakura Kataoka, Yuki Shinohara RECOGNITION : Selected

This project is furniture design for temporary retailing of traditional crafts on the new passageway in the Sendai station. The series of arch reminds people symbolic scene of nature and Tanabata, as the biggest Festival in this city, and entice visitor inside. Easy construction and disassembled parts contribute to flexibility for a mobile shop.

104

105

This series of arches translates the scene of Tanabata, as a symbolic festival, especially the shape of bamboo which bows inward by weight of decoration, into this furniture.

106 106

107 107

108 108

0

5

0

2.5 1:75

1:150

On the new passageway in the Sendai station, 4 dierent compositions of furniture accommodating the retail are arranged. This furniture accommodates traditional crafts on the board bridged between the arches. This design reminds people symbolic scene in Sendai, make the identity of this place.

1380

1000

1380

1380

1000

1000

185 185 185

2400 2150

30

55

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1900

30

55

55

30

55

5

55

40 5

2400 2150

1000

1900

10 30

1000

90

30

1000

1380

10

15

1380

1380

1000

1000

185 185 185

2400

2150

55

30

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1900

55

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109 109

P U B L I C

J U N C T I O N

-ACTUAL RENOVATION PROJECT OF SENDAI CITY HALL10 l PUBLIC JUNTION -ACTUAL RENOVATION PROJECT OF SENDAI CITY HALLMASTER'S DEGREE ARCHITECTURAL DESIGN STUDIO (2017) / City Hub : urban activated device STUDIO MASTER : Prof. Taro Igarashi GUEST CRITIC : Shohei Shigematsu SYMPOSIUM : 26.01.2018, Tokyo Electron Hall Miyagi RECOGNITION : Selected in Studio

This project is the actual project for the renovation of Sendai City Hall. We had a workshop with city officers and citizens. This concept based on the criticism of the existing office in which each functions are a segmented floor. In this project, I tried to combine all of these functions by incorporating the urban circulation into the building. That is why the car circulation should be key to connect each segmented spaces. This design creates a cubist urban space inside the building.

110

SYMPOSIUM, Tokyo Electron Hall Miyagi, Sendai, JAPAN

111

CITY HALL

STA.

In Sendai city, under a serious urban condition of sole concentration to the station, this site is located right next to the administrative zone, facing the heart of culture which has a metro station.

112 112

Dynamic Interaction of People with Cars in Building

smt

OFFICE CITY HALL

SITE

OFFICE

PARK

CITY HALL PARKING

CAFE

PARKING

CONTACT SHOP

EXISTING

SHOP

PING

STRE

LE C PEOP

N

ATIO

IRCUL

ET

Hall

CAR C

OFFIC

IRCUL

ATION

E

PARKING

EATIN

G

SHOP

PING

CITY CONT

HAL

ACT

L

PARK

PROPOSAL Integrate Urban and Building Circulation

113 113

FUNCTION DIAGRAM

GENERAL AFFAIRS RISK MANAGEMENT URBAN PLANNING OFFICE

WARD OFFICE

ENVIRONMENTAL ASSEMBLY HALL

CONSTRUCTION

FINANCE HEALTH AND SOCIAL WELFARE RESTAURANT CHILD AND YOUTH

URBAN DEVELOPMENT

EDUCATION

ECONOMIC AFFAIRS

CIVIC AFFAIRS

CULTURE AND TOURISM

CAFE

CAFE

SHOPPING

Dynamic intersection of these multiple-function offers new opportunities for social interaction and shared activities.

JOZENJI STREET

114 114

WAITING SPACE BUS TERMINAL

Office City Hall Assembly Eating Shopping

SECTION

FLOOR B FLOOR A

0

10

20

1:600

115 115

This design, which clarity of the circulation as a general traďŹƒc hub for a wide variety of users and three-dimensional juxtaposition of the civic function promote and instill cultural engagement, forges a new symbol of this town.

116 116

ŠIzuru Echigoya

117 117

The transposition of the interface between transportation and space provide a variety for the experiences in this building. Sterically permeating of the workplaces beyond each oor, and mixed user having a dierent purpose convey the dynamic and synergy.

118 118

FLOOR A

FLOOR B

Office Assembly City Hall Eating Shopping 0

10

20

1:600

119 119

M I S C E L L A N E O U S

GLASS WORK l IRREVERSIBLE GLASS WORK l IRREVERSIBLE INSTRUCTOR : Riikka Latva-Somppi BLOWER : Orcum Erdem (Aalto Glass Studio) EXHIBITION : (Non) Sense, 04.2019, 2nd floor, Väre, Aalto University

The shape of the glass is physically impossible to reverse the drapes as if textile.

Working process with glass is also impossible to reverse, such as never comes back to the previous shape as this work showed that it folded the surface and made a drape without shrinking.

122 122

123 123

G R A P H I C GRAPHIC DESIGN l TEA LABEL Darjeeling / Lemon& Ginger / Herbal / Chamomile 124 124

D E S I G N

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PHOTOGRAPH l LANDSCAPE IN FINLAND 125 125

Yuka Hanawa yukahanawa87@gmail.com