TAKEI YUICHIRO Portfolio

TA K E I Y U I C H I R O WASEDA UNIVERSIT Y / AKASAKA YOSHIAKI LAB

PORTFOLIO

BIOGRAPHY Born in Nagano | Japan

September, 1993

Senior High School at Komaba, University of Tsukuba | Tokyo | Japan

March, 2012

Bachelor of Science in Architecture Waseda University | Tokyo | Japan | GPA:3.5/4.0

March, 2016

Master of Architecture Waseda University | Tokyo | Japan | GPA:3.7/4.0

March, 2019

EXPERIMENT Maki and Associates architecture and planning | Japan | model making | 2016 - 2017 Keiji Ashizawa Design Co., Ltd | Japan | model making, assistance to exhibitions | 2016 -

SOFTWARE SKILL

CV AWARD

TA K E I Y U I C H I R O 0 7 / 0 9 / 19 9 3 JA PA N WA S E DA U N I V E R S I T Y AKASAKA YOSHIAKI L AB

DEATH & THE CITY Tokyo Vertical Cemetory (arch out loud)

Finalist

Design competition by Architectural Institute of Japan

Kanto region selected

Waseda University diploma project

4th Prize

Kenchiku Shinjinsen 2014

Finalist

SCHOLARSHIPMENT

CONTACT

2013 Okuma 125th Anniversary scholarshipment

Kitasenzoku 1-22-3, Ota-ku, Tokyo

2016 Murano Togo scholarshipment

T : +81 70 2176 8275

2017 Architecture scholarshipment

M : takei_yuichiro@akane.waseda.jp

Contextual Form Design History 1

Hyper School

School

ハイパースクール 教室を住まいに、学校を都市に ー三田の新舞台ー

2

Florence Culture Center

Culture Center

フィレンツェ文化施設 ―QUARTER CIRCLE East Piazza in Florence ー

Landscape 3

Design for the space in-between a house and a city

Housing Complex

住宅と都市の in-between を考える ー水盤と暮らすー

4

Antonio Gaudi Museum

Museum

アントニオ・ガウディ記念館 ー共振する Gaudi ー

Content 5

Observatory houses

Observatory Houses

天文台の家 －軌道－

Conceptual Form Design 6

Urban Ushirodo

Memorial, Learning Center

都市の後ろ戸 裏の都市のインフラストラクチャー ー建築の原風景ー

7

Death & The City

Cemetery

死と都市 東京における高層墓地 ー MEMORY MUSEUM ー

Theoretical Form Design 8

Graduation Thesis 卒業論文 ージオ・ポンティとジョルジョ・デ・キリコ 動的均衡と融解ー

House

Chapter 1

Contextual Form Design - History コンテクスチュアル・フォルム・デザイン － 歴史

The projects in this chapter are designed according to the unique historical contexts of the city. The form design is based on the resonance to these contexts.

都市の中に潜む固有の歴史的文脈（コンテクスト） を読み解き、これらへの応答を造形テーマとした フォルムデザイン。

HYPER SCHOOL - N ew S t a g e o f Mi t a ハイパースクール 教室を住まいに、学校を都市に ー三田の新舞台ー

Location / 敷地：

Mita, Tokyo / 東京都三田

Typology / 用途：

Elementary school / 小学校

Program / 構成：

class room, community facilities etc / 教室、地域施設など

Size / 規模：

5,600㎡

Structure / 構造：

reinforced concrete / RC 造

Summary :

設計概要：

This new elementary school was designed

history has created a calm and elegant

小学校を単なる教育機関ではなく、生

たちから遊ぶ場所や自由を奪ってし

not as a mere educational institution but

landscape of Mita, it has deprived

徒にとっての住まいかつ街として設

まっているといえる。

as a home and a town for a student.

playground and freedom from children.

計した。

本計画では、巨大な建物に囲まれて埋

The site is Mita of Tokyo, and there are

On this project, a large "void" was

敷地は東京都三田。江戸時代に武家

もれてしまった小学校の敷地に大き

large blocks used as a samurai residence

proposed on the site surrounded by huge

屋敷だった大きな区画が残っている。

なボイドを設計する。このボイドは小

during the Edo period. Since the early

buildings. It is the symbolic square of

近世以降、この大きな区画は、大使館

学校の運動場であり、都市の象徴的

modern era, theses large blocks have

the city as well as the playground of

や福祉施設、邸宅などの公共機関の敷

な広場でもある。子供たちをはじめ、

been successfully converted to the sites

elementary school. The "void" gathers

地として上手く転用された。こうして

地域の多様な人々がこのボイドに集

of public institutions: embassies, welfare

children and various people and cultivates

落ち着いた品のある三田の景観が生

うことで三田の新しい文化が育つこ

facilities, and mansions. Though the

a new culture of Mita.

まれたが、一方でこれらの景観は子供

とを目指した。

Assignment statement :

課題文：

Choose a place of primary school you went to and consider of the following issues, targetting on a wider range of

かつて学んだ出身小学校のある場所を選んで、その学校敷地を含む、より広い範囲の地区を対象として、以

districts, including the school premises. In extending schools to cities, consider on the viewpoint that the classroom is

下の問題点について各自深く考察する。また、学校を都市に拡張するに当たり、教室を単に学校施設として

not just a school facility but a home for the student and a city itself.

のものではなく、生徒にとっての住まいに、学校全体はそれ自体が街であり、都市の一部であるという観点

"What is the elementary school 30 years from now?" "The library for young and old men and women unrelated to generation." "What is universal design?" "The schoolyard as an open space or performance space in the city." "Is it possible to change a city by building a school?"

に立って構想を練ってほしい。 「今から３0 年後の小学校はどのようになっているのだろうか。」 「世代別に関係のない老若男女の図書館」 「ユ ニバーサル・デザインとは何か」「都市の空地、もしくはパフォーマンス・スペースとしての校庭を考える」

Please propose "School beyond school - Hyper School" starting from any of these viewpoints. Both scale and structure

「学校が建つことで、都市を改造することは可能か」。以上の観点のどれかを端緒として「学校を超える学校」

are free. The site is not limited to the existing school, including the area around it. Hints for the following keywords if

を提案する。規模も構造も自由。敷地は既存の学校の土地に限らず、その周辺の地域を含む。できれば以下

possible. "Topography in the land" "Index in the city" "Nature" "Change over time" "Open space", etc.

Supervisor： Masayuki Irie/Nobuaki Furuya/Tsuyoshi Hagiwara/Yasutaka Yoshimura/Taishi Watanabe/Keigo Kobayashi

のキーワードもヒントにすること。「土地に潜在する地形」 「都市の中の指標」 「自然」 「経年変化」 「空地」等。 指導教員： 入江正之 / 古谷誠章 / 藤井由理 / 萩原剛 / 吉村靖孝 / 渡辺大志 / 小林恵吾

1. Hyper School

1. Topography of Mita

Tokyo Bay

The site located in Mita of Tokyo, where is on the hill at the end of the Musashino plateau. 敷地は東京都三田に位置する。丘の地形 で武蔵野台地の端部にあたる。

Site Mita, Tokyo

1.

The site is on the hill, the edge of the Yamanote plateau.

Site Site

Mita, Mita, Tokyo Tokyo

The The site site is is on on the the hill, hill, the the edge edge of of the the Yamanote Musashino Plateau Yamanote plateau. plateau.

Tokyo Bay

Mita

Musashino Musashino Plateau Plateau

2. History of Mita

Site

This topography generated alot of large districts of daimyo’s mansion.

After Maiji era, these large areas were converted to the site for the public facility, for example an embassy, a hospital, a university and a school.

Until now, these blocks are remained in Mita. My project site is located in the block surrounded by these big buildings. 丘からの景観を求め、江戸時代に大名た

Tokyo Tokyo Bay Bay

Mita, Tokyo

Musashino Plateau Mita a. a.

敷地として転用され、今なお三田には大

ちがこぞって三田に大名屋敷を建設し

きな区画が多く残されている。小学校は

た。明治以降これらの大きな敷地は政府

これらの大きな建物に囲まれた旗竿敷地

機関など（大使館、病院、大学 etc）の

に位置する。

Mita Mita

The site is on the hill, the edge of the Yamanote plateau.

2.

a. a.

a. a.

a.

This topography generated alot of large districts of daimyo’ s mansion. After M a i j i e r a , t h e s e l a r g eThis a r e a s w e r e generated alot of large This topography topography generated alot of large eras i o n . A f t e r c o n v e r t e d t o t h e s i t e fdoi rs t trhi cet sp o u b l iaci m y o ’ sEdo d i s t r i c t s o ff d daimyo’ s m m aa n nsion. After f a c i l i t y , f o r e x a m p l e a n e m b a s s y , a M a i j i e r a , t h e s e l a r g e History M a i j i e r a , t h e s e l a r g e aa rr ee aa ss w w ee rr ee hospital, a university and a school.

Until c o n v e r t e d t o t h e s i t e f o r t h e p u ll ii cc not place to stay alot of Mita c o n vThis e r t etopography d t o t h e sgenerated ite for th e pof ub blarge now, these blocks are remained in Mita. f a c i l i t y , f o r e x m p l e a n e m b a s s y d i s t r i c t s o f d a i m y o ’ s m a n s i o n .

A History Most of districts in Mita are surrounded by walls of public facilities. They f a c i l i t y , f o r e x a m p l e a n e m b a s s y f,, t eaar History M a block i j i e r aas, t h e s eand l a r g e a r e a s Until were My project site is located in the hospital, of Mita Mita hospital, aa university university and aa school. school. Until prevent residences from staying to take a rest and to have a conversation.of ot hn evseerblocks tb ed t h e remained s i t e f o r t in h e Mita. public a v o i d s p a c e s u r r o u n d e now, d b yc these i gt o are a’. now, these blocks are remained in Mita. not for children f a c i l i t y ,site f o r e located x a m p l e a nthe e m b a s s y ,asa History buildings.

My My project project site is is located in in the block block as Akabane elementary school hospital, a university and a school. Until There are many restrictions against children’s activities in Mita.

The block Akabane elementary school of Mita a v o i d s p a c e s u r r o u n d e d b y ee ss ee b before project a v onow, i d s pthese a c e sblocks u r r o uare n d eremained d b y tt h h in b ii g g before project Mita. walls and security guards rob children of playgrounds. buildings. buildings.

My project site is located in the block as

a.

3. Problem of Mita

Akabane elementary school before project

Akabane elementary school before project

停滞空間がない

子供がすごしにくい

三田のほとんどの区画が公共施設の塀に

三田は子供のふるまいをかなり制約して

囲まれているので、地域の人々は一息つ

しまっている。塀やセキュリティが子供

いたり、会話したりすることができない。

の遊び場を奪っている。

Edo era Edo era

ετΡνϭʖຓාॉ൬ ̖̑)ʥ

ࢀీࠅࡏϑϩυΡϱήʤ̐̔)ʥ

a’.

ࠅࡏҫྏෳࢳ୉ָࢀీබӅʤ̏​̏)ʥ

Edo era

౨‫ښ‬γʖϑηιϱνʖຌ‫ؙ‬ʤ̒)ʥ

౨‫ښ‬γʖϑηιϱνʖຌ‫ؙ‬ʤ̒)ʥ ౨‫ښ‬γʖϑηιϱνʖຌ‫ؙ‬ʤ̒)ʥ

a’. a’.

ετΡνϭʖຓාॉ൬ ̖̑)ʥ

ࢀీࠅࡏϑϩυΡϱήʤ̐̔)ʥ ࢀీࠅࡏϑϩυΡϱήʤ̐̔)ʥ

౨‫ښ‬γʖϑηιϱνʖຌ‫ؙ‬ʤ̒)ʥ

ࢀీࠅࡏϑϩυΡϱήʤ̐̔)ʥ

a’.

౨‫ࡃ౐ښ‬ਫ਼ճ஦ԟබӅʤ̗)ʥ

hospital

౨‫ښ‬γʖϑηιϱνʖ৿‫ؙ‬ʤ̑)ʥ

high school high school

౐ཱིࢀీ߶౵ָߏʤ̓)ʥ

Today

౨‫ښ‬γʖϑηιϱνʖ৿‫ؙ‬ʤ̑)ʥ

high school

hospital

౐ཱིࢀీ߶౵ָߏʤ̓)ʥ

౐ཱིࢀీ߶౵ָߏʤ̓)ʥ ౨‫ښ‬γʖϑηιϱνʖ৿‫ؙ‬ʤ̑)ʥ

apartment building apartment building

embassy embassy

౐ཱིࢀీ߶౵ָߏʤ̓)ʥ

There are many large buildings on the same block as the school.

Today

apartment building

embassy

office building

小学校と同じ街区に多くの大きな建物がある。

barrior

上：既存の赤羽小学校。右上：三田の地 形図。右中：大名屋敷の平面図。右下： 大使館の外観。

not for staying Most of districts in Mita are surrounded by block walls of publicnot facilities.

The not for for staying staying walls prevent residences from staying to Most of districts not for staying Most of districts in in Mita Mita are are surrounded surrounded take a rest and to have a conversation. by block walls of public The Most of districts in Mita are surrounded by block walls of public facilities. facilities.

The by block walls of public facilities.

The not for children walls walls prevent prevent residences residences from from staying staying to to walls from staying to T h e r e a r e m a n y r e s t r i ctake tion srest a gprevent aand i n s tto residences a have a conversation. take a rest and to have a conversation.

Problems take a block rest and to have a conversation. children’ s activities in Mita.

The not for children Problems children Problems not for not for children of Mita walls andof security children of T any restriction s a g aa ii n st Mita of Mitaguards rob Th h ee rrTeeh eaarrreee am m r ea n mya nrye sr tersitcr it ci o t inosn sa g a g an i nsstt playgrounds. children’ s activities in Mita.

The block children’ s activities in in Mita. children’ s activities Mita.The Theblock block walls and security guards rob children of wallswalls and and security guards rob security guards robchildren childrenof of playgrounds. playgrounds. playgrounds.

barrior barrior

3.

Problems of Mita

hospital hospital

apartment building embassy office building ౨‫ښ‬γʖϑηιϱνʖ৿‫ؙ‬ʤ̑)ʥ

Today Today

Above: Before the project, Akabane elementary school. Above right: geometric map of Mita. Midle right: Plan of daimyo's mansion.

Below right: General view of an embassy.

a’. a’.

ࠅࡏҫྏෳࢳ୉ָࢀీබӅʤ̏​̏)ʥ ࠅࡏҫྏෳࢳ୉ָࢀీබӅʤ̏​̏)ʥ ౨‫ࡃ౐ښ‬ਫ਼ճ஦ԟබӅʤ̗)ʥ ౨‫ࡃ౐ښ‬ਫ਼ճ஦ԟබӅʤ̗)ʥ

ࠅࡏҫྏෳࢳ୉ָࢀీබӅʤ̏​̏)ʥ

high school

a’.

a void space surrounded by these big buildings.

౨‫ࡃ౐ښ‬ਫ਼ճ஦ԟබӅʤ̗)ʥ ετΡνϭʖຓාॉ൬ ̖̑)ʥ ετΡνϭʖຓාॉ൬ ̖̑)ʥ

barrior

no playground no playground no playground

no playground

office building office building

10

1. Hyper School

4. Diagram

WUDGLWLRQDO DUHD VOID

VOID

▼

▼

▼

LQWHUQDWLRQDO DQG PHGLD DUHD

QDWXUH DUHD

diagram01

Diagram01 The exist school buries the space of the site and is

diagram02

diagram03

Diagram02 I add two approaches to the exist one approach.

Diagram03 Functions of school are moved into the edge of

The existing elementary school fills the buried itself in the district. space of the site, and it itself is buried.

Add twoones approaches the exist one. Each Three have each to functions of school and of other them has school classroom and other facilities, and gather several people in Mita. functions, and gathers various people of Mita.

Bring the volume of the school to the edge the site to emphasis the void space. of the site to emphasis the "void" space.

既存の小学校は敷地の空間を埋めるように建ち、

既存の一本のアプローチに加え、二つのアプロー

学校の機能を敷地の端に寄せることでボイド空間

建物自体が埋もれてしまっている。

チを設ける。それぞれのアプローチは学校の教室

を強調する。

や他の機能を持ち、三田の多様な人々を呼び込む。

diagram04

Diagram04 The circulation of the school translates the one of

Adapt the circulation of a circuit style garden for the one of the school.

a circuit style garden.

小学校のサーキュレーションを、三田の大名屋敷 にみられる回遊庭園になぞらえて考える。

11

1. Hyper School

5. Approach At each of the edges, walls on streets are dragged into the inner space. As you advance, the walls turn to decks, where people sit on and talk. The decks lead to stay and several activities. As you advance more, the square spreads as void space. This void space is new symbol in Mita, and gathers several kind people and activities.

Above: Aerial view of an approach.

Below: Diagram of approach

各旗竿の入り口は街路の塀が引き込まれ

は Void 空間である広場が広がっている。

上：アプローチの俯瞰。

るような形になっている。先へ進んでい

路地を引き込んだ延長としての Void 空

下：アプローチのダイアグラム。

くと塀がいつのまにかデッキ（縁側）に

間はさらに豊かな人々のアクティビティ

かわっている。デッキは塀とは対照的に

を生み、三田地域にとっての象徴的な空

人々のアクティビティを引き出す停滞空

間になりうる。

間となる。さらに進んでいくとそこに

トイレ (GL+9,400)

トイレ (GL+5,100) 職員室 (GL+9,400)

校長室 応接室 (GL+7,700) (GL+7,700)

HR教室1年生 (GL+6,300)

トイレ (GL+2,000)

HR教室2年生 (GL+5,100

保健室 (GL+400)

多目的室 (GL+800) 図書室 (GL+3,800)

図書室 (GL+2,000)

音楽室 (GL+400)

三田歴史資料室 (GL+9,400)

町の集会所 (GL+400)

薬局 (GL+400)

心の教室 (GL+400)

更衣室 (GL+3,400) トイレ (GL+3,400)

主事室 (GL+9,400)

トイレ (GL+3,400)

日本語教室 (GL+9,400)

給食室 (GL+9,400)

トイレ (GL+9,400) HR教室６年生 (GL+3,400)

更衣室 (GL+3,400)

パソコン室 (GL+9,400)

void

HR教室4年生 (GL+9,400) HR教室３年生 (GL+9,400)

体育館 (GL+3,400) HR教室５年生 (GL+9,400)

理科室 (GL+9,400)

トイレ (GL+9,400) 講堂 (GL+9,400)

図工室 (GL+9,400)

deck children

elementary school children

apartment building

family

edge

hospital

children

old men

elementary school

children

apartment building

family

children

elementary school children

n

office building

business men

wall apartment building

0

family

embassy

foreigners

200m

site plan

12

1. Hyper School

Left: View of classrooms from the square. Right: Aerial view from corridor side. 左：広場から教室を見る。右：廊下側か らの俯瞰。

13

1. Hyper School

X1

X2

A' 21

21

21

(GL+2,000)

(GL+5,100)

(GL+6,300)

9

21

(GL+7,700)

(GL+7,700)

(GL+9,400)

(GL+9,400)

22

Y1

23

(GL+400)

10

(GL+3,800)

(GL+2,000)

8

(GL+5,100)

(GL+800)

24

1

7

13

(GL+400)

2

(GL+9,400)

18

(GL+9,400)

(GL+400)

14

(GL+3,400)

17

ࣇ�࣎࢜ࣂࢍࢣࢾࢺ

20

(GL+400)

(GL+3,400)

(GL+3,400)

25

21

19

(GL+3,400)

(GL+9,400)

(GL+9,400)

(GL+3,400)

(GL+3,400)

20

Y3

(GL+9,400)

6

Y2

26

21

3

12

Y4

(GL+9,400)

(GL+9,400)

॥ेॣौॗ॑फ़

ďŹ nish

16 4

(GL+9,400)

13

5

(GL+9,400)

(GL+3,400)

(GL+9,400)

(GL+9,400)

21

21 (GL+9,400)

15

11

(GL+9,400)

A

1.) Classroom (1st grade elementary school student) / +5 â€ŤŕŁŞÚŻâ€ŹŇ˛ŕł§ŕŠž

7.) Library / ਌༽࣪

13.) Multipurpose room / ଡ໪ద࣪

19.) Guard room / गӜ࣪

2.) Classroom (2nd grade elementary school student) / +5 ‍ŕł?ŕŁŞÚŻâ€Źŕł§ŕŠž

8.) Staf room / ৎҽ࣪

14.) Music room / Խֺ࣪

20.) Changing room / ß?ҧ࣪

3.) Classroom (3rd grade elementary school student) / +5 â€Ťŕ˘€ŕŁŞÚŻâ€Źŕł§ŕŠž

9.) Principal room / ß?ௗ࣪

15.) Drawing room / ਌޽࣪

21.) W.C. / φ΢Ϫ

4.) Classroom (4th grade elementary school student) / +5 ‍ŕ˘?ŕŁŞÚŻâ€Źŕł§ŕŠž

10.) Reception room / Ԣં࣪

16.) Computer room / Ď?ΝιϹ࣪

22.) Meeting place of the town / ͚֙ճ٠࣪

5.) Classroom (5th grade elementary school student) /

11.) Auditorium /

+5 â€ŤŢ”ŕŁŞÚŻâ€Źŕł§ŕŠž

6.) Classroom (6th grade elementary school student) / +5 â€ŤŕŁŞÚŻâ€ŹŕżŁŕł§ŕŠž

ßŞŕ˛Œ

12.) Gymnasium / ŕŹ°ŇŻâ€ŤŘ™â€Ź

17.) School kitchen

/ ‍ڇ‏৹࣪

18.) Nursery school / ฯ݊࣪

23.) Counselling room / ΊΤϹΚϨϹΎ࣪

25.) Mita history museum / ŕ˘€ŕą€ŕžźŕ˘›ŕŁ ŕž‹ŕŁŞ

24.) Drag store / ŕź‚â€ŤŰƒâ€Ź

26.) Japanese language school / ŕł–ŕşŒâ€ŤŕŁŞÚŻŢ˘â€Ź

plan level 1 scale=1/500

0

0

2

4

8

20m

20m

ground level plan

14

jogging course

1. Hyper School

ࢪࣙࢠࣼࢢࢼ࣎ࢍ

athletic field for elementary school students

床勞�10°

á‘ á?›â?•ŕĄ˘ă? ŕşˇáˆ™ŕĄœŕĄ‹ŕĄš

chatting with housewife friends

â†?HRâ€ƒďź•ĺš´ç”&#x;教厤

ŕ­şá?Źŕ˝­ă?ŠŕĄœŕĄ˘ŕ žŕĄ‹ŕĄˇŕĄ­ŕĄžŕĄ˘áˆ™áĄ¤

chorus practice under the blue sky ă&#x;ˇâœľŕĄ˘ŕĄśŕĄœŕ Šŕžœá ?ॢ⌎⊌

baby carriage goes slowly at the edge of square ࣋ࣅ࣎ŕ˘?ŕŁŽŕĄŁâŹĽŕĄ˘ŕĄŻŕ şŕ˘†ŕĄşŕĄ—ŕĄƒŕĄž

床勞�10°

ăƒ‡ăƒƒă‚­ďźšçąłăƒ’ăƒ? t=27mm w=105mm @110mm oil finish ć šĺ¤Ş 50Ă—70mm @455mm

→HRâ€ƒďź‘ĺš´ç”&#x;教厤 date♥ ࢚࣎ࢺŕĄ&#x;ड़

ĺ¤–ĺŁ ďźšă‚łăƒłă‚ŻăƒŞăƒźăƒˆć‰“ă Ąă Łă ąă Şă —

take a rest under a tree

FIXă‚ŹăƒŠă‚šďźšćœ¨čŁ˝ă‚ľăƒƒă‚ˇăƒĽďźˆé˜˛ç Ťč¨­ĺ‚™ďź‰ ăƒšă‚˘ă‚ŹăƒŠă‚š FL6+A10+PWC6.8mm

ᎌă?œŕĄ›ŕĄ˛ŕĄ—॓फ़

ĺżœćŽĽĺŽ¤

potluck party

to hold a yoga classroom

áŠĽŕĄ›ŕ žâ¤Žŕ żŕĄ

potluck party

ć Ąé•ˇĺŽ¤

walking a bike

â†?čŹ›ĺ ‚

ă?¨ŕś˝ŕ˘†áŁ˘ŕĄ•á?¤ŕĄ—ŕĄšŕŁƒŕŁŽŕ˘¸ŕ˘•ŕŁŽ

âŽŹăŒżăŒ´ŕĄŁášŒŕĄ ŕĄ‡ŕĄ‚ŕĄ›ŕĄşŕĄ—ŕĄƒŕĄž 自蝢蝊㠯抟㠗㠌歊ă ?

reading a book siting on a slope 床勞�10°

áŠłă ƒŕĄ&#x;â­œŕ żŕĄ…ŕĄšă„žá­Š

fruit basket game

č ˇĺ“ĄĺŽ¤

ࣇ�࣎࢜ࣂࢍࢣࢾࢺ

a cat stay at the corner of the square

॥ेॣौॗ॑फ़

FIXçŞ“ďźšćœ¨čŁ˝ă‚ľăƒƒă‚ˇăƒĽďźˆé˜˛ç Ťč¨­ĺ‚™ďź‰ +ăƒšă‚˘ă‚ŹăƒŠă‚š FL6+A10+PWC6.8mm

ĺ¤–ĺŁ ďźšćœ¨ă‚Œă‚“ă Œ t=10mm čƒ´ç¸ w=24mm ç„źć?‰ t=25mm w=150mm

ĺ†…ĺŁ ďźšç&#x;łč†?ăƒœăƒźăƒ‰t=4mm ç‰šćŽŠăƒ˘ăƒŤă‚żăƒŤ ă‚šă‚żă‚¤ăƒ­ăƒ•ă‚Šăƒźăƒ t=50mm

床勞�10°

ćœ¨čŁ˝ă‚ľăƒƒă‚ˇăƒĽďźˆé˜˛ç Ťč¨­ĺ‚™ďź‰ +ăƒšă‚˘ă‚ŹăƒŠă‚š FL6+A10+PWC6.8mm

羌éŁ&#x;厤

0

HR 4ĺš´ç”&#x;教厤 床勞é…?10°

HRâ€ƒďź“ĺš´ç”&#x;教厤

GHWDLO SODQ VFDOH

5m P

detail plan

ăƒˆă‚¤ăƒŹ

15

1. Hyper School

edge3

edge1

Y1 2

1 10000

111,000

6000

7000

2000

20200

2000

7600

2000

7400

2000 4200

4200

8400

1600

15000

12,000

6500

3200

20000

18000 TOP GL+13,600

GL+9,000 GL+6,000 GL+3.000 GL±0

0

edge1

Y3 9000

12000

5000

6800

10300

Y4 8500

2100

8000

1500

2

edge2

1 20600

4800

9000

2000

9200

9500

elevation A side

20m

13000

140,000 TOP GL+18,600

GL+9,000 GL+6,000 GL+3.000 GL±0

0

Y1

2000

8500

5700

Y2

40000

Y3

20m

elevation B side

Y4

3200

11000

2000

TOP GL+16.600

A

GL+9,000

GL+6,000

GL+3.000

A'

BOTTOM GL+2.260 GL±0

0

20m

section A - A’

16

F L O R E N C E C U LT U R E C E N T E R - Q U AT E R C IR C L E E ast Piazza in Florence フィレンツェ文化施設

ー QUATER CIRCLE

East Piazza in Florence

ー

Location / 敷地：

Florence, Italy / イタリア フィレンツェ

Typology / 用途：

Culture center, Piazza / 文化施設、広場

Program / 構成：

gallary, auditrium,restaurant, library etc / ギャラリー、講堂、レストラン、ライブラリーなど

Size / 規模：

4,000㎡

Structure / 構造：

steel frame / 鉄骨造

Summary :

設計概要：

In Florence, the historical blocks and the

The Round shape curved line of the

歴史的なフィレンツェの街区と街区

広大な空地に四分円弧を挿入するこ

buildings of them have developed with

piazza gives the site a relationship with

のなかの建物は、アルノ川の軸とカル

とでフィレンツェの二つの代表的な

the axis of Arno River and the axis of

two important historical elements of

Cardo and Decumanus. But modern city

Florence—Duomo and Arno. It gives a

ド・デクマスの軸がかけ合わさって成

歴史的要素との関係性をつくり広場

planning lacks understanding of historical

sense of publicness to this open space.

長してきた。しかし、近代開発ではこ

としての公共性を確保した。さらに

context of the Florence. The main theme

And the culture center is designed taking

れらの歴史的文脈が無視されている。

伝統的なスキエラ型住宅の形態を文

of this project is to bring historical context

into account the historical context by

in and around the site by designing a

refering to a traditional housing type of

本計画の主題は、開発地域の広大な空

化施設の原型とすることでフィレン

culture center with a piazza on a vacant

Florence, “Casa a Schiera”.

地に広場と文化施設を計画し、この地

ツェ歴史的文脈を反映させた。

land of developing area.

域に歴史観を取り戻すことである。

Assignment statement :

課題文：

Florence is the capital of Renaissance there is no corner of the city where you do not breathe classism. The urban plan,

フィレンツェはルネサンス時代の中心地で、クラシズムの息が吹きかかってない場所は街のどこにもない。

strongly linked to its historical roots, has been recorded a few episodes in favor of contemporaneity.

トスカナ地域の都市計画は歴史的なルーツに深く関係しており、複数の時代の計画が共存している。

Largo Pietro Annigoni, the edge of the old town within the wall, is a joint urban envirnment in a few years ago to the

敷地のラルゴ・ピエトロ・アンニゴニは城壁内の古い街の端に位置し、数年前は都市の接合部であった。敷

curent configuration that offers interesting insights. The nineteenth-century market of Sant'Ambrogio, the teaching sites

地周辺には 19 世紀のサンタンブロージョ市場や建築学部の教育の施設、the State Archives、近年改修され

of the Department of Architrecture, the State Archieves and the recent intervention of the Murate, are some of the places

たムラテ修道院などの興味深い場所がある。

of interest surounding the site.

住人、観光客、学生の相互関係を促進するフレームワークとして、コミュニティのための新しい中心地を生

You need to consider whether to create anew center for the community, framework that encourages interaction between

み出す必要がある。そのために新しいフィレンツェの文化センター（展示会やイベントのための空間）を街

residents, tourists and students. A Florence Cultural Center, space for exhibitions and events, will embody this aspiration

の重要な場所として提案してほしい。

becoming one of the main places of the city.

Judge： [A+M]2 ARCHITECTS / BCQ ARQUITECTURA / COSTA FIERROS ARQUITECTURA / LOPES BRENNA ARCHITETTI / MOHN BOUMAN ARCHITECTURE / MODOSTUDIO / PARDINI HALL ARCHITECTURE / PINONI+LAZZARINI ARCHITETTI / RRS STUDIO-STUDIO WOK

Suponsorship：

審査員： [A+M]2 ARCHITECTS / BCQ ARQUITECTURA / COSTA FIERROS ARQUITECTURA / LOPES BRENNA ARCHITETTI / MOHN BOUMAN ARCHITECTURE / MODOSTUDIO / PARDINI HALL ARCHITECTURE / PINONI+LAZZARINI ARCHITETTI / RRS STUDIO-STUDIO WOK

主催：

2. Florence Culture Center

0 :0.Concept image Background In Florence, there are certain districts left undeveloped on the edge of the 0. Background castle wall in the medieval period. Those vacant lands were developed In Florence, therecity areplanning certainwhich districts rapidly through modern lacksleft understanding of undeveloped on the edge of the castle wall in the historical context of the Florence. The site is located in one of those medieval Those vacant lands were context in and areas.

The main period. theme of this project is to bring historical developed rapidly through modern city planning around the site, and build a culture center with a piazza. The architectural which lacks understanding of historical context interventions are structured as two main layers.

0. Background

0 : Concept image

of the Florence. The site is located in one of In Florence, there certain districts those areas. The mainare theme of this project left is to undeveloped on the edge of the castle wall the bring historical context in and around theinsite, medieval period.

Those vacant lands were and build a culture center with a piazza. The developed rapidly through modern city planning architectural interventions are structured as two which lacks understanding of historical context main layers. of the Florence. The site is located in one of those areas. The main theme of this project is to bring historical context in and around the site, and build a culture center with a piazza. The architectural interventions are structured as two main layers.

20

背景 フィレンツェでは未開発のまま城壁内に 残された広大な空地が歴史的文脈を考慮 しない近代開発をうけた。私たちの計画 の主題は、歴史的コンテクストを欠いた 敷地周辺にフィレンツェの歴史的文脈を ひきこんだ広場と文化施設を作ることで ある。

1 : Engage with DUOMO and ARNO The Round shape curved line of the piazza gives the site a relationship with two important historical elements of Florence¬—Duomo and 1. Arno.

Concept Because of this curved line, the alley from Arno Engage with DUOMO and ALNO prominent and as gives a guide for a relationship Thebecomes Round shape curved line of works the piazza the site The Round shape curved line the piazza gives different people such as of students, residents, withmany two important historical elements of Florence—Duomo and Arno. the site a relationship with two important and tourists to gather around.

It also gives a Because of this curved line, alley from Arno becomes historical ofthe Florence¬—Duomo and prominent and space thatelements brings out a variety of activities. works as a guide for many different people such as students, residents, Arno.

Furthermore, a view towards the cupola of andBecause tourists toof gather around.

It also gives a space that brings out a variety thisa curved the alleytofrom Duomo gives sense ofline, publicness this Arno open of activities.

Furthermore, a view towards the dome of Duomo gives a becomes prominent and works as a guide for space. sense of publicness this open space. many differenttopeople such as students, residents, and tourists to gather around. It also gives a space that brings out a variety of activities.

Furthermore, a view towards the cupola of Duomo gives a sense of publicness to this open space.

1 : Engage with DUOMO and ARNO

大聖堂とアルノ川の結婚 広場のアール型の曲線は、フィレンツェ

レ大聖堂のクーポラへ引き込むような

の代表的な二つの歴史的要素との関係性

パースペクティブがオープンスペースに

を敷地に与える。広場の曲面はアルノ川

一定の公共性を与えている。

vista

から続く小路を顕在化させて学生、住民、

array

旅客が集いやすい動線と多様なアクティ ビティを引き出すスペースを提供してい るうえ、サンタ・マリア・デル・フィオー

DUOMO vista

array

FLORENCE CULTURE CENTER

DUOMO FLORENCE CULTURE CENTER

2. Florence Culture Center

21

QUA R T E R C I R C L

East Piazza in Floren

2. Florence Culture Center

2. Design Concept The origin form "Casa a Schierra" In Florence, the city blocks are composed of grid pattern along Arno River and a grid pattern formed in Roman period. Houses have been changing, based on a traditional housing type - “Casa a Schiera”, along with this city blocks. On this project, the culture center is designed not as modern architecture ofcourtyard large scale ignoring the historical context, but as of proper scale refering to the form of traditional “Casa a Schiera”.

Draw a baseline to adjust two grid of the site. This is why the volume is splited to some rectangles and regenerate proper architectural scale to the house site. As each residence owned private courtyard divided by walls in Casa a Schiera, each rectangle has their own courtyards with walls. And the network of those walls functions as service core. Furthermore, a loggia and a passage are introduced as a semi-public space to connect the piazza and narrow rectangle onespaces. unit cluster 原型 ” スキエラ型住宅”

された建築は土地の歴史的文脈から逸脱

フィレンツェの街区は、アルノ川の軸と

したこの敷地に、ふさわしいスケールを

カルド・デクマスの軸がかけ合わさって

再生する。スキエラ住宅が塀によって仕

成長してきた。そして住宅の形態も、伝

切られたプライベートな中庭を持ってい

統的なスキエラ型住宅をベースに、街区

たように、それぞれの短冊は固有の中庭

に合わせて変化してきた。私たちは歴史

を有している。そして各々の中庭を囲う

的文脈を無視した巨大な近代建築ではな

塀は複合施設のサービス動線として全体

く、伝統的なスキエラ型住宅の形態を原

で合理的に機能する。さらに、ロッジア

型とする文化施設を設計する。

とパサージュをセミ・パブリックスペー

敷地の二つのグリッドを調停するように

スとして施設に取り込むことで、パブ

基準線を引き、この基準線によって建築

リックな正面広場からプライベートな中

ボリュームは短冊状に分割される。分割

庭までを段階的につないでいる。

Casa a Corte in roman grid

Casa a Schiera in roman grid

Casa a Schiera in roman grid arno river grid

courtyard

house

one unit

Casa a Schiera in arno river grid

cluster

courtyard

arno river grid

house

roman grid the first walls

This page, above left: Casa a Schierra. This page, above right: typology of houses in Firenze. This page, below: axonometric section 本頁左上：スキエラ型住宅。本頁右上：

the second walls

フィレンツェの住宅のタイポロジー。本 the third walls

頁下：アクソメ断面図。

one unit

cluster

22

2. Florence Culture Center

exhibition hall (sculpture) exhibition hall (photography)

ROMAN GRID

exhibition hall (picture) exhibition hall (sculpture) bookshop center exhibition information hall (photography)

ROMAN GRID

reception area exhibition hall (picture) bookshop information center restaurant reception area auidorium deposite

restaurant

Figure g : houses

Ground : courtyards y

auidorium

Figure : courtyards

Ground : houses

Figure : courtyards

Ground : houses

deposite

arno river grid

roman grid

g : houses Figure arno river grid

y Ground : courtyards

roman grid

rectanglar units

network of walls

Caaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

rectanglar units Caaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

network of walls Caaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa Caaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

Drawaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa a baseline to adjust two grid of theaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa site. This is why the volume is splited to some rectangles. aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa Caaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

Apply the functions to each aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa rectangular unit by refering to aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa "Casa a Schiera".

As a result, each aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa function has its own courtyard. aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa Caaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

Theaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa network of the walls of "Casa a Schiera" is adapted as service aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa coreaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa of the culture center. aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

敷地の二つのグリッドを調停するよう

スキエラ型住宅を参照して、ユニット

スキエラ住宅の中庭にネットワーク状

に基準線を引き、建築ボリュームを短

毎にカルチャーセンターの機能を当て

拡がる壁を、カルチャーセンターのサー

冊状に分割する。

はめる。これにより、それぞれの機能

ビス動線に翻案し建築化する。

aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

が固有の中庭を有する。

aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

23

2. Florence Culture Center

APPROACH

B

16

CIRCULATION for served for service

PEOPLE CAR

1

5

5

6

2 6

7 7

16 8

3

10

3 3 9

A’

15

3

11

BLOCK PLAN

ZONING

11

function deposite

4 17

14

16

14

A

13

12

B’

0

25M

first floor plan

1. park (public space) 2. semi-public space 3. court yard

4. passage 5. exhibition hall (sculpture) 6. exhibition hall (photography)

7. exhibition hall (picture) 8. bookshop 9. information center

10. reception area 11. restrooms 12. restaurant

13. auditorium 14. waiting room 15. service space

16. entrance 17. back entrance 18. lounge

19. deposit 20. library 21. office

22. conference room 23. balcony

public space semi public space intimate space

park loggia , passage courtyard

24

2. Florence Culture Center

B

B

23

5

5

6

23 7

6

7 7

20 15

8

21

A’

A’

15

19

15

19

19

19

22

A

A

13 23

18

B’

B’

0

25M

second floor plan

1. park (public space) 2. semi-public space 3. court yard

4. passage 5. exhibition hall (sculpture) 6. exhibition hall (photography)

7. exhibition hall (picture) 8. bookshop 9. information center

0

10. reception area 11. restrooms 12. restaurant

25M

13. auditorium 14. waiting room 15. service space

16. entrance 17. back entrance 18. lounge

third floor plan

19. deposit 20. library 21. office

22. conference room 23. balcony

25

2. Florence Culture Center

View to passage from Piazza Lorenzo Giberti

26

View to courtyard from Picture exhibition hall This page, left: General view of west side facing Market. This page, right: View of the courtyard from the photo gallary space. 本頁左：マーケットに面した西側外観。 本頁右：写真ギャラリーから中庭を見る。

2. Florence Culture Center

21

15 15

1

15

2 4

A-A’ section

0

4

25M

15

6 15

1

15

2 3

6

0

13

15

6

B-B’ section

4

15

4

25M

1. park (public space) 2. semi-public space 3. court yard

4. passage 5. exhibition hall (sculpture) 6. exhibition hall (photography)

7. exhibition hall (picture) 8. bookshop 9. information center

10. reception area 11. restrooms 12. restaurant

13. auditorium 14. waiting room 15. service space

16. entrance 17. back entrance 18. lounge

19. deposit 20. library 21. office

22. conference room 23. balcony

27

Chapter 2

Contextual Form Design - Landscape コンテクスチュアル・フォルム・デザイン － ランドスケープ

The projects in this chapter are designed according to the unique topographical contexts of the landscape. The form design is based on the resonance to these contexts.

都市や風景の中に潜む固有の地形的文脈（コンテク スト）を読み解き、これらへの応答を造形テーマと したフォルムデザイン。

IN-BETWEEN HOUSE AND THE CITY - L i v i n g u n d er t h e B a si n 住宅と都市の In-between を考える ー水盤と暮らすー

Location / 敷地：

Araki-cho, Tokyo / 東京都荒木町

Typology / 用途：

Housing complex / 集合住宅

Program / 構成：

houses, local power generation, pumping water turbine, control tower / 住宅、地域発電所、汲上水車、管制塔

Size / 規模：

2,000㎡

Structure / 構造：

reinforced concrete / RC 造

Summary :

設計概要：

On this project, we focus on "water" as

utility facility, it became managed in the

本計画では、荒木町における住宅と都

えてしまった。その結果、これまで

the in-between house and city of Araki-

pipeline, disappeared from the scenery of

市の In-between として「水」に着目

「水」中心に形成されていた荒木町の

cho, and arrange a group of architectures

the city. As a result, the community of it

し、治水機能を持った建築群を崖沿い

コミュニティが谷上と谷底に大きく

with flood control functions along the

which had once been united by "water"

にレイアウトする。

分断されてしまった。

slope.

has been separated by steep slope.

窪地を有する荒木町の歴史は、常に

そこで、隠されてしまった「水」をも

The history of Araki-cho with a hollow

By visualizing the hidden water again,

「水」と関係してきた。しかし、設備

う一度可視化することで、谷の上と下

had always been related to "water".

we reconnect the upper and lower

の発展により、「水」は配管の中で管

のコミュニティを回復させることを

However, due to the development of the

communities.

理されるようになり、街の風景から消

試みる。

Assignment statement :

課題文：

Livig is deeply involved with "inhabiting". When thinking about individuals and society through "inhabiting", if

生きることは「住む」ことと深く関わる。「住む」ことを通して個と社会について考えるならば、個が住宅

individuals are houses, society is a city or area. And the town is not established by itself, it is established by the

だとすると、社会は都市・地域として捉えられる。また、街は初めから在るのではなく人が住むことによっ

relationship that people live in a town. To design in-between house and the city is a design of relationships between

て街になるという相関関係によって成立する。住まいと都市の関係、その間、in-between をデザインする

individuals and society, and it is the key to greatly improving urban life in the future. Currently, while urban residences

ことは、個と社会のかかわりのデザインであり、これからの都市生活を大きく変えていく鍵となる。現在、

are on an increasing, we doubt whether the city can be said to be more attractive as a living place. Though modern cities

都市居住者が増加傾向にある中で、生活の場としての都市はより魅力的になっているといえるだろうか。近

were divided into zones according to functions and increased efficiency and convenience, the life itself was also divided.

代の都市は機能によりゾーン分けされ効率化や利便性が高まったが、生活そのものも分断されてしまった。

How should the future urban life be in relation to the society with a big turning point? Propose relationship with living

大きな転換期を迎える今の社会に対して、今後の都市生活がどのようにあるべきか。住むということと地域

and region and in-between design. The site is close to Yotsuya 3-chome in Shinjuku, part of Araki-cho and Funancho.

の関係、in-between のデザインを提案してほしい。新宿の四谷三丁目近く、荒木町と舟町の一部を敷地と

Assume that the population of the area will increase by about 500 people, think about how to stay in the area with the story setting of the increase. Design the necessary facilities and other proposals, and a house with 10 households newly added as a part of the population increasing to this site.

する。この地域の居住人口が 500 人ほど増えると想定し、その増加のストーリー設定とともに地域にあり 方を考える。必要と思われる施設や他提案、また、この敷地に増加する人口の一部として新たに 10 世帯を 加えた住まいを設計すること。

Supervisor：

指導教員：

Takeshi Nakagawa/Masayuki Irie/Hitoshi Watanabe/Nobuaki Furuya/Shigeru Sato/Haruhiko Goto/Takashi Ariga/Yuri

中川武 / 古谷誠章 / 後藤春彦 / 有賀隆 / 吉良森子 / 北園徹 / 藤井由理 / 吉村靖孝 / 渡辺大志 / 小林恵吾

Fuji/Toru Kitazono/Moriko Kira/Yasutaka Yoshimura/Taishi Watanabe/Keigo Kobayashi/Shu Yamamura

3. Design for the space in-between a house and a city

1. Topography of Araki-cho

ŕ¨­Íłâ€ŤÚ â€ŹÍśŕ¸´ÎžÍ˛Í˜ÍŞß§ŕť¨ŕŻŒ Araki-cho with a hollow Araki-cho has a hollow, which was a part of the valley of Musashino ß§ŕť¨ŕŻŒÍšŕžźŕ˘›Íšŕľ…ŕ­źÍşÉźß’â€ŤŕŁŽŢƒâ€Ź ŕ¨­Íłâ€ŤÚ â€ŹÍśŕ¸´ÎžÍ˛Í˜ÍŞß§ŕť¨ŕŻŒ Plateau. In Edo period, the valley was partially buried to build a pond and ŕ­‡ÍśŕŚ¨ŕ¸‘ŕľŁÍšŕ­‰ŕťŒÔ˛ŕˇ“Í—â€ŤÝ’â€ŹŕŞ…É˝ changed into a present depression. ͨΗŇ?ßłÉźß§ŕť¨ŕŻŒÍšŕžźŕ˘›ŕ°ŚÍľá§Ľ ß§ŕť¨ŕŻŒÍšŕžźŕ˘›Íšŕľ…ŕ­źÍşÉźß’â€ŤŕŁŽŢƒâ€Ź ÍšŕŽŚÍśÍşŕ§™ÍśĘ°ŕ¨­ĘąÍłÍ?Í‘ŕ˝ƒŕŤ‹ ŕ­‡ÍśŕŚ¨ŕ¸‘ŕľŁÍšŕ­‰ŕťŒÔ˛ŕˇ“Í—â€ŤÝ’â€ŹŕŞ…É˝ Í—ŕŹšŕĄ‘Í˘ÍąÍ?ÍŞÉ˝ ͨΗŇ?ßłÉźß§ŕť¨ŕŻŒÍšŕžźŕ˘›ŕ°ŚÍľá§Ľ â€ŤŕĄ‘Ýłâ€ŹÍšß§ŕť¨ŕŻŒÍšĘ°ŕ¨­ĘąÎƒÍšŢ´Í˜ ÍšŕŽŚÍśÍşŕ§™ÍśĘ°ŕ¨­ĘąÍłÍ?Í‘ŕ˝ƒŕŤ‹ č?’ćœ¨ç”şă ŻçŞŞĺœ°ă‚’ĺ?Ťă‚“㠧㠊り〠㠋㠤㠌ă ?ă “ ć™‚äťŁă Ťă€ ćą ă‚’ä˝œă‚‹ă &#x;ă‚ ă Ťč°ˇă Œä¸€éƒ¨ĺ&#x;‹ă‚ ら ßťÍ?ŕš?ͯ͜Í?ͱ໲Í?ŕŻœÍ¤É˝ Í—ŕŹšŕĄ‘Í˘ÍąÍ?ÍŞÉ˝ 㠯歌蔾野ĺ?°ĺœ°ă Žč°ˇç­‹ă Žä¸€éƒ¨ă ă Łă &#x;。ćą&#x;ćˆ¸ ă‚Œă€ ç?žĺœ¨ă ŽçŞŞĺœ°ă Ťă Şă Łă &#x;。 â€ŤŕĄ‘Ýłâ€ŹÍšß§ŕť¨ŕŻŒÍšĘ°ŕ¨­ĘąÎƒÍšŢ´Í˜ ßťÍ?ŕš?ͯ͜Í?ͱ໲Í?ŕŻœÍ¤É˝

1.

çŞŞĺœ°ă Žč?’ćœ¨ç”ş

ß§ŕť¨ŕŻŒÍšŕŽ?‍ ܙ‏

ß§ŕť¨ŕŻŒÍşâ€ŤŰžâ€ŹŕŽ?ʤΡϨώοŕŽ?‍ܙ‏ʼ ß§ŕť¨ŕŻŒÍšŕŽ?‍ ܙ‏ ͜;͎͹Í?Î–É˝ß§ŕť¨ŕŻŒÍšŕžźŕ˘›Íş ͚͞ŕŽ?â€ŤŮ‹Í—Ü™â€ŹŇžÍ˘Íąâ€ŤÜƒâ€ŹÎ•ß Í?Δ ß§ŕť¨ŕŻŒÍşâ€ŤŰžâ€ŹŕŽ?ʤΡϨώοŕŽ?‍ܙ‏ʼ Î—ÍąÍ˜ÍŞÉ˝ ͜;͎͹Í?Î–É˝ß§ŕť¨ŕŻŒÍšŕžźŕ˘›Íş Araki-cho with water The beginning of the ͚͞ŕŽ?â€ŤŮ‹Í—Ü™â€ŹŇžÍ˘Íąâ€ŤÜƒâ€ŹÎ•ß Í?Δ history of Araki-cho was the construction of the Î—ÍąÍ˜ÍŞÉ˝

2. History of Araki-cho

pond of the Daimyo's mansion in Edo period. Since then, there was always "water" in the history of Araki-cho. However, due to the development

of the utility facility, it became managed in the pipeline, disappeared from the

ŕ¨­Íłâ€ŤÚ â€ŹÍśŕ¸´ÎžÍ˛Í˜ÍŞß§ŕť¨ŕŻŒ ß§ŕť¨ŕŻŒÍšŕžźŕ˘›Íšŕľ…ŕ­źÍşÉźß’â€ŤŕŁŽŢƒâ€Ź ŕ­‡ÍśŕŚ¨ŕ¸‘ŕľŁÍšŕ­‰ŕťŒÔ˛ŕˇ“Í—â€ŤÝ’â€ŹŕŞ…É˝ ͨΗŇ?ßłÉźß§ŕť¨ŕŻŒÍšŕžźŕ˘›ŕ°ŚÍľá§Ľ ÍšŕŽŚÍśÍşŕ§™ÍśĘ°ŕ¨­ĘąÍłÍ?Í‘ŕ˝ƒŕŤ‹ Í—ŕŹšŕĄ‘Í˘ÍąÍ?ÍŞÉ˝ â€ŤŕĄ‘Ýłâ€ŹÍšß§ŕť¨ŕŻŒÍšĘ°ŕ¨­ĘąÎƒÍšŢ´Í˜ ßťÍ?ŕš?ͯ͜Í?ͱ໲Í?ŕŻœÍ¤É˝

ß§ŕť¨ŕŻŒÍšŕŽ?‍ ܙ‏ ß§ŕť¨ŕŻŒÍşâ€ŤŰžâ€ŹŕŽ?ʤΡϨώοŕŽ?‍ܙ‏ʼ ͜;͎͹Í?Î–É˝ß§ŕť¨ŕŻŒÍšŕžźŕ˘›Íş ͚͞ŕŽ?â€ŤŮ‹Í—Ü™â€ŹŇžÍ˘Íąâ€ŤÜƒâ€ŹÎ•ß Í?Δ Î—ÍąÍ˜ÍŞÉ˝

before Edo era

scenery of the city.

Edo era

before Edo era

水㠨兹㠍歊ん㠧ă ?ă &#x;č?’ćœ¨ç”ş

Edo era

2.

č?’ćœ¨ç”şă Žć­´ĺ?˛ă Žç™şçŤŻă Żă€ ćą&#x;ćˆ¸ć™‚äťŁă Ťĺťşč¨­

é ”ă Ťă‚ˆă Łă Ść°´ă Œć°´é “çŽĄă Žä¸­ă §çŽĄç?†ă •ă‚Œă‚‹

ă •ă‚Œă &#x;大ĺ??ĺą‹ć•ˇă Žćą ă€‚ă ?ă‚ŒäťĽé™?〠č?’ćœ¨ç”ş

ă‚ˆă †ă Ťă Şă‚Šă€ č?’ćœ¨ç”şă Žć™Żč‰˛ă ‹ă‚‰ćśˆă ˆă Śă —

ă Žć­´ĺ?˛çš„ă ŞčĽžă Žä¸­ă Ťă Żĺ¸¸ă Ťă€Œć°´ă€?ă Œĺ­˜ĺœ¨

ă žă Łă &#x;。

Meiji era

Today

Meiji era

before Edo era

Edo era

Today Meiji era

Today

崖硚

ă —ă Śă „ă &#x;。㠗㠋㠗〠ç?žĺœ¨ă Żć°´é “設備㠎発

崖硚

崖硚

site plan

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3. Problem of Araki-cho Araki-cho divided by steep slope

Living water ŕŠžâ€Ťŕź˝×ˆâ€Źŕ¨­

Due to invisible water, the community of Araki-cho which had once been united by

Living water ŕŠžâ€Ťŕź˝×ˆâ€Źŕ¨­

"water" has been separated into upper and lower communities by steep slope.

Momizi River flowed and Living was used forwater living ŕŠžâ€Ťŕź˝×ˆâ€Źŕ¨­

ć€Ľć–œé?˘ă Ťă‚ˆă‚‹č?’ćœ¨ç”şă Žĺˆ†ć–­ ć°´ă ŒčŚ‹ă ˆă Şă ?ă Şă Łă Śă —ă žă Łă &#x;çľ?ćžœă€ ă ‹ă ¤

を隔㠌ă &#x;谡上㠨谡底㠧大ă ?ă ?ă‚łăƒ&#x;ăƒĽăƒ‹

ă Śă Žă€Œć°´ă€?ä¸­ĺżƒă Ťĺ˝˘ćˆ?ă •ă‚Œă Śă „ă &#x;č?’ćœ¨ç”ş

ăƒ†ă‚Łăƒźă Œĺˆ†ć–­ă •ă‚Œă Śă —ă žă Łă &#x;。

ă Žă‚łăƒ&#x;ăƒĽăƒ‹ăƒ†ă‚Łă Œĺ´ŠĺŁŠă —ă Śă —ă žă „ă€ ĺ´–

Dammed the river and built a pond of Daimyo’s mansion

Upper community ୍�

ßœŕ˝ ŕŞ”Í—ŕ˝¸Î—ÍąÍ•Î•ŕŠžâ€Ť×ˆâ€ŹÍšÍŞ 6KRSSLQJ GLVWULFW $SDUWPHQWV IRU VLQJOH ÎŒÍśŕ˝¤ŕź˝Í Î—ÍŞ

ß§ŕť¨ŕŻŒŕŚ?ా֙ɟ୹ŕ¨?ŕ¤‚ŕź˝ĎœĎąÎľĎĽĎą

Upper community ୍�

6KRSSLQJ GLVWULFW $SDUWPHQWV IRU VLQJOH ß§ŕť¨ŕŻŒŕŚ?ా֙ɟ୹ŕ¨?ŕ¤‚ŕź˝ĎœĎąÎľĎĽĎą Upper community ŕ­Ťŕ§?

6KRSSLQJ GLVWULFW $SDUWPHQWV IRU VLQJOH

This page, above: Giographical map of Araki-cho. This page, middle: History of Araki-cho. This page, bellow: Section of Araki-cho. ćœŹé 上č?’ćœ¨ç”şă Žĺœ°ĺ˝˘ĺ›łă€‚ćœŹé 中č?’ćœ¨ 町㠎歴ĺ?˛ă€‚ćœŹé 下č?’ćœ¨ç”şć–­é?˘ă€‚

ß§ŕť¨ŕŻŒŕŚ?ా֙ɟ୹ŕ¨?ŕ¤‚ŕź˝ĎœĎąÎľĎĽĎą

/RZHU FRPPXQLW\ ŕ­Ťŕ°Š Old houses â€ŤÍąÝ’â€ŹŕŻœÍ Î—ÍĽÍśŕ˘”Î–ŕŠ´Í–Î”ÍšŕĽ‡â€ŤÚ‹â€Ź /RZHU FRPPXQLW\ ŕ­Ťŕ°Š Old houses â€ŤÍąÝ’â€ŹŕŻœÍ Î—ÍĽÍśŕ˘”Î–ŕŠ´Í–Î”ÍšŕĽ‡â€ŤÚ‹â€Ź

for Geisha

Dammed the river and built a Restaurant with a waterfall ઔÎ?Ô…Í˜ŕ˘ŻÎŒÍąÉźŕ­‰ŕťŒÔ˛ŕˇ“Íś ŕ­ŽÎ?â€ŤÜ˘â€ŹŕŚ‹ŕŽ?ÍłÍ¤Î–ÜľŮ”ÍšÍŞÎŒ Pond of Daimyo’s mansion Waterfall of a restaurant ŕ­‰ŕťŒÔ˛ŕˇ“ÍšŕŽ“ Ő˜Ö™ŕž‹ŕ°€Íšŕ­Ž pond of Daimyo’s mansion for Geisha ÎŒÍśŕ˝¤ŕź˝Í Î—ÍŞ ŕŽ“Î?ŕŹ†ÍŽÍŞ Íšŕž‹ŕ°€Í—Ó­Í“ÍŞ

Momizi River flowed and was used for living

ÎŒÍśŕ˝¤ŕź˝Í Î—ÍŞ

Waterfall of a restaurant Ő˜Ö™ŕž‹ŕ°€Íšŕ­Ž

Restaurant with a waterfall of a restaurant Ő˜Ö™ŕž‹ŕ°€Íšŕ­Ž

ßœŕ˝ ŕŞ”Í—ŕ˝¸Î—ÍąÍ•Î•ŕŠžâ€Ť×ˆâ€ŹÍšÍŞ

ßœŕ˝ ŕŞ”Í—ŕ˝¸Î—ÍąÍ•Î•ŕŠžâ€Ť×ˆâ€ŹÍšÍŞ

3.

Pond of Daimyo’s mansion ŕ­‰ŕťŒÔ˛ŕˇ“ÍšŕŽ“

Momizi River flowed and mansion ŕ­‰ŕťŒÔ˛ŕˇ“ÍšŕŽ“ Dammed the river andWaterfall built a Pond of Daimyo’s was used for living pond of Daimyo’s mansion

/RZHU FRPPXQLW\ ŕ­Ťŕ°Š Old houses â€ŤÍąÝ’â€ŹŕŻœÍ Î—ÍĽÍśŕ˘”Î–ŕŠ´Í–Î”ÍšŕĽ‡â€ŤÚ‹â€Ź

Restaurant with a waterfall for Geisha

Water pipe ਭಕ؇ Water is disappering from Water pipe ਭಕ؇ landscape due to water pipe

Water is disappering from ਭಕ͗ࡕ‍ٜ͢‏ɟࡍ‍͖ܢ‏Δਭ͗ Water ਭಕ؇ landscape duepipe to water pipe ;͚;͎͹͢Ή͎ͪ

Water is disappering from landscape due to water pipe

ઔÎ?Ô…Í˜ŕ˘ŻÎŒÍąÉźŕ­‰ŕťŒÔ˛ŕˇ“Íś

ŕ­ŽÎ?â€ŤÜ˘â€ŹŕŚ‹ŕŽ?ÍłÍ¤Î–ÜľŮ”ÍšÍŞÎŒ

ਭಕ͗ࡕ‍ٜ͢‏ɟࡍ‍͖ܢ‏Δਭ͗

ŕŽ“Î?ŕŹ†ÍŽÍŞ

Íšŕž‹ŕ°€Í—Ó­Í“ÍŞ

;͚;͎͹͢Ή͎ͪ

ઔÎ?Ô…Í˜ŕ˘ŻÎŒÍąÉźŕ­‰ŕťŒÔ˛ŕˇ“Íś

ŕ­ŽÎ?â€ŤÜ˘â€ŹŕŚ‹ŕŽ?ÍłÍ¤Î–ÜľŮ”ÍšÍŞÎŒ

ਭಕ͗ࡕ‍ٜ͢‏ɟࡍ‍͖ܢ‏Δਭ͗

ŕŽ“Î?ŕŹ†ÍŽÍŞ

Íšŕž‹ŕ°€Í—Ó­Í“ÍŞ

;͚;͎͹͢Ή͎ͪ

32

3. Design for the space in-between a house and a city

33

4. Design Concept Visualizing the "water" By visualizing the hidden water again, we reconnect the upper and lower communities.

Arrangement on the border line Arrange buildings on the border between the upper and lower.

「水」の可視化 隠れてしまった水を再度可視化し、分断さ れたコミュニティをつなげる。 境界線上への配置 窪地の境界線上に建築群を配置する。

み上 み み上げ水車 げ水車 げ水 げ 水 み上 み み上げ水車 上上 げ水車 げ水 げ 水水車 水車 車車

5)

集合住宅ⅱ 集合 集 集合住 合 合住宅 宅ⅱ ⅱ 集合住宅ⅱ 集合 集 集合住 合 合住 宅ⅱ 宅 ⅱ

管理 管理事 管 理事 理 務所 管理事務所 管理 管 管理事 理事 理事務所 理理事務所 事事 務所 管理事務所

6) 2) 3)

集合住宅ⅲ 集合住宅ⅲ 集合住 集合 合住 合 住宅 宅ⅲ ⅲ 集合住宅ⅲ 集合住宅ⅲ 集合住 集合 合住 合 住宅 宅ⅲ ⅲ

地域発電所＆ダム 地域発 域発 域 発電 電所＆ 電所 所 ダム ム 地域発電所＆ダム 地域発 域発 域 発電 電所＆ 電所 所 ダム ム

集住エントランス 集住エ 集 住 ントラ トランス トラ ンス 集住エントランス 集住エ 集 住 ントラ トランス トラ ンス

4)

1)

集合住宅ⅰ 集合住 合住 住宅 宅ⅰ ⅰ 集合住宅ⅰ 集合住宅ⅰ 集合住 合住 住宅 宅ⅰ ⅰ 集合住宅ⅰ 谷底への入り口 谷底へ 谷底 底への入り 底へ の入 の 入り 入 り口 谷底への入り口 谷底へ 谷底 底への入り 底へ の入 の 入り 入 り口

湧き水口 湧き 湧き水 き水 水口 口 湧き水口 湧き 湧き水 き水 水口 口

0

0

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６）：管制塔

5. Project

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Collective housing Apartment houses store rainwater as embankment to prevent water damage.

The stored rainwater is used for living water and local power generation.

集合住宅

It is expected to the increasing the number of single persons and foreigners in Araki-cho. Then, in the clective houses, facility and living space are shared, because of saving space and having communication opportunities

設備やリビングスペースを共有とし

荒木町では単身者や外国人居住者の増

た。

5

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の確保とスペースの節約のため、住宅

4

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加が見込まれる。コミュニケーション

めて堤防の役割を果たす。貯水は生活

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3. Design for the space in-between a house and a city

This page: View of the entrance of housing complex. 本頁：集合住宅のエントランスを見る。

35

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▼GL-6,000 ▼GL-8,600

▼GL-8,600

0

15m

0

Local power plant Local hydroelectric power plant generates electricity by utilizing the stored rainwater and the height difference. Electricity is supplied as the power of the pumping turbine and the assistant power of the area.

地域発電所 貯めた雨水と高低差を利用して地域水 力発電を行う。電力は汲み上げ水車の 動力や地域の補助電力として供給され る。

▼GL-8,600 ▼GL-9,200

15m

0

Pumping water turbine Currently, there is only one drainage route at the bottom of the valley and it is not possible to expect sufficient drainage function.

A part of the daily water gathered at the bottom is flowed to another drainage route by the pumping water turbine.

汲み上げ式水車 現状、谷底には排水ルートが一か所し かなく十分な排水機能が見込めない。

15m

Control tower Control tower to control circulation of water storage. You can see from various places and become a landmark of the area.

水車によって、谷底に集まった生活用

管制塔 貯水の循環をコントロールする管制 塔。様々な場所から見ることができ、 地域の目印となる。

水の一部をほかの排水ルートへ流す。

管理事務所

ＲＦ

Roof floor

scale=1/200

管理事務所

４Ｆ

Forth floor

scale=1/200

管理事務所

３Ｆ

Third floor

scale=1/200

0

Plan

30m

0

Plan

30m

0

Plan

30m

管理事務所

２Ｆ

Second floor

scale=1/200

▼ Top GL+300

1,885

2,600

治水管理事務所

５,000

▼ GL-5,800

▼ Top GL+1,000

4,300

5,000

▼GL±0

▼ GL-2,400

▼ GL-4,100

▼ GL-4,100

事務所簡易住居 ▼GL±0 ▼ GL-8,000

▼ GL-8,000

▼ GL-1,500 ▼Bottom GL-10,500

機械室

集合住宅 ▼Bottom GL-9,800

▼ GL-8,000

drain and pump up by surplus power

30m

Section

- night time -

１Ｆ

scale=1/200

▼ GL-1,000

0

管理事務所

First floor

▼ GL-5,800

- day time -

▼GL±0

4,300

4,300

展望台

generate electricity

5,000

▼ Top GL+1,000

0

30m

Section

0

30m

Section

3. Design for the space in-between a house and a city

This page, left above: View of the activity at the vasin. This page, left bellow: View of the entrance of housing complex from side. This page, right: View of the residential area under the water. 本頁左上：水盤でのアクティビティ。本 頁左下：集合住宅の入り口を脇から見る。 本頁右：水面下の住宅街を見る。

37

ANTONIO GAUDI MUSEUM - R eso n a t e w i t h G a u d i アントニオ・ガウディ美術館 ー共振するガウディー

Location / 敷地：

Omi Walf in Tokyo Bay / 東京湾青海埠頭

Typology / 用途：

Museum / 美術館

Program / 構成：

exhibition room, cafe, shop / 展示室、カフェ、ショップ

Size / 規模：

500㎡

Structure / 構造：

steel frame / 鉄骨造

Summary :

設計概要：

On the edge of the static landfill of

to enhances the beauty of nature

静的・固定的な東京湾の埋立地に、動

理から導き出されたアントニオ・ガウ

Tokyo Bay, a museum for dynamic

such as wave, wind, and sunlight,

的なアントニオ・ガウディの作品を展

ディの有機的な曲線と共振させる。

works of Antonio Gaudi was

and resonates with Antonio Gaudi's

示するための美術館を計画する。

ガウディの作品は海辺に漂着した宝

proposed.

organic curves derived from natural

人工的に固められた静的な海岸線を

物のような佇まいで展示される。

The theme of this project is to design

principle.

切り崩し、陸と海の境界線をあいまい

a museum as "In-between Realm" by

Antonio Gaudi 's works is exhibited

に作ることで、中間領域としての美術

changing the artificially strengthen

like treasures arrived at the beach.

館を設計することが本計画の主題で

static coastline into the unclear

ある。

boundary line between land and sea.

波、風、光などの自然の美しさを高め

This museum is a device with which

る装置として美術館を提案し、自然原

Assignment statement :

課題文：

Architect Antonio Gaudi left many works in Barcelona, Spain, Catalonia. To put it briefly to his notice of architecture,

建築家アントニオ・ガウディはスペイン、カタルーニャ州バルセロナ中心に作品を残した。ガウディが辿り

it is to compare designing architecture with the generation of various forms of nature. He was keen on creating

着いた建築観を端的に言うと、自然の諸形象の生成に建築制作を準えることである。建築に生命を持たせる

architecture a life and therefore aimed to the integration.

こと、ゆえに総合することに腐心した。

Please design a memorial hall to display Antonio Gaudí's works on a landfill of Tokyo Bay. There are many warehouse

アントニオ・ガウディの作品やスケッチなどを展示するための記念館を東京湾をうかがえる湾岸に設計しな

groups around the site, and container piers where mass piles form a mass bundle. On condition that the original bronze statue of 15 meters of the double helical column of the central corridor in the Sagrada Familia stands in the premises

Supervisor： Masayuki Irie/Nobuaki Furuya/Takeshi Hagiwara/Yasutaka Yoshimura/Taishi Watanabe/Keigo Kobayashi/Yuri Fuji/ Takeshi Yamamura

さい。敷地周辺は多くの倉庫群、また山積みされたコンテナ群が量塊を形成しているコンテナ埠頭が近い。 敷地内にサグラダファミリア贖罪聖堂中央身廊部の二重螺旋柱の１５m の原寸ブロンズ像が屹立しているこ とを条件とする。 指導教員： 入江正之 / 古谷誠章 / 萩原剛 / 吉村靖孝 / 渡辺大志 / 小林恵吾 / 藤井由理 / 山村健

4. Antonio Gaudi Museum

ᜆ

áś…

A static coastline of a landfill The site is located on the southern coast of a landfill with a wharf on ŕĄ? Ę— *DXGL the east and west coast. As the wharf is the key of trade with overseas, the landfill is filled with containers. And the coasts of it is artificially ŕŹ°ŕˇ¨ŕˇžŕť˛ÎšÍĽÉźŕŠŤŕ˘ŻÍ¤Î–ÍłÍžÎ˜Í—ÍľÍšÉźŕťŽŐšÍśŕŹŒÍ“Í‘Î–ŕ˛šÎ–â€ŤÍ?;͗ܙ‏ɽ͞Ηͺ strengthened for efficiency. ÎżÍšŕśľŕŞ¤ÍšŕĽ„ŕŠˇÍ–Î”Î?͖͓͑͗Ζɽ

â ˘

1. Site â‘ :HVW VLGH

ŕŠŞŕ´—ÎąĎąĎ„ĎˆŕˇŠŕ˛†

â‘Ą

ͪ๨‍ښ‏࿚ດཱིŕŽ?ÍšŕśąŕŤœÎ?Ď…Î´Î˘ĎąÍ¤Î–ÍžÍłÍ˛Éźŕ˛Šŕ°ŚÍľŕśąŕŤœÎ?డ͎ͪ *DXGL ͹ࡠ඾

â€ŤÍŚÍ ŕ§žÚ â€ŹÎ–É˝ ĺ&#x;‹çŤ‹ĺœ°ă Žé?™çš„㠪澡岸硚

Ěš

ć•ˇĺœ°ă Żć?ąčĽżĺ?„čžşă Ťĺ&#x; é ­ă‚’ćœ‰ă ™ă‚‹ĺ&#x;‹çŤ‹ĺœ°ă Ž

ă ?ă •ă‚Œă Śă „ă‚‹ă€‚ă ?ă —ă Śĺ&#x;‹çŤ‹ĺœ°ă Žćľˇĺ˛¸ă ŻĺŠš

ĺ?—岸沿㠄。ĺ&#x; é ­ă Żćľˇĺ¤–ă ¨ă Žç‰Šćľ ă ŽčŚ ă §ă ‚

çŽ‡ĺŒ–ă Žă &#x;ă‚ äşşĺˇĽçš„ă Ťĺ›şă‚ ă‚‰ă‚Œă Śă „ă‚‹ă€‚

â?¸

(DVW VLGH ŕ­ˆŕ§–Ď§Î˘ĎˆĘ–ŕˇŠŕ˛† 6RXWK VLGH ŕ°‘ŇŒÖ„â€ŤŘ?‏ત

り〠ĺ&#x;‹çŤ‹ĺœ°ă Žĺ¤§ĺ?Šă Żă‚łăƒłăƒ†ăƒŠçž¤ă §ĺ&#x;‹ă‚ ĺ°˝

WZLVW

͸ͣΗ

WZLVW

͸ͣΗ

VFUROO WR UHOHDVH WKH IRUFH ‍תݯ‏ŕ§&#x;ÍśÍ˘Íąŕž™Î?ಂ͗ͤ

VSLUDO WR FRQYHUJHQFH WKH IRUFH Ó–â€ŤÍ˜×Şâ€Źŕ§&#x;ÍśÍ˘Íąŕž™Î?ऍá?“Í ÍŚÎ–

ULQJ RI URSH ŕś§Íšŕž˘ÍŽÍ–

DQWDJRQLVP RI LQWHUQDO IRUFH

DQWDJRQLVP RI LQWHUQDO IRUFH

ŕ˛źŕľ…ŕž™Íšá?˛ß‡

ŕ˛źŕľ…ŕž™Íšá?˛ß‡

DQWDJRQLVP RI LQWHUQDO IRUFH SOHDWV

ŕ˛źŕľ…ŕž™Íšá?˛ß‡Éźá§Ľŕ§&#x;

2. Exhibit

Dynamic curves of Gaudi's works We extract these curves from many works and classify them. Gaudi's ̡ ̞̲̺͆̾ curves are derived from natural principles and unique organic lines.

Ö¸ŕ°ŚÍľŕ˝ƒŕŤ‹Í—Î†ÍłÎžÍ´ÍľÍ? *DXGL ಢ͚ࣙતͳÍ?͓Ζɽ͚͞‍ۄ‏તÎ?ŕŹĄŕ¨źŕĄ ŕśžÍ–Î”ŕŽŞ ă‚Źă‚Śăƒ‡ă‚Łä˝œĺ“ ă Žĺ‹•çš„ă Şć›˛çˇš ă‚Źă‚Śăƒ‡ă‚Łă Žĺ¤šć•°ä˝œĺ“ ă ‹ă‚‰ć›˛çˇšă‚’ćŠ˝ĺ‡şă —ĺˆ†

ă ¨ă „ă ˆă‚‹ă€‚ă “ă‚Œă‚‰ă Żč‡Şç„śĺŽ&#x;ç?†ă ‹ă‚‰ĺ°Žă ?出

éĄžă‚’čĄŒă Łă &#x;ă€‚ă‚Źă‚Śăƒ‡ă‚Łă Žć›˛çˇšă Żĺšžä˝•ĺ­Śçš„

ă •ă‚Œă &#x;も㠎㠧㠂る。

H[WHUQDO IRUFH Ö?ŕľ…ŕž™

D VHULHV RI DQWL FXUYHV ŕľ•â€ŤŰ„â€ŹŕŞ¤ÍšŕżŠŕŹ•

DQWL FXUYHV ZDYH ྕ‍ۄ‏તɟഀ‍ܗ‏

ZDYH FKDQJH LQ OLQH WKLFNQHVV ŕ´€â€ŤÜ—â€ŹÉźŕŞ¤ÍšŕŹ˘Í Íšŕ¸ŁÔż

SOHDWV ᧼�

DQWDJRQLVP RI LQWHUQDO IRUFH VFUROO WR UHOHDVH WKH IRUFH ŕ˛źŕľ…ŕž™Íšá?˛ß‡ÉźÓ–â€ŤÍ˜×Şâ€ŹÍśÎ“Î•ŕž™Î?ಂ͗ͤ

ă ŞčŚ ç´ ă Œă ťă ¨ă‚“ă Šă Şă „ă‚Źă‚Śăƒ‡ă‚Łç‰šćœ‰ă Žçˇš

3. Concept

Museum as "In-between Realm" On the edge of the static landfill of Tokyo Bay, a museum for dynamic ŕŠŞÖ„ŕˇŠŕ˛†ÉťÎąĎąĎ„ĎˆÍłÎŽĎ¨Ď Ď‡ works of Antonio Gaudi was proposed.

The theme of this project is to design a museum as "In-between Realm" Ö„ÎąĎąĎ„ĎˆŕˇŠŕ˛†Íłŕ­ˆŕ§–Ď§Î˘ĎˆĘ–ŕˇŠŕ˛†Î?ŕź™Í¤Î–ŕş”ŕ˝łŕŽ?Íšŕłˆâ€ŤŘ?â€ŹÔŒÍ?͚ҲฤɽքÖ?ͳ͚ by changing the artificially strengthen static coastline into the unclear ŕ˛†Í˛Íşŕ­‰ŕž–ÍšÎąĎąĎ„ĎˆÎ?Ń˝Í?ɟດཱིŕŽ?Íšŕ­‰ŕľ”ÍşÎąĎąĎ„Ďˆâ€ŤÍ˛ÜŠâ€Źŕş”ÎŒŕ¨œÍšÍ Î—ÍąÍ?Ζɽ boundary line between land and sea.

ΔΗͪດཱིŕŽ?ͺɟքÖ?ͳ͚ͯ;͗ΕÎ?ŕ˘ŠÍ“Î–â€ŤÝłâ€Źŕ­‡ÍšŕĽ‘ŕ˝ƒÍľŕŽ?ྭͲÍ?ΖͳÍ?͓Ζɽ

‍ؙ‏Î?â€ŤÍąÝ’â€ŹÎ–ÍľÎ”ÍťÉźÍžÍšŕ§–ŕĽśŕŠ“Î?ŕľłŕ°ˆÍ¤Î–ÍžÍłÍľÍšÉźŕŹ˛ŕľźŕ°ŚÍśŕ°´ŕŁ–Î?ß¨Í‘Î„Í˜ÍŤÍł 波打㠥際㠎瞎襓館

This page, above: Coastlines of the landfill. This page, middle: Analysis of the curves of Gaudi's. This page, below: The sketch of Gaudi. Image of "In-between Realm". ćœŹé ä¸Šďźšă‚Źă‚Śăƒ‡ă‚Łă Žă‚šă‚ąăƒƒăƒ ă€‚ä¸­é–“é ˜ĺ&#x;&#x;㠎イ

é?™çš„ăƒťĺ›şĺŽšçš„ă Şć?ąäşŹćšžă Žĺ&#x;‹çŤ‹ĺœ°ă Ťă€ ĺ‹•çš„

ĺ´Šă —ă€ é™¸ă ¨ćľˇă ŽçˇŠă‚„ă ‹ă Şĺ˘ƒç•Œçˇšă‚’ä˝œă‚‹ă “

ăƒĄăƒźă‚¸ă€‚ćœŹé ä¸­ďźšă‚Źă‚Śăƒ‡ă‚Łć›˛çˇšă Žĺˆ†ćž?ă€‚ćœŹé

ă Şă‚˘ăƒłăƒˆăƒ‹ă‚Şăƒťă‚Źă‚Śăƒ‡ă‚Łă Žä˝œĺ“ ă‚’ĺą•ç¤şă ™

ă ¨ă §ă€ ä¸­é–“é ˜ĺ&#x;&#x;ă ¨ă —ă Śă ŽçžŽčĄ“é¤¨ă‚’č¨­č¨ˆă ™

下ĺ&#x;‹çŤ‹ĺœ°ă Žćľˇĺ˛¸çˇšă€‚

ă‚‹ă &#x;ă‚ ă ŽçžŽčĄ“é¤¨ă‚’č¨ˆç”ťă ™ă‚‹ă€‚

ă‚‹ă “ă ¨ă ŒćœŹč¨ˆç”ťă Žä¸ťéĄŒă §ă ‚ă‚‹ă€‚

äşşĺˇĽçš„ă Ťĺ›şă‚ ă‚‰ă‚Œă &#x;é?™çš„ă Şćľˇĺ˛¸çˇšă‚’ĺˆ‡ă‚Š

40

4. Antonio Gaudi Museum

This page: Total model. Turn the shoreline of landfill site into Gaudi Museum. 本 頁： 全 体 模 型。 埋 立 地 の 海 岸 線 を Gaudi 美術館として建築化する。

41

4. Antonio Gaudi Museum

40 feet 40 feet 20 feet 8feet

Site Plan 0 0

150m 500ft

42

4. Antonio Gaudi Museum

2 1

1.entrance

3

1

4

6

6

5

8

7

11

2.reception 3.museum shop 4.cafe 5.office room 6.toilet

9

7.strage 8.machine room

9

9.exhibition room

9

9

10.a bronze column of La Sagrada Familia

9

9

9

9 9

9

11.parking 9

9

9

9 9

9

9

9

10

Floor Plan 0

20m

9

9

43

4. Antonio Gaudi Museum

4. Interior Device with which to sense nature This museum is a device with which to enhances the beauty of nature such as wave, wind, and sunlight, and resonates with Antonio Gaudi's ＩＮＴＥＲＩＯＲ organic curves derived from natural principle.

His works is exhibited like treasures arrived at the beach.

自然を感知する装置 自然原理から導き出されたアントニオ・

ガウディの作品は海辺に漂着した宝物の

ガウディの有機的な曲線と共振するよう

ような佇まいで展示される。

に、波、風、光などの自然要素の美しさ を高める装置として美術館を提案する。

44

4. Antonio Gaudi Museum

5. Exhibition plan ̜͉̹̺̳̺Ẁ̺̿

Gaudi Museum

*DXGL ‫ى‬೨‫ؙ‬

Exhibit place ఴࣖϛ΢ϱφ

Level

Ϫϗϩ‫ܐؖ‬

Give a sense of scale.

Up and down in contrast to flat landfill. ‫ؔۯ‬Ͷηίʖϩ‫״‬Ν༫͓Ζɽ ฑΔ͵ດཱིஏͳଲർద͵ً෮ɽ

The direction of room

ఴࣖ඾͹झྪΏ୉͘͠Νߡྂ͢ͱఴࣖ࣪͹޴͘Ν݀

Types of glass

Control the light and opening feeling with transparency of glass.

Steel plate ర൚

Wave

Ϊϧη͹ಃ໎ౕΝรԿͦ͠ɼޭͳ֋๎‫״‬Ν௒ઇͤΖɽ

Curve out and design the coastline. ք‫؝‬તΝ௄ࠃ͢ɼυδ΢ϱͤΖɽ

Resonance movements of wave and Gaudi’s works ഀ͹ಊ͘ͳ *DXGL ͹ࡠ඾Ν‫ͦ৾͠ڠ‬ΖఴࣖΝߨ͑ɽ

Floor joint

Give rhythm, movement and direction to the exhibition space.

Floor colour জ͹৯

sRRU OHYHO

ΌΖɽ

ഀ

জ໪ஏ

˥ ORZ

Considering type and size of exhibition.

ఴࣖ࣪͹޴͘

ఴࣖ࣪͹Ϊϧη

IUDPH

KLJK ˤ

WLGH ഀ଩ͬࡏ

ULSSOH

͠͡ഀ

ULSSOH ͠͡ഀ

VFUROO Ӗ‫͘ת‬

VFUROO Ӗ‫͘ת‬

ULSSOH ͠͡ഀ

VFUROO Ӗ‫͘ת‬

WLGH

ഀ଩ͬࡏ

EXEEOH

WLGH

๒

ഀ଩ͬࡏ

VFUROO Ӗ‫͘ת‬

VSODVK ͢΁͘

ϨθϞΏಊ͘ɼ๏޴੓Νఴࣖ‫ؔۯ‬Ͷ༫͓Ζɽ

Give gradation and movement to the coastline by pattern of mosaic. Ϡδ΢έ͹ϏνʖϱͶΓΕಊ͘ͳήϧυʖεϥϱΝ ք‫؝‬તͶ༫͓Ζɽ

Curtain

Ωʖτϱ

Exhibitis of Gaudi’s ఴࣖࡠ඾

The shadow of the white curtain shakes, producing depth in the coastline. പ͏Ωʖτϱ͹Ӫ༵͗ΔΌ͘ɼք‫؝‬તͶԠߨΝਫ਼΋ɽ

Sketch --- shake of line, layer, gradation, delicacy Photograph --- nostalgia, low moan Drawing --- uniform thickness, distortion, roar Plaster model --- texture, shadow, sacred song Furniture, Accessories --- like small animal, whisper, twitter ηίροʀʀඵત͹༵Ηɼ॑͵Εɼ·Ώ͜ɼથࡋ͠ Ϡόέϫࣺਇʀʀόηνϩζρέɼఁ͏͑Ό͘ ਦ໚ʀʀ‫͵࣯ۋ‬ત͹ଢ͠ɼ࿬ΊɼʹΓΌ͘ ੶ߥໝ‫ܗ‬ʀʀτέηοϡɼӆӪɼࢎඔՐ Պ۫ɼૹ২ʀʀঘಊ෼͹ဥΉ͏ɼᅦ͘ɼ͓ͥ͠Ε

Accessory like composed of tighten bubbles

A column of central corridor in Sagrada Familia (actual size) Located at the approach as the symbolic gate of the museum

ཽࢢ͗٩ΉͮͪΓ͑͵ૹ২

Focus on detail of Gaudi’s works on a circular place ԃ‫؂‬͹஦Ͳ *DXGL ͹ GHWDLO ͶηϛρφΝ౲ͱΖ

γήϧξϓΟϝϨΠ஦ԟਐ࿕෨஬ʤ‫੉ݬ‬ϔϫϱθ଀ʥ ΠϕϫʷοͶҒ஖͢‫ى‬೨‫ͳؙ‬αϱτψ්ಆΝ݃΁ΰʖφͳ͵Ζ

Focus on small furniture of Gaudi ηϛρφ͹౲ͪΕͥΔ͏Պ۫ͶΉͲ *DXGL Δ͗͢͠Ί͵͙Ζ

Columns giving a rhythm

Twist and rise up

͸ͣΗ͍͗Ζଆ‫ܙ‬Νఴࣖ࣪͹৏ত‫ͳ״‬ϔϪϱχ

྽஬͹Γ͑ͶϨθϞΝࠃ΋

Meditate on the life of Gaudi with a calm wave

Internal force of Casa Mila and bubbles

಼൅ͤΖΩγϝϧͳ๒Νֽ͜߻ΚͦΖ

The texture resonances the movement of wave τέηοϡΝූ͖;৏͗ΔͦΖ ഀ͹͑͸Εͳ‫ݼ‬ԢͤΖ

Beside splashing wave, appreciate Gaudi’s efforts to face it Sagrada Familia over a lifetime

Internal force of Casa Mila and bubbles

಼൅ͤΖΩγϝϧͳ๒Νֽ͜߻ΚͦΖ

ਫ਼֖Ν͖͜ͱྡΞͫγήϧξϓΟϝϨΠͳ͹

Signatures and models

Stand out the shadow

γ΢ϱΏໝ‫ܗ‬

֪ಈΝߧʓ͢͏ഀͲؓৈ

Sitting on a chair and staring at the sea

ҞࢢͶ࠴Ε͵͗ΔքวΝ்ΌΖʤ৏ত‫͵״‬Ζ‫ؔۯ‬ʥ

ೖޭͶ͍ͱɼӆӪΝࡏཱིͪͦΖ

྽஬͹Γ͑ͶϨθϞΝࠃ΋

Columns giving a rhythm

થࡋͶΑΔΌ͚ඵત͹ؓৈ

ԠΉͮͪཚͬ஥͏ͪഀࡏͲ *DXGL ͹ਫ਼֖Ν‫ͯݡ‬ΌΖ

A chair welcoming visitors པ๜ंΝड़͓ܶဥΉ͑Ҟࢢ

Appreciation of delicate lines waving

Dynamic outline ً෮͹ܻ͢͏ྡྷִ

Beside bubbles of wave, appreciate the shape of works ๒ͶΓͮͱηίʖϩΝ௔͓ͪ *DXGL ͹៝ື͵ଆ‫ܙ‬ΝؓৈͤΖ

Sitting on a chair and staring at the sea

ҞࢢͶ࠴Ε͵͗ΔքวΝ்ΌΖʤΑͮͪΕʥ

Shape of scroll

Ӗ‫͘ת‬͹ଆ‫ܙ‬

45

4. Antonio Gaudi Museum

ＡＰＰＲＯＡＣＨ 6. Approach

ＬＡＮＤＳＣＡＰＥ 7. Landscape

ＥＸＴＥＲＩＯＲ 8. Exterior

47

4. Antonio Gaudi Museum

46

Section B - B’ 0

16m

TOP GL+3,658

12feet

GL+0

North elevation 0

16m

TOP GL+3,658

GL+0

West elevation 0

16m

12feet

O B S E R VA T I O N H O U S E S On the Orbit 天文台の家 ー軌道ー

Location / 敷地：

Roccascalegna, Italy / ロッカスカレーニャ、イタリア

Typology / 用途：

Observation Houses / 天文台

Program / 構成：

guest house, observation area, restaurant, bookshop / ゲストハウス、観測所、レストラン、本屋

Size / 規模：

1,130㎡

Structure / 構造：

masonry, wooden / 組積造、木造

Summary :

設計概要：

A star appears in a certain cycle and

natural cycle is a "place" of a human

星は一定のサイクルで現れては消え

（observatory house）は人間と大自然

disappears. Whenever people saw the

being and nature. The "place" makes

る。人々は星を見るたび、自らの存在

を繋いでくれる “場所” である。その

stars, they tried to find their existence in

unusual experiences such as the fortress

をその宇宙のサイクルの中に見出そ

“場所” は、ロッカスカレーニャの要

the cycle of the universe.

of Roccascalaña and the starry sky even

うと努めた。

塞や星空といった非日常的な経験を

In this project, we aim to make a visit so

more unforgettable.

本計画では昼夜の光の変化を通して、

一層忘れがたいものにしてくれる

that we can think about the cycle of nature

訪れた人が自然のサイクルに思いを

through changes in day and night light.

はせるような建築を目指す。

The obs ervatory hous e having the

この自然サイクルを有する建築

Assignment statement :

課題文：

The nocturnal sky is eternal, sublime and inaccessible. When looking at it, the human being experiences the most

夜の空は永遠で雄大で近づきがたい。それを見ると、人間は最も古くからの感覚を体験することができ、古

ancient sensation and feels overwhelmed by an ancient and inviolable mystery. A mystery that not even the most

代の不可抗力の謎に圧倒されているように感じます。それは努力と技術的進歩にもかかわらず、最も現代的

modern and refined minds can undrstand, despite efforts and technological progress.

で洗練された心の持ち主でさえも理解することができない謎です。

Dazzled by the brightness of our metropolis, we often forget the extraordinary vision the vault of heaven can offer us.

大都市の明るさに邪魔されて、私たちはしばしば大空に広がる絶景を忘れてしまう。しかし、都市から遠く

However, there are still places that are far from cities where the beauty of the infinite appears in its entire splendor.

Surrounded by forests and crags, Roccascalegna is one of the places where this magic continues to occur and where the sky keeps on telling its eternal and beautiful story.

It is a unique and far place that is both incredibly beautiful and clearly fragile. In fact, the fortless deeply depends on the constant care of the human being to preserve its characteristics and remarkable appearance.

For these reasons, the Italian Exhibition Group and the Italian government launched the Observatory Houses project aiming to find a new use for Roccascalegna taking advantage of the potential of an oneiric setting with remarkable skies. The project aims at creating in Italy the first and most suggestive observatory houses.

How to build a complex of modern observatory houses in a picturesque medieval fortress? How to create the most refined national reference for the astronomical observation tourism through architecture?

Jury： Enrique Sobejano / Felix Perasso / Rodrigo Duque Motta / Nicodemos K. Tsolakis / Pippo Ciorra / Domenico Giangiordano / Vittorio Vannini / Simon Frommenwiler / Francesco Cotellessa / Giorgio Bianciardi

離れた場所には、無限の美しさ拡がる場所がまだあります。 ロッカス・カレーニャは森と岩に囲まれ、この美しい魔法が続いている場所の 1 つであり、空が永遠に美し い物語を語り続ける場所です。 それは信じられないほど美しくもあり、壊れやすく、特徴的で、遠く離れた場所にあります。実は、その特 徴と顕著な外観を保つためには人間の絶え間ない手入れが欠かすことができません。 これらの理由から、イタリア・エキシヴィジョン・グループとイタリア政府は、ロッカス・カレーニャの新 しい道筋を見いだすことを目指して、Observatory Houses プロジェクトを立ち上げました。このプロジェ クトは、イタリアで一番目の示唆的な展望台を建設することを目指しています。 美しい中世の要塞に現代の天文台をつくるにはどうすればよいか？建築を通して天文観測観光を国際レヴェ ルにまで洗練させるためには、どのようにすればよいか？。 審査員： Enrique Sobejano / Felix Perasso / Rodrigo Duque Motta / Nicodemos K. Tsolakis / Pippo Ciorra / Domenico Giangiordano / Vittorio Vannini / Simon Frommenwiler / Francesco Cotellessa / Giorgio Bianciardi

OBSERVATION HOUSES 1. Concept

5. Observation Houses

2. Construction

On the Orbit Nature Cycle - Star

Construction

A star appears in a certain cycle and disappears. Whenever people saw the stars, they tried to find their existence in the cycle of the universe.In this project, we aim to make a visit so that we can think about the cycle of nature.

Natural Cycle - Medieval light Medieval people found a natural cycle in the contrast between light and darkness. They created a monotone's rustic space to make that contrast more attractive.

Natural Cycle - Modern light The modernity of light is not the contrast between light and

lighting system Incorporate sunlight and moonlight into the room as homogeneous light.

shadow but the homogeneous light which does not produce shadows. In this project, we attempted to express natural cycle by top light converted into homogeneous light.At daytime by sunlight and at night by moonlight, the entire room is filled with homogeneous light, so you can taste the floating feeling freed from gravity.

The observatory house having such a natural cycle is a

function

"place" that connects human beings and nature. The "place" makes unusual experiences such as the fortress of Rocca ScalaĂąa and the starry sky even more unforgettable.

Nature Cycle - Star A star appears in a certain cycle and disappears. Whenever people saw the stars, they tried to find their existence in the cycle of the universe.In this project, we aim to make a visit so that we can think about the cycle of nature.

Natural Cycle - Medieval light Medieval people found a natural cycle in the contrast between light and darkness. They created a monotone's rustic space to make that contrast more attractive.

Natural Cycle - Modern light The modernity of light is not the contrast between light and shadow but the homogeneous light which does not produce shadows. In this project, we attempted to express natural cycle by top light converted into homogeneous light.At daytime by sunlight and at night by moonlight, the entire room is filled with homogeneous light, so you can taste the floating feeling freed from gravity.

Volume with function attached to the facade.Homogeneous light falls down from the ceiling.

facade Flow line connecting rooms./To associate medieval fortress with modern rooms.

plan Observatory house : toilet facilities,

The observatory house having such a natural cycle is a "place" that connects human beings and nature. The "place" makes unusual experiences such as the fortress of Rocca ScalaĂąa and the starry sky even more unforgettable.

kitchen, 2 bedrooms, wellness area,living room

50

Lighting system of the roof Lighting system of the roof

3. Lighting system of the roof

5. Observation Houses

day time

night time

day time

night time

51

5. Observation Houses

4. Masterplan

Response with the past

f’

d

f’ f’ d d

f’

f’

h c

c f’

f’

f’

a b f’

g c c

f’

f’

f b f’

e f’

a

b

a

a

a

f’

f’ f’

Medieval fortress and Modern observatoryhouse The architectural form of the obsertatory houses refers to medieval fortress, units given for each

PLAN SCALE 1/500

function are organically connected along the terrain

a.observatory cabins

b.observatory apartments a.observatory c.observatory cabins houses

b.observatory apartments

c.observatory houses

with the cylindrical private viewing area as a hinge.

d.observatory villa

e.information point

f.observation villa center d.observatory

e.information point

f.observation center

f’ .observation area

g.restaurant

fh.bookshop .observation area ’

g.restaurant

h.bookshop

By making the flow line of the building massive volumes, we associate the heavily fortified medieval fortress architecture with the modern hotel room.

10

20

30

40

10 50(m)

20

30

40

50(m)

52

5. Observation Houses

5. Landscape

Encarage landscape

Encarage landscape Encarage landscape

a.observatory cabins

b.observatory apartments

c.observatory houses

d.observatory villa

e.information point

f.observation center

f’ .observation area a.observatory cabins

g.restaurant b.observatory apartments

h.bookshop c.observatory houses

d.observatory villa

e.information point

f.observation center

10 f’ .observation area

20 g.restaurant

40 h.bookshop

30

50(m)

a.observatory cabins

b.observatory 10 20 apartments 30

c.observatory houses 40 50(m)

d.observatory villa

e.information point

f.observation center

f’ .observation area

g.restaurant

h.bookshop

10

20

30

40

c.

c.

50(m)

c.

53

Chapter 3

Conceptual Form Design コンセプチュアル・フォルム・デザイン

This chapter shows to the works that attempt to represent the messages by visualizing the concepts as the form.

思想としての建築を目指し , 様々な思いや概念（コ ンセプト）の視覚化を造形テーマとしたフォルムデ ザイン。

URBAN Ushiro-do

Infrastructure under the city

- O ri g i n a l L a n d sca p e o f A rch i t ect u re都市の後ろ戸 裏の都市のインフラストラクチャー ー建築の原風景ー

Location / 敷地：

Shibuya, Tokyo / 東京都渋谷

Typology / 用途：

Research facility on afforestation, Memorial hall / 植林の研究施設、記念堂

Program / 構成：

strage, guest room, forest, office etc / 倉、宿泊室、林試の森、事務室など

Size / 規模：

1,280㎡

Structure / 構造：

reinforced concrete / RC 造

Summary :

設計概要：

My project is "disprograming" with two

on a community that has been persecuted

本計画では都市の舞台裏に関係する

記念堂－研究施設に加え、都市の迫

function on the backstage of city.

by the city. By protecting their memory as

Research facility on afforestation － Green

"segmental-infrastructure", we will tell it

二つの機能の「掛け合わせ」を試みる。

害を受けた共同体にも焦点を当てる。

space dotted in Tokyo has given relaxation

as a memory of the city that should not be

植林の研究施設－東京に点在する緑

彼らの記憶を「分節型のインフラ」に

and diversity to the city. Considering

forgotten.

地は人々の憩いの場となり都市に多

保存することで、忘れてはならない都

様性を与えた。緑地を文化や記憶を運

市の記憶として語り継ぐ。

it as "segmental-infrastructure", which connects culture and memory, I design research facilities on afforestation.

Memorial hall － The project also focuses

ぶ「分節型のインフラ」と考え、植林 に関する研究施設を設計する。

Assignment statement :

課題文：

Since the modern era, our lives and societies has been together with fears and anxiety about the present. The

近代を迎えて以来、私たちの生活と社会はその都度現在への不安と共にある。しかしむしろ、繰り返される

continuation of these anxiety is represented clearly by repeated wars, disasters, international festivals, etc. and has

戦争や災害、国際的祭事などの形式でわかりやすく表現されたこれらの不安の連続が、都市の近代を形作る

controled modernization of the city. One concept unique to Japan which is based our living cultures on is the concept of

私たちの所作を決定づけてきたと考えられる。私たちの生活文化に先行する日本特有の概念のひとつに「後

"Ushiro-do". Originally it refers to the space behind the back of the main shrine in temples and shrines. In this project,

ろ戸」という概念がある。もとは寺社仏閣における本尊の背中の後ろ戸の空間を指す。そこから転じてこの

we define "urban Ushiro-do" as rituality which is concealed behind our everyday life. Trying to find an act of "Ushirodo" of city from a modern urban life leads to positive understanding of the structure of consumption society, not to the anxiety of unstabilizing values.

Based on this idea, plan "urban Ushiro-do" on the site adjacent to the garbage disposal plant of Shibuya. Specifically, forests, information facilities equipped with accommodation facilities (for researchers and experiential learning), and various facilities considering interaction with the area are included.

Supervisor： ［Tokyo University］Kengo Kuma/Hidetoshi Ono/Takeshi Ito/Kazuhiko nishide/Manabu Tiba/Toshio Otuki/Yusuke Obuchi/Jun Sato/Masahiro Harada/Tie Nabeshima/Osamu Nishida/Toshihiko Kiuchi/Koh Nakamura/Kei Kaiho ［Waseda University］Takeshi Nakagawa/Masayuki Irie/Hitoshi Watanabe/Nobuaki Furuya/Shigeru Sato/Haruhiko Goto/Takashi Ariga/Yuri Fuji/Toru Kitazono/Moriko Kira/Yasutaka Yoshimura/Taishi Watanabe/Keigo Kobayashi/Shu Yamamura

課題で言う後ろ戸とは日常生活の裏に秘匿された儀式性であり、かつ、その行為の場（空間）を含む。 現代の都市生活から新旧の都市の後ろ戸空間を往還する行為を見出そうとすることは、その都度価値が定ま らない現在への不安とは異なる消費的な都市生活のストラクチャーをそれでも前向きに見出すことにつなが る。こうした考えを踏まえ、渋谷区清掃工場に隣接する敷地に「都市の後ろ戸」を計画しなさい。具体的に は、林試の森と（研究員や体験学習用の）宿泊施設を備えた情報発信施設、地域との交流を考慮した諸施設 を含むこととする。 指導教員： ［東京大学］隈研吾 / 大野秀敏 / 伊藤毅 / 西出和彦 / 千葉学 / 大月敏雄 / 小渕祐介 / 佐藤淳 / 原田真宏 / 鍋島 千恵 / 西田司 / 木内俊彦 / 中村航 / 海法圭［早稲田大学］中川武 / 入江正之 / 渡辺仁史 / 古谷誠章 / 佐藤滋 / 後藤春彦 / 有賀隆 / 藤井由理 / 北園徹 / 吉良森子 / 吉村靖孝 / 渡辺大志 / 小林恵吾 / 山村崇

6. Urban Ushiro-do

site plan scale=1/2500

58

6. Urban Ushiro-do

59

パ ル コ パ ル コ 渋谷センター街 渋谷センター街 １ ０ ９ １ ０ ９ S ES I EB I UB U

スクランブル交差点 スクランブル交差点

thethe principal principal image image 渋 谷 駅 渋 谷 駅

ヒカ ヒリ カエ リエ

Infrastructure Infrastructure of of Tokyo Tokyo (traffic) (traffic) ౨‫ښ‬΢ϱϓϧηφϧέοϡʖʤި௪ʥ ౨‫ښ‬΢ϱϓϧηφϧέοϡʖʤި௪ʥ

After After construction construction

Frontstage Frontstage of of Shibuya Shibuya

޽ࣆ‫ޛ‬ ޽ࣆ‫ޛ‬

ॎ୫͹න෥ୈ ॎ୫͹න෥ୈ

Ushiro-do Ushiro-do

渋谷

谷川 川 渋 敷 地 敷 地 清 掃 清工 掃場 工 場 旧東横線跡地 旧東横線跡地

Above Above : Plan. : Plan.

Hokkedo Hokkedo of of Todaiji.

Todaiji.

Segmental Segmental infrastructure infrastructure of of Tokyo Tokyo (green) (green) ౨‫ښ‬͹෾ઇ΢ϱϓϧηφϧέοϡʖʤྚஏʥ ౨‫ښ‬͹෾ઇ΢ϱϓϧηφϧέοϡʖʤྚஏʥ

৏ʁฑ໚ਦɽ౨୉࣋๑՜ಌɽ ৏ʁฑ໚ਦɽ౨୉࣋๑՜ಌɽ

0. Theme

theme theme: Ushiro-do : Ushiro-do

1. Concept

後ろ戸

もとは寺社仏閣における本尊の背中の空 間を指す。 本計画では、 「都市の後ろ戸」を日常生活 の裏に秘匿された儀式性と定義づける。

ɻɻ

hall The project also focuses on a community that has been persecuted by the city. By protecting their memory as "segmental-infrastructure", we will tell it as a memory of the city that should not be forgotten.

Backstage Backstage of of Shibuya Shibuya

ॎ୫͹෥ୈཬ ॎ୫͹෥ୈཬ

2. Community targeted for the project

Concept Concept& &Program Program

Ushiro-do My project is "disprograming" with two function on the backstage of city. 本計画では都市の舞台裏に位置付けられる二つの機能の掛け合わせを試みる。 Originally "ushiro-do" indicates to ɻීஏͺΦϋϩάρεϣ͵ॎ୫͹෥ ɻීஏͺΦϋϩάρεϣ͵ॎ୫͹෥ ɻ౨‫ښ‬Ͷͺ͏ͪΖͳ͞ΘͶྚ఼͗ࡑ͢ͱ͏Ζɽ͞ΗΔ͹ྚͺۛେ ɻ౨‫ښ‬Ͷͺ͏ͪΖͳ͞ΘͶྚ఼͗ࡑ͢ͱ͏Ζɽ͞ΗΔ͹ྚͺۛେ the backspace of the main shrine in 植林の研究施設 Research facility on afforestation ୈཬͶ͍ͪΖɽͨ͞Ͷͺ͟Ίॴཀྵ৖ ୈཬͶ͍ͪΖɽͨ͞Ͷͺ͟Ίॴཀྵ৖ Ͷ͕͜Ζ֋൅͹ώρϓΟʖͳ͢ͱಉ͘ɼ‫ݳ‬େ͹౨‫ښ‬͹౐ࢤߑଆΝ Ͷ͕͜Ζ֋൅͹ώρϓΟʖͳ͢ͱಉ͘ɼ‫ݳ‬େ͹౨‫ښ‬͹౐ࢤߑଆΝ temples and shrines. 東京に点在する緑地は人々の憩いの場となり都市に多様性を与 Green space dotted in Tokyo has given relaxation and Ώ౨ԥત͹੽ஏɼસ໚ะૹԿ͠Ηͪ Ώ౨ԥત͹੽ஏɼસ໚ะૹԿ͠Ηͪ ݀ఈͪ͢ɽ͞͹ྚΝ౨‫ښ‬Ͷ͕͜Ζऀճద‫ڠ‬௪ࣁຌͳ͢ͱ͹΢ϱϓ ݀ఈͪ͢ɽ͞͹ྚΝ౨‫ښ‬Ͷ͕͜Ζऀճద‫ڠ‬௪ࣁຌͳ͢ͱ͹΢ϱϓ In this project, we define "urban えた。緑地を文化や記憶を運ぶ「分節型のインフラ」と考え、 diversity to the city. Considering it as "segmentalॎ୫ઔ͵ʹ͹΢ϱϓϧ͹ॄ੷੽͍͗ ϧͳ͢ͱखΕ৏͝ɼ৪ྜྷͶ‫ͤؖ‬Ζ‫ࢬڂݜ‬અΝ‫ܯ‬ժͤΖɽɻ ϧͳ͢ͱखΕ৏͝ɼ৪ྜྷͶ‫ͤؖ‬Ζ‫ࢬڂݜ‬અΝ‫ܯ‬ժͤΖɽɻ ushiro-do"ॎ୫ઔ͵ʹ͹΢ϱϓϧ͹ॄ੷੽͍͗ as rituality which is 植林に関する研究施設を設計する。 infrastructure", which connects culture and memory, I Ζɽ͞͹৖ॶͺ౐ࢤ͹න෥ୈΝ੔Ε concealed Ζɽ͞͹৖ॶͺ౐ࢤ͹න෥ୈΝ੔Ε behind our everyday life design research facilities on afforestation. ཱིͪͦΖͪΌͶ͵͚ͱͺ͵Δ͵͏௒ ཱིͪͦΖͪΌͶ͵͚ͱͺ͵Δ͵͏௒ ੖ༀώϧϱγʖͳ͢ͱ͹ༀׄΝ୴͑ɽ ੖ༀώϧϱγʖͳ͢ͱ͹ༀׄΝ୴͑ɽ Memorial

Before Before construction construction

޽ࣆ઴ ޽ࣆ઴

記念堂

The TheBackstage BackstageofofTokyo TokyoOlympics Olympics

Dweller who had lost their homes twice by the Olympic Games When holding the Tokyo Olympics in 2020, Kasumigaoka Complex ɻ̐̎̐̎೧౨‫ښ‬ΨϨϱϒρέͶͺٚ੝ं͗ීஏۛว͹ޮӨ஄ஏ ɻ̐̎̐̎೧౨‫ښ‬ΨϨϱϒρέͶͺٚ੝ं͗ීஏۛว͹ޮӨ஄ஏ was decided to be demolished for the construction of the New National ͶҢे͢ͱ͚Ζɽ൶Δͺ৿ࠅཱི‫ٗڟ‬৖‫ݒ‬અஏ͹Ҳ෨ͳ͵ͮͱ͏Ζ ͶҢे͢ͱ͚Ζɽ൶Δͺ৿ࠅཱི‫ٗڟ‬৖‫ݒ‬અஏ͹Ҳ෨ͳ͵ͮͱ͏Ζ Stadium.

The inhabitants will emigrate to the public housing complex դϴ‫ٲ‬஄ஏ͖Δ͹ཱིͬୂ͗݀͘ఈ͠Ηͪे຿ͪͬͲ͍Ζɽࣰͺɼ դϴ‫ٲ‬஄ஏ͖Δ͹ཱིͬୂ͗݀͘ఈ͠Ηͪे຿ͪͬͲ͍Ζɽࣰͺɼ near this site. Actually, they lived in Yoyogi Gymnasium until 1964, and ൶Δ͗ΨϨϱϒρέͶΓͮͱՊΝࣨ͑͹ͺ್ౕ໪Ͳ͍Ζɽ̗̏̔ ൶Δ͗ΨϨϱϒρέͶΓͮͱՊΝࣨ͑͹ͺ್ౕ໪Ͳ͍Ζɽ̗̏̔ this is the second time they lose their homes.

3. Site

site site: Shibuya : Shibuya

Backstage of Shibuya The site is the backstage of energetic Shibuya. It has several places of old ɻීஏͺΦϋϩάρεϣ͵ॎ୫͹෥ୈཬͶ͍ͪ ɻීஏͺΦϋϩάρεϣ͵ॎ୫͹෥ୈཬͶ͍ͪ infrastructure such as garbage disposal plant, the formar site of Toyoko Ζɽͨ͞Ͷͺ͟Ίॴཀྵ৖Ώ౨ԥત͹੽ஏɼસ໚ Ζɽͨ͞Ͷͺ͟Ίॴཀྵ৖Ώ౨ԥત͹੽ஏɼસ໚ Line and full paved Shibuya River. This place plays a role as an unsung ะૹԿ͠Ηͪॎ୫ઔ͵ʹ͹΢ϱϓϧ͹ॄ੷੽͗ ะૹԿ͠Ηͪॎ୫ઔ͵ʹ͹΢ϱϓϧ͹ॄ੷੽͗ hero that is indispensable for establishing the front stage of the city. ͍Ζɽ͞͹৖ॶͺ౐ࢤ͹න෥ୈΝ੔ΕཱིͪͦΖ ͍Ζɽ͞͹৖ॶͺ౐ࢤ͹න෥ୈΝ੔ΕཱིͪͦΖ

̒೧ΉͲେʓ໨ରү‫ؙ‬͹ීஏͶेΞͲ͏ͪ͹ͫɽ ̒೧ΉͲେʓ໨ରү‫ؙ‬͹ීஏͶेΞͲ͏ͪ͹ͫɽ

ͪΌͶ͵͚ͱͺ͵Δ͵͏௒੖ༀώϧϱγʖͳ͢ ͪΌͶ͵͚ͱͺ͵Δ͵͏௒੖ༀώϧϱγʖͳ͢

൶Δ͹஄ஏͲ͹‫ڠ‬ಋରͳ͢ͱ͹‫ى‬Գ͹΢ϱϓϧηφϧέοϡʖΝ ൶Δ͹஄ஏͲ͹‫ڠ‬ಋରͳ͢ͱ͹‫ى‬Գ͹΢ϱϓϧηφϧέοϡʖΝ

ͱ͹ༀׄΝ୴͑ɽ ͱ͹ༀׄΝ୴͑ɽ

‫ܯ‬ժͤΖɽ ‫ܯ‬ժͤΖɽ 五輪で二度も家を失った団地住民

渋谷の舞台裏

本計画では都市の迫害を受けた共同体にも焦点を当てる。彼ら

2020 年の東京オリンピック開催に際し

に移住してくる。実は、彼らは 1964 年

敷地はエネルギッシュな渋谷の舞台裏に

の表舞台を成り立たせるためになくては

の記憶を「分節型のインフラ」に保存することで、忘れてはな

て、新国立競技場建設のために霞ヶ丘団

まで代々木体育館の敷地に住んでおり、

地の取り壊しが決定した。そして、団地

家を失うのは二度目。

あたる。そこにはごみ処理場や東横線の

ならない影の立役者としての役割を担

跡地、全面舗装化された渋谷川などのイ

う。

らない都市の記憶として語り継ぐ。

の住民たちが今回の敷地近辺の公営団地

ンフラの集積跡がある。この場所は都市

6. Urban Ushiro-do

60

6. Urban Ushiro-do

5. Design Concept 1

61

Two vessels I designed a memorial hall for the community in the Kasumigaoka housing complex in order to protect their memories.

I classified a memory into two types.

"Real memory… memory in an object" "Imaginary memory… memory in one's mind" Each of them is put into the volume of the upper or lower linear vessels.

By inserting the light-wings between the vessels, the reflected light is taken inside. ஄ஏ͹‫ى‬ԳΝ͑͜ͳΌΖ ॗࡉ͹ཬଈͲയ֒Νण͜ͱ͏Ζ

２つの器

դϴ‫ٲ‬஄ஏ͹ਕʓΝଲেͶઅ‫ܯ‬ Νߨ͑ɽ

霞ヶ丘団地の人々を共同体としてつなぎ

に分けて考え、上下のリニアな器型のボ

とめるため、彼らの記憶をうけとめる記

リュームでそれぞれの記憶をうけとめ

念堂を計画する。

る。器の間に希望の翼を挿入し、光を内

団地での記憶を ͍͗Ζ͹Ͳͺ͵͏ͫΘ͖͑ɽ

部に取り込む。

஄ஏ͹‫ى‬ԳͶͺɻࣰʀʀϠόͳ ͢ͱଚࡑͤΖ΍͹ɻ‫ڑ‬ʀʀϠό Ͳͺ࿭͏͘Η͵͏΍͹

5.

memory ‘in one’ s mind’

「実・・モノの中に宿る記憶」 「虚・・心の中に宿る記憶」

6. Design Concept 2

memory ‘in an object’

Axis as void complex is one of not only the The memory ஄ஏ͹‫ى‬ԳΝ͑͜ͳΌΖ‫ܙ‬ସ of the Kasumigaoka housing community ൶ΔΝ‫ڠ‬ಋରͳ͢ͱͯ͵͙ͳΌΖͪΌɼ‫ى‬Գͳ͢ͱ͹΢ϱϓϧηφϧέοϡʖͳ͢ͱϟϠϨΠϩϙʖϩ but also the Olympic Games and Tokyo. In order to protect this special Ν‫ܯ‬ժͤΖɽ memory, the axis is set sandwiched by the architectural style ‫ͱ͢ͳܗݬ‬͹ત‫ܙ‬͹‫ܗح‬͹஦Ͷ‫ݒ‬஛༹ࣞΝ࣍ͮͪ‫ؔۯ‬Ν༫͓Ζ͞ͳͲɼ‫ڠ‬ಋର͹‫ى‬ԳΝ͑͜ͳΌΖɽ‫ح‬ and the forest.

This axis consists of the void surrounded by the taboo of the style andͶͺޭΝ಼෨ͶखΕࠒ΋‫س‬๮͹ཏ͗ૢ೘͠ΗɼΉͪ‫ح‬Ν֐͖Δҕ͑Γ͑Ͷଡਈ‫گ‬͹ਈ͗ॕΖͳ͠ΗΖ໨ʓ the god of animism. Ν৪ྜྷͤΖɽ

ে௅ద͵࣢͗ࣖͤ΍͹ͺ‫͍Ͳصے‬Ζɽ͞͹࣢ͺ༹ࣞͳਈͳ͏͑‫صے‬ద͵΍͹ͶखΕҕΉΗͪ༪പ͖Δ͵ 余白としての軸 Ζ࣢Ͳ͍Ζɽ 挟まれた軸を設定する。この軸は様式と 霞ヶ丘団地の記憶は共同体の記憶である ൶Δ͹‫ى‬Գͺ‫ڠ‬ಋରͳ͢ͱ͹‫ى‬ԳͲ͍Ζͳಋ࣎ͶɼΨϨϱϒρέ͹‫ى‬ԳͲ΍͍Εɼ౨‫ښ‬͹‫ى‬ԳͲ΍͍Ζɽ アニミズムの神という禁忌的なものに取 と同時に、オリンピックの記憶でもあり、 ൶Δ͹‫ى‬Գͳ͢ͱ͹΢ϱϓϧηφϧέοϡʖͺཱࣙ͢ͱ͏Ζͫ͜Ͳ͵͚ɼηίʖϩΝԥஇͤΖՆ೵੓Ν 東京の記憶でもある。この特別な記憶を ඁΌͱ͏Ζɽ

り囲まれた余白からなる軸である。

うけとめるため、建築様式と林試の森に

༪പͳ͢ͱ͹࣢ ਫ਼ໍରͲ͍Ζ৪෼͹‫ڂݜ‬Νɼਕؔ͹‫س‬๮Ͳ͍Ζಋ࣎Ͷɼಝพ͵ߨҟͳͳΔ͓ɼ༹ࣞΝ࣍ͮͪ ‫ؔۯ‬͹஦Ͳ͕͞͵͑ɽ

6.

ে௅ద͵࣢͗ࣖͤ΍͹ͺʰ‫صے‬ʱͲ͍Ζɽ ͞͹࣢ͺ‫صے‬ద͵΍͹ͶखΕҕΉΗͪ༪പ͖Δ͵Ζ࣢Ͳ͍Ζɽ ࢆΕࢆΕͶ͵ͮͪ஄ஏ͹ਕʓ͹ΓΕʹ͞Θͳ͢ͱ͹‫ݒ‬஛Ͳ͍Ζɽ

Opposite, above: General view from west side. Opposite, below: Aerial view from north side. This page, above: Section model. This page, below left: Concept drawing.

This page, below right: Interior view of office from corridor.

左頁上：西側からの外観。左頁下：北側 からの俯瞰。本頁上：断面模型。本頁左 下：コンセプトドローイング。本頁右下： 通路から事務スペースを見る。

6. Urban Ushiro-do

62

7. Structure

6. Urban Ushiro-do

8.Zoning

１

２

３

４

1.Roof 2.Platform 3.Wing 4.Foundaton

１. 屋根 ２. プラットフォーム ３. 翼 ４. 土台

1.Guest room area 2.Office area 3.Strage area 4.Forest area

１. 宿泊エリア ２. 事務エリア ３. 記憶の倉 ４. 林試の森

63

ground level plan 0

20m

6. Urban Ushiro-do

A’

4

4

4

9 9

4

3

1 4

2

7

4 3

4

4

4

4

B’

7

7

7

7

7

9 9 4

5

8 7

4

7

A 0

ground first floor level plan

B

20m

1.entrance 2.reception 3.lobby 4.guest room 5.office 6.meeting space A’ 7.plant room 8.storage for memory 9.elevator

4

4

4

9 9

4

3

1 4

2

7

4 3

4

4

4

4

7

7

B’

7

7

9 9 4

5

8 4

7

1

7 7

A 0

1

B

20m

1.entrance 2.reception 3.lobby 4.guest room 5.office 6.meeting space A’ 7.plant room 8.storage for memory 9.elevator

B’

ground first floor level plan

64

6. Urban Ushiro-do

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96,000

top GL+6,000

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1.entrance 2.reception 3.lobby 4.guest room 5.office 6.meeting space 7.plant room 8.storage for memory 9.elevator

TOKYO VERTICAL CEMETORY - ME MO RY MU S E U M東京の高層墓地

ー MEMORY MUSEUM ー

Location / 敷地：

Shinjuku, Tokyo / 東京都新宿

Typology / 用途：

Cemetory / 墓地

Program / 構成：

clumbarium, meditation space, exhibition room etc / 遺骨安置室、瞑想室、展示室など

Size / 規模：

6,000㎡

Structure / 構造：

steel tube / 鉄造

Summary :

設計概要：

The urbicultures of Shinjuku are driven

a result, the dead will join the culture of

大都市東京は、その複雑さゆえに多様

あり方がふさわしいのではないか。

by anonymous people. Opening to the

Shinjuku. In my project, we temporarily

な人々を許容する。そして、彼らがハ

死者の記憶を一般の人に広く開く試

public the memory of the dead is tried in

put in storage memories as “an object”

プニングを起こすことで都市の分化

みは、美術館という形で偉人の功績を

the form of “a museum”. But a museum

under the basement and ones as “data”

が生まれる。新宿という舞台ではだれ

たたえてきたが、匿名の人の記憶を開

deals with only a great person, not an

on the upper area. The only valuable

もが演者（発信者）であり、鑑賞者（受

く試みはあまりなされていない。偉人

anonymous person. I propose to open the

memories will be exhibited as permanent

信者）である。この新宿という都市

ではない匿名の死者たちの記憶を発

memory of anonymous people by means

collection.

に墓地を建築する場合、死者もメディ

信・継承していく美術館を、墓地とし

of “Memory Museum as a cemetery”. As

アとして将来の新宿に参画していく

て計画することを考えた。

Assignment statement :

課題文：

Recent study show that the city's average age is rapidly increasing, with nearly twenty-five percent of the population

最近の研究によると、東京の平均年齢が人口が急激に増加し、65 歳以上が 25％近くになり、30 歳以上が過

being 65 or older and a large majority over the age of 30. Similarly, more and more rural residents are coming into

半数を超えた。同様にますます地方から東京への人口流入が進んでいる。高齢化と人口増加の親交により東

Tokyo, increasing the overall population. As the age and population increase, Tokyo is being forced to face the issue of

京は墓地のスペースをめぐる問題に直面している。

rural space.

東京の新宿区で、都市の中における生と死の関係性を探求する垂直墓地の提案に挑んでもらいたい。空間的

In the Shinjuku district of Tokyo, propose a vertical cemetery that explores the relationship between life and death within the city. The need to examine this condition affords designers the oppotunity to not just efficiently respond to the issue of space but also look into the cultural identity that this solemn program can project within its envirnment.

1. Explore the relationship between death and the current state of the discipline of architecture.

2. Look for innovative ways a cemetery can be experienced.

3. Create a solution that efficiently addresses Tokyo's issue with space.

4. Define a relationship between two unlike envirnments - the cemetery and the city.

5. Examine the connection between a cemetery and the commercial and pop culture identities of Tokyo.

Jury： DAVID ADJAYE / LIAM YOUNG / ​ALISON KILLING / TOM WISCOMBE / MASATAKE SHINOHARA /

な問題に着手するだけでなく、都市的環境の中で墓地という厳粛なプログラムがもたらすことができる文化 的な存在意義を見出してもらいたい。 １．死と現代における建築に関係性を見出すこと。 ２．墓地を経験の場とするような刷新的な方法を見出すこと。 ３．東京のスペースの問題に有効な解決策を創り出すこと。 ４．墓地と都市という似つかない２つの環境の関係性を定義する。 ５．東京における墓地と商業やポップカルチャーといった東京のアイデンティティの繋がりを吟味すること。 審査員： DAVID ADJAYE / LIAM YOUNG / ​ALISON KILLING / TOM WISCOMBE / MASATAKE SHINOHARA /

ASTRID KLEIN / CURTIS ROTH / ​KARLA BRITTON / DONGWOO YIM / RAFAEL LUNA

ASTRID KLEIN / CURTIS ROTH / ​KARLA BRITTON / DONGWOO YIM / RAFAEL LUNA

Supponsor：

主催：

7. Death & The City

1. Concept

MEMORY MUSEUM

Everybody is media in Shinjuku Because of complexity of Shinjuku, it is generous to various kind of people. For example, homosexual, sex industry, young students and so on. As a result, in Shinjuku, various happenings occurred and turn to be the urbicultures. In short, complexity is the driving force of urbiculture in Shinjuku.

Everybody has a chance to create happenings without wishing and the beginning is always anonymous. On the stage named Shinjuku, everybody is both a performer and one of audience. In other words, an individual takes part in media which represents the image of Shinjuku.

Considering these things, cemetery should have dead people, as media, take part in the present urbiculture with living people.

Memory Museum for anonymous deads as cemetery Opening to the public the memory of the dead is tried in the form of “museum”. But museum praises the achievement of a great person, doesn’t deal with ones of an anonymous person.

I propose to open the memory of anonymous people by means of “Memory Museum as a cemetery”. As a result, the dead will join the culture of Shinjuku.

for anonymous deads as

cemetery

MEMORY MUSEUM

for anonymous deads as

cemetery

anonymous people who have cultivated urbiculture

anonymous people who have

新宿では誰もがメディアである

匿名の記憶を開く、墓地としての美術館

都市の複雑性は様々な人を寛大に受け入

る。新宿という舞台ではだれもが演者（発

死者の memory を一般の人に広く開く

れる。例えば、同性愛者、性商売、若者

信者）であり、鑑賞者（受信者）である。

試みは、美術館という形で偉人の功績

など。その結果、受け入れられた人々が

つまり、個人が新宿のイメージを体現す

をたたえてきたが、匿名の人の memory

様々なハプニングをおこし、それが都市

るメディアとなっているのである。

を開く試みはあまりなされていない。

文化となっていく。すなわち、さまざま

このような新宿という都市に墓を建築す

偉人ではない匿名の死者たちの memory

な人を巻き込む複雑性こそが都市の原動

る場合、死者もメディアとして将来の新

を発信（継承）していく美術館を、墓と

力となっている。

宿に参画していくあり方がふさわしいの

して計画することを考えた。それによっ

このようなハプニングを生み出す可能性

ではないか。

て死者が都市にハプニングを引き起こす

は誰にでもあり、発端は常に匿名的であ

原動力として参画していく。

1) cultivated hostess

urbiculture

2) jazz musician 3) homosexual 4) unusual clothes

5) drug addict (Fu Teng group)

1) hostess 2) jazz musician 3) homosexual 4) unusual clothes 5) drug addict (Fu Teng group)

anonymous people who have cultivated ubiculture / 匿名者が都市文化を築いてきた

58

2. Program

3.

a part of bunch Two types of memory of tubes on the ...

Memory Museum keeps two types of memories of the deads. upper floor...movie, digital picture, music, voice, a.) Memory as “data” ・・・ VR etc b.) Memory as “an object” ...urn, book, belongings, drawing, diary, fashion etc In my project, we temporarily put in storage memories as “an object” on the basement and ones as “data” on the upper area. The only valuable memories will be exhibited as permanent collection. ground floor 二種類の記憶

・・・

美術館では死者の記憶を二種類に分けて

本計画では地下に” モノとして” の記憶、

保管する。

上部に” データとして” の記憶を一定期

a.）” データとして” の記憶・・映像データ、

間埋葬し、価値があると認められた記憶

画像データ、音声データ、VR データなど。

に関してはコレクションとしてメインフ

b.）” モノとして” の記憶・・骨、書籍、

ロアに展示される。

所持品、ドローイング、日記、服など。 under the basement

・・・

MUSEUM for anonymous deads as

cemetery

for water GL+155,000

for electricity

9

4

for water

・・・

ground floor 12

void

GL+1

for structure

10

void

for electricity

for electricity 5

1)

4

for structure

GL+90,000

for water

for structure under the basement

void 10

GL+

for water

9

・・・

void for electricity

9 4

2)

ratio

anonymous people who have

The composition ratio changing composition cultivated urbiculture of tubes of tubes

5

11

本建築は４つの部分に大きく分けられて

MUSEUM

void

for electricity

for structure

The composition This building is composed ofchanging four partscomposition of area. of tubes of tubes 1 )exhibition space and meditaion space 2 )storage of memories as "data" 3 )permanent colletion space 4 )storage of memories as "object"

MEMORY

for water

5

for water

59

for structure

・・・

upper floor

8

for electricity

3. Zoning

MEMORY

a part of bunch of tubes on the ...

for structure

void

7. Death & The City

4.

いる。 １）企画展示空間と瞑想空間

３）コレクション展示空間

２） ”データとしての” 記憶の保管空間

４） ”モノとしての” 記憶の保管空間。

for anonymous deads as

cemetery

4. Composition

4

GL-6,000

Numerous tubes drift memory as "data" Memory Museum is composed of bunch of numerous tubes, which have each function –elevetor, water, electronic signal, air and so on- and change the composition, the role and the form according to height and function.

On the upper area, where there is much memory as data, the percentage of tube for electricity is high.

Under the basement, where there are many memories as an object, one of tube for construction is high.

2

2

1

XQGHUJURXQG VKRSLQJ FHQWHU

2

3)

6 3 3

1) hostess 2) jazz musician 3) homosexual 4) unusual clothes 5) drug addict (Fu Teng group)

GL-

3 3 3 3 3 3

4)

GL-60,000

GL-

チューブ束の中をデータが漂う 建築は様々な機能を与えらえたチューブ

主に” データとして” の記憶を扱う上部

の束で構成されており、チューブの中は

では電子データの通り道としてのチュー

電子シグナルや、水、EV などが行き交い、

ブが多く、” モノとして” の記憶を扱う

粗密を変えて、建築の高さと機能に合わ

地下部分では構造的なチューブが大半を

せて組成、役割、形状が変化する。

占める。

1.elevator 2. collection space (book,fashion,movie,voice etc) 3.storage of an object(containing funeral urns) 4.storage of data 5.meditation space 6.office 7.center void 8.3D hologram live stage (by dead people) 9.exhibition room 10.theatre room 11.banquet hall 12.digital library 13.W.C. 14.stairs

1.elevator 2. collection space (book,fashion,movie,voice etc) 0

10

20

A

30

A’

40

50(m)

3.storage of an object(containing funeral urns) 4.storage of data 5.meditation space 6.office 7.center void 8.3D hologram live stage (by dead people) 9.exhibition room 10.theatre room 11.banquet hall 12.digital library 13.W.C. 14.stairs

0

7. Death & The City

4)

exterior: theatre room and meditation space (GL+100,000) Mutual friends are watching a live movie of a rockband, of whom the member has gone.

1)

exhibition space

GL+30,000 ~ GL+155,000

& meditaion space GL+30,000 ~ GL+155,000

Exhibition space The& space is located at Meditaion space

5

1

13

the

14

blank of tubes. At the exhbition space, people can a music The spaceenjoy is located at thelive blankof of dead tubes. At the people and hold a party with exhbition space, people can enjoy a music live of dead t u aal party f r iwith e n d smutual . A t friends. t h e At the people andm uhold people meditationmeditation space, peoplespace, can meditate on acan dead person meditate a dead person of peace one-on-one.

The interioroncreate the atmosphere like woods.o n e - o n - o n e . T h e i n t e r i o r

1 7

8

create the atmosphere of

1

この空間はチューブの隙間に位置している。企画展示空間では peace like woods. 死者の音楽コンサートを楽しんだり、共通の友達と故人をしの ぶパーティを開いたりできる。瞑想空間では死者と一対一で向

1

き合うことができる。森のように平和な雰囲気を醸し出してい る。

PLAN GL+155,000 1.elevator 2. collection space (book,fashion,movie,voice etc) 3.storage of an object 20(m)

(containing funeral urns) 4.storage of data 5.meditation space 6.office 7.center void 8.3D hologram live stage (by dead people) 9.exhibition room 10.theatre room 11.banquet hall 12.digital library 13.W.C. 14.stairs

1) 2)

interior: in the elevetor A visitor can research the information of a favorite dead person through touch screen.

storage memories GL-6,000 of ~ GL+175,000 as “data” GL-6,000 ~ memories GL+175,000 Storage of

1

as “data”

This space is located in the EV

14

core. People can appreciate electoric data of deads, riding

This space is located in the EV core. People can on the EV. The memories as appreciate electoric data of deads, riding on the EV. data is kept at the numerous The memories as data is kept at the numerous tubes tubes with built-in electoric with built-in electoric storage. The data is shared storage. The data is shared through some devices -2D&3D projector, speaker, through some devices -2D&3D touch screen- ,and people can access favorite one. projector, speaker, touch The interior of EV is homely and spacious, not strict. screen- ,and people can access Because people can be close to dead people.

1

4

1

favorite one.

The interior of EV 室内では死者の電子デー is homely この空間はエレベータ室内に位置する。 and spacious, not strict. タを閲覧することができる。データとしての記憶は Because people can be close to 死者の記録はプロジェクター、スピーカー、タッチスクリーン

1

dead people. などのデバイスを介して共有でき、好きな人の記録にアクセス できる。死者と親密な時を過ごすために、エレベータ室内は家 庭的でゆったりとしており、堅苦しさはない。

PLAN GL+90,000

60

7. Death & The City

3)

interior: in the permanent collection space Tubes rise high verticaly like gothic architecture. This space is lighted up by screen lights and sunlight through higher tubes.

3)

permanent collection space GL-6,000

GL-6,000 This space is located on the

Permanent collection space

first basement floor and connected

to

very

1

large

14

underground shopping center. It is the entrance of the museum.

This space is located on the first basement floor and People can also appreciate the connectedvaluable to very large underground shopping center. meories as both “data” It is the and entrance of the museum. People can also “an object” which should be appreciate the valuable meories as both “data” and leave permanently. “an object” which should be leave permanently. It It is composed of vertical is composed of vertical small rooms, which slightly small rooms, which slightly shaked on the grid. The interior is similar to one of shaked on the grid. gothic architecture.

The interior is similar to one

1

13

4 2

4

4

A’

4 1 A underground

of gothic architecture. この空間は地下一階に位置し、 とても巨大な地下の諸ピングモー

shopping center

1

ルと接続している。ここは美術館のエントランスに位置付けら れる。ここでは永久的に保存するべきと評価された記憶が展示 される。垂直性のある複数の小部屋がグリッドを崩しながら集 合している。内観はゴシックの垂直性を思わせる。

PLAN GL-6,000

1.elevator 2. collection space (book,fashion,movie,voice etc) 3.storage of an object 20(m)

(containing funeral urns) 4.storage of data 5.meditation space 6.office 7.center void 8.3D hologram live stage (by dead people) 9.exhibition room 10.theatre room 11.banquet hall 12.digital library 13.W.C. 14.stairs

2)

4)

interior: under the basement, storage of memories as an object Articles left by someone are displayed carefully like precious works of art.

storage of memorie GL-12,000 ~ GL-81,000 as “an object”

GL-12,000 ~ GL-81,000

Storage of memories as “an This space is object” located at underground.

People

1

the

3

can

appreciate the memories as an

This space iselocated the can obj c t o f atd e a dunderground. p e o p l e . FPeople or appreciate the memories as an object of dead people. example, urns, the belongings For example, belongings works and and urns, workstheand so on. and Because it so on.

Because iitsis ddifficult to keep all of them permanently, ifficult to keep all of valuable them one will be sorted outvaluable from themone in a fixed permanently, period ofwill time be and sorted exhibit the one at the 3) permanent out from them in collectiona space. fixed period of time and exhibit the one at the 3)

この空間は地下部分に位置する。ここでは死者のものとしての

permanent collection space.

記憶を鑑賞することができる。例えばお骨や所持品、作品など

61

3

1

3

7

3

1

3 3

3

1

である。えいきゅに保管することは難しいので、価値があると 評価されたものだけ選びだされ、3）のコレクションに加えられ る。う地下部分では構造的なチューブが大半を占める。

PLAN GL-60,000

Chapter 4

Theoretical Form Design セオリティカル・フォルム・デザイン

This chapter applies to the thesis about the research of Architectural form design theory connected Art and Architecture.

建築と芸術をつなぐ建築設計理論の追及を目的とし たフォルムデザインの研究。

G R A D U AT I O N T H E S I S

- G i o P o n t i a n d G i o rg i o D e C h i ri co

D y n a m i c B a l a n ce an d Melt -

卒業論文

ージオ・ポンティとジョルジョ・デ・キリコ 動的均衡と融解ー

Melt

０．Abstruction

０．要旨

"To overcome the restraint of the convemtional

Ⅰ．Introduction

Ⅰ．序論

１－１：Research background

１－１：研究背景

Position of Gio Ponti in modern Italian architecturte

イタリア近代建築における Gio Ponti の位置付け

Position of Giorgio De Chirico in Italian modern art

イタリア近代美術における Giorgio De Chirico の位置付け

１－２：Research Purpose

１－２：研究目的

１－３：Previous study

１－３：既往研究

Ⅱ．Methods

Ⅱ．分析方法

Ⅲ．Results 1 Method of space composition of paintings of Giorgio De Chirico

Ⅲ．結果１ Giorgio De Chirico 絵画の空間構成の手法

Ⅲ－１：Reason for selecting three paintings by Giorgio De Chirico

Ⅲ－１：Giorgio De Chirico 絵画三作品の選定理由

Ⅲ－２：Analysis

Ⅲ－２：分析

Ⅲ－２－１） ：Extraction of lines

Ⅲ－２－１） ：線の抽出

"A situation that is exquisitely balanced by an

Ⅲ－２－２） ：Extraction of surfaces

Ⅲ－２－２） ：面の抽出

invisible order while taking seemingly unbalanced

Ⅲ－２－３） ：Extraction of points

Ⅲ－２－３） ：エレメントの抽出

composition"

Ⅲ－３：Relationship between elements

Ⅲ－３：各要素の関係性

Ⅲ－ 3 －１） ：Relationship of lines

Ⅲ－ 3 －１） ：線の関係性

Ⅲ－ 3 －２） ：Relationship of surfaces

Ⅲ－ 3 －２） ：面の関係性

Ⅲ－ 3 －３） ：Relationship of points

Ⅲ－ 3 －３） ：エレメントの関係性

Ⅲ－ 3 － 4） ：Relationship betwen lines and surfaces

Ⅲ－ 3 － 4） ：線と面の関係性

Ⅲ－ 3 － 5） ：Relationship betwen lines and points

Ⅲ－ 3 － 5） ：線とエレメントの関係性

Ⅲ－ 3 － 6） ：Relationship betwen surfaces and points

Ⅲ－ 3 － 6） ：面とエレメントの関係性

Ⅲ－４：Concluding - Pictorial Balance -

Ⅲ－４：小結 －絵画的均衡－

Ⅳ．Results 2 Method of space composition of architectural works of Gio Ponti

Ⅳ．結果２ Gio Ponti 建築作品の空間構成の手法

Ⅳ－１：Reason for selection of Villa Planchart

Ⅳ－１：Villa Planchart の選定理由

Ⅳ－２：Analysis

Ⅳ－２：分析

Ⅳ－２－１） ：Extraction of lines

Ⅳ－２－１） ：線の抽出

Ⅳ－２－２） ：Extraction of surfaces

Ⅳ－２－２） ：面の抽出

Ⅳ－２－３） ：Extraction of points

Ⅳ－２－３） ：エレメントの抽出

Ⅳ－３：Relationship between elements

Ⅳ－３：各要素の関係性

Ⅳ－ 3 －１） ：Relationship of lines

Ⅳ－ 3 －１） ：線の関係性

Ⅳ－ 3 －２） ：Relationship of surfaces

Ⅳ－ 3 －２） ：面の関係性

Ⅳ－ 3 －３） ：Relationship of points

Ⅳ－ 3 －３） ：エレメントの関係性

Ⅳ－ 3 －４） ：Relationship betwen lines and surfaces

Ⅳ－ 3 －４） ：線と面の関係性

Ⅳ－ 3 －５） ：Relationship betwen lines and points

Ⅳ－ 3 －５） ：線とエレメントの関係性

Ⅳ－ 3 －６） ：Relationship betwen surfaces and points

Ⅳ－ 3 －６） ：面とエレメントの関係性

Ⅳ－４：Analysis of Architectural condition - external factors -

Ⅳ－４：建築条件の分析 －外的要因－

Ⅳ－５：Concluding - Architectural Balance -

Ⅳ－５：小結 －建築的均衡－

Ⅴ．Discussion Comparison between Gio Ponti and Giorgio De Chirico

Ⅴ．考察 Gio Ponti と Giorgio De Chirico の比較

Ⅴ－１：Commonality by comparative analysis

Ⅴ－１：比較分析による類洞性

Ⅴ－２：Difference by comparative analysis

Ⅴ－２：比較分析による相違性

Ⅴ－３：Concluding - Comparison of both relationships of balance -

Ⅴ－３：小結 －均衡関係の比較－

Ⅵ．Conclusion

Ⅵ．結論 －「動的均衡」と「融解」にみる、散漫に漂うことの詩学－

融解

design by disassembling and reorganizing the deified established order" 「神格化された既成の秩序を解体し、再編成すること で、従来のデザインの束縛を乗り越えること」

Dynamic Balance 動的均衡

「一見バラバラでアンバランスな構成をとりつつ、見 えない秩序によって絶妙にバランスしている状態」

Ⅶ．Appendices

Poetics of drift in distraction, seen in "Dynamic balance" and "Melt"

Ⅶ．附録

8. Graduation Thesis

0. Abstract I found a commonality in the architectural space of architect Gio Ponti and the painting space of painter Giorgio de Chirico and demonstrated that Gio Ponti applied the method of space composition of Giorgio de Chirico's works to architecture.

By revealing the artistic identity of the Villa Planchart designed by Gio Ponti and linking architectural art and painting arts, I will review the architecture as a general art.

1.

0ďźŽčŚ ć—¨ ĺťşçŻ‰ĺŽśă‚¸ă‚Şăƒťăƒ?ăƒłăƒ†ă‚Łă ŽĺťşçŻ‰çŠşé–“ă ¨ç”ťĺŽśă‚¸ăƒ§ăƒŤă‚¸ăƒ§ăƒťăƒ‡ăƒťă‚­ăƒŞă‚łă Žçľľç”ťçŠşé–“ă ŤéĄžć´žć€§ ă‚’čŚ‹ĺ‡şă —ă€ ă‚¸ăƒ§ăƒŤă‚¸ăƒ§ăƒťăƒ‡ăƒťă‚­ăƒŞă‚łă ŽçŠşé–“ć§‹ćˆ?ă Žć‰‹ćł•ă‚’ă‚¸ă‚Şăƒťăƒ?ăƒłăƒ†ă‚Łă ŒĺťşçŻ‰ă Ťĺ°Žĺ…Ľ ă —ă &#x;㠓㠨をĺŽ&#x;訟㠙る。 ă‚¸ă‚Şăƒťăƒ?ăƒłăƒ†ă‚Łă Œč¨­č¨ˆă —ă &#x;ăƒ´ă‚ŁăƒŠăƒťăƒ—ăƒŠăƒłăƒ ăƒŁăƒźăƒˆă ŽčŠ¸čĄ“çš„ç‹Źč‡Şć€§ă‚’ć˜Žă‚‰ă ‹ă Ťă —ă€ ĺťş

Architecture Architecture

築芸襓㠨羾甝芸襓をçľ?㠳㠤㠑る㠓㠨㠧〠çˇ?ĺ?ˆčŠ¸čĄ“㠨㠗㠌㠎坺築㠎茋直㠗を図る。

1. Introduction

(1888-1978)

Architecture

In Italy, where cultural hegemony had been robbed since the early modern era, the two have created a breakthrough in each field.

Gio Ponti overcomes sticking to the walls that continue from Roman architecture by melting the walls.

Giorgio de Chirico overcame sticking to the one-point perspectives that continue from the Renaissance by a multifocus composition.

77

gPainting nitniaP Painting

Architecture erutcetihcrA Architecture

(1891-1979)

Architecture

Painting

ĺş?荖 ć–‡ĺŒ–çš„ă Şăƒ˜ă‚˛ăƒ˘ăƒ‹ăƒźă‚’ĺĽŞă‚?ă‚Œă &#x;近世䝼é™?ă Žă‚¤ă‚żăƒŞă‚˘ă Ťă Šă „ă Śă€ äşŒäşşă Żĺ?„ĺˆ†é‡Žă §ç”ťćœ&#x;çš„ ă Şć™‚äťŁă‚’ĺˆ‡ă‚Šé–‹ă „ă &#x;。 ă‚¸ă‚Şăƒťăƒ?ăƒłăƒ†ă‚Łă ŻĺŁ ă‚’čž?ă ‹ă ™ă “ă ¨ă §ă€ ăƒ­ăƒźăƒžĺťşçŻ‰ă ‹ă‚‰çśšă ?ĺŁ ă ¸ă Žĺ›şĺ&#x;ˇă‚’äš—ă‚ŠčśŠă ˆă &#x;。 ă‚¸ăƒ§ăƒŤă‚¸ăƒ§ăƒťăƒ‡ăƒťă‚­ăƒŞă‚łă Żĺ¤šç„Śç‚šć§‹ĺ›łă Ťă‚ˆă Łă Śă€ ăƒŤăƒ?ă‚ľăƒłă‚šă ‹ă‚‰çśšă ?一炚é€?茖図法㠸 㠎固ĺ&#x;ˇă‚’äš—ă‚ŠčśŠă ˆă &#x;。

2. Methods

é?˘

To classify the extracted elements into three types of "lines", "surfaces" and "points" and examines it.

"Lines" ... flow of directional force "Surfaces" ... those absorbing force "Points" ... those having centripetal force and centrifugal force

ďź’ďźŽĺˆ†ćž?ć–šćł• 抽出㠗ă &#x;čŚ ç´ ă‚’ă€Œçˇšă€?ă€Œé?˘ă€?ă€Œă‚¨ăƒŹăƒĄăƒłăƒˆă€?ă Ž 3 ç¨ŽéĄžă Ťĺˆ†éĄžă —ĺˆ†ćž?ă‚’čĄŒă †ă€‚ă€€ ă€Œçˇšă€?ăƒťăƒťăƒťć–šĺ?‘性を帯㠳ă &#x;ĺŠ›ă Žćľ ă‚Œ ă€Œé?˘ă€?ăƒťăƒťăƒťĺŠ›ă‚’ĺ?—㠑止゠ĺ?¸ĺ?Žă ™ă‚‹ă‚‚ă Ž ă€Œă‚¨ăƒŹăƒĄăƒłăƒˆă€?ăƒťăƒťăƒťćą‚ĺżƒĺŠ›ă ¨ç™şć•ŁĺŠ›ă‚’ćœ‰ă ™ă‚‹ă‚‚ă Ž

力をĺ?—㠑止゠る〠ĺ?¸ĺ?Žă€ é Žć–­ă€ ĺŽ‰ĺŽšă€ ĺ…¨ä˝“ă‚’č?˝ă Ąç?€ă ‘ă‚‹

2.

â–ź

â–ź

硚

Lines

Surfaces

ć–šĺ?‘ć€§ă Žă ‚ă‚‹ĺŠ›ă Žćľ ă‚Œă€ č§’ĺşŚă Œă ¤ă ?ă ¨ć­Şă żă Œç”&#x;ă žă‚Œă‚‹

Points

ç‚š ćą‚ĺżƒĺŠ›ă€ ç™şć•ŁĺŠ›ă€ ĺŽ‰ĺŽš

*/

*/

tleM */

*/

ă€ ă —ă ŤäžĄç­‰ă‚’ç´ čŚ ĺ…¨ă Śă Łă‚ˆă Ťä˝“č§Łă Žĺş?秊㠎ćˆ?ć—˘ ç‚şčĄŒă‚‹ă ™ă ¨ă †ă‚ˆă ˆčśŠă‚Šäš—ă‚’ĺŽťé Žă€ ă §ă ¨ă “ă ™ă Šă Şă —ćˆ?硨ĺ†?

This page, above: The diagram of "lines", "surfaces" and "points".

This page, below: Plan of Villa.

Planchart. ćœŹé ä¸Šďźšă€Œçˇšă€?ă€Œé?˘ă€?ă€Œă‚¨ăƒŹăƒĄăƒłăƒˆă€?ă Žăƒ€ ă‚¤ă‚˘ă‚°ăƒŠăƒ ă€‚ćœŹé ä¸‹ďźšăƒ´ă‚ŁăƒŠăƒťăƒ—ăƒŠăƒł ăƒ ăƒŁăƒźăƒˆă Žĺšłé?˘ĺ›ł

*/ */

*/

ă€?解čž?ă€Œ */

*/

*/

*/

*/

*/

*/ */

*/

*/

*/

*/

*/

*/ */ */

*/

*/

*/ */

*/

*/

/*

/*

*/

*/

/*

ă€Œčž?解ă€? ă€Œčž?解ă€? /*

*/

*/

*/

/*

/*

/*

*/ */

*/ */

*/

*/

*/

*/

*/

Melt Melt /*

*/

*/

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Melt

ă€Œčž?解ă€?

既 �

8. Graduation Thesis

3. & 4. Results

78

３．＆ ４．結果

3 - 1) & 4 - 1) Melt: Getting over the conventional design by making all elements equal by disassembling the established spatial composition and reorganizing them.

３－１）＆ ４－１）

3 - 2) & 4 - 2) Dynamic Balance: Points Lines "A situation that is exquisitely balanced by an invisible order while taking

３－２）＆ ４－２）

This page, 3-1)&4-1): The list of various equal elements organized by "Melt".

This page, 3-2)&4-2): One example of "Dynamic Balance". Shadow stabilizes the composition of multifocus.

融解 支配的な既成の空間構成を解体することで全要素を等価にし、それらを再編成しなお すことで、過去を乗り越える行為。

動的均衡

本頁３－１）＆４－１）：「融解」による等価な要素一覧。

Surfaces

Points

Surfaces

Points

本頁 3 －２）＆４－２）： 「動的均衡」の一例。バラバラな Points

Surfaces

Lines

一見アンバランスだが、見えない秩序によってバランスをとっている状態。

多焦点の構図は、影の導入によって安定性を獲得している。

seemingly unbalanced composition" Points

3-1). & 4-1). pillar

Lines

ࢻત

multi focus

融解

pillar

multi focus

多焦点

ground

多焦点

sky

地面

空

shadow of statue

像の影

多焦点

furniture people(gaze) Պ۫

ਕʤࢻ఼ʥ

people(gaze)

ਕʤࢻ఼ʥ

plant

৪෼

wallࢻત

ceiling colourজ৯

wall floor joint ป

ceiling colour

floor joint

wall floor joint ป

ป

ground

多焦点

sky

地面

空

shadow of statue

像の影

multi focus

multi focus

多焦点

Պ۫

ళҬ৯

少女

building

buildig

building

buildig

建物

多焦点

pillar furniture ஬

girl

shadow

影

஬

floor colour

gaze

Պ۫

multi focus

pillar

জ৯

girl

少女

஬ furniture

multi focus

Points floor colour

gaze

஬

Melt

Surfaces

Lines

ਕʤࢻ఼ʥ

ป

জ໪ஏ

建物

furniture people(gaze) Պ۫

ళҬ৯ wall

shadow multi focus

影

multi focus

多焦点

建物

多焦点

জ໪ஏ ceiling pattern

建物

people(gaze)

ਕʤࢻ఼ʥ

plant

৪෼

জ໪ஏ

ళ෮

GL+1,250

flag

plant

旗

৪෼

wagon

荷車

ceiling pattern

GL+2,200

GL+0

GL+4,600

GL+1,250

GL+1,400

flow lineళ෮

GL+1,250

floor joint

plant

৪෼

জ໪ஏ floor level

GL+1,000

ಊત

জϪϗϩ

GL+1,250

flag

旗

wagon

GL+0

荷車

GL+2,200

GL+4,600

GL+1,250

GL+1,400

flow line

GL+1,250

floor level

GL+1,000

ಊત

জϪϗϩ

3-2). & 4-2).

Dynamic Balance

Points × Surfaces

ynamic Balance

Points × Surfaces

動的均衡

×

=

×

=

=

×

Lines

Surfaces

Lines × Surfaces

Points

Un-balance

Un-balance

Dynamic Balance

Un-balance

Lines

Surfaces

Lines × Surfaces

Points

×

Surfaces

Un-balance Surfaces

=

Points × Surfaces

Dynamic Balance Points × Surfaces

4-2). 視線のスタディと同時に家具のレイアウトが決まっていく。最後に融解した 要素が住宅から漏れ出さないように独立した面のファサードで閉じる

14. 融解した要素が住宅から漏れ出さないように独立したファサードで閉じる。

13. 視線のスタディと同時に家具のレイアウトが決まっていく。

elements do not leak out of the house.

14. Close with an independent facade so that molten

as the study of the line-of-sight.

13. The layout of the furniture is decided at the same time

大量の視線のスタディを行い、壁を傾けたりえぐったりしていく。

12. 大量の視線のスタディを行い、壁を傾けたり削ったりしていく。

the walls.

12. Through a lot of studies of line-of-sight, bend or scrape

歪みが加わった住宅に色を加えることで秩序を取り戻す。線の交錯により わかりづらくなっていたゾーニングをもう一度明確にする。

度明確にする。

11. 色を加えることで、複雑化してわかりにくくなっていたゾーニングをもう一

again..

11. By adding color, clarify the complicated zoning once

敷地（外的要因）に対応して、全体のヴォリュームが折れ曲がる。

10. 敷地や他の外的要因に対応して、全体のヴォリュームが折れ曲がる。

bend the whole volume.

10. Corresponding to the site and other external factors,

中心性を強調する方向に走っている。 さらに視線の交錯も加わり、壁の一部 が視線によってえぐりとられる。

床目地に拮抗させるように天井の目地が加わる。天井の目地はパティオの

9. たくさんの視線が加えられ、壁の一部が視線によって削られる。

心性を強調する方向に走っている。

8. 床目地に拮抗させるように天井の目地が加わる。天井の目地はパティオの中

9. Add a lot of line-of-sight, which scrape the walls.

joint. It runs to emphasize the center of the patio.

8. Add the joint of the ceiling so as to balance the floor

アイストップによる流れを促進させる床目地が加わる。流れの目地と同時に 停滞の目地も加えることで落ち着ける空間も確保した。床目地による空間の 歪みに対応させて一部の壁も歪ませた。線的な家具も床目地に対応させて 配置している。 また、床目地の導入はserved spaceとservant spaceをより明 確に区別した。

7. 異なる床目地がサーブド・スペースとサーバント・スペースを明確に区別する。

6. 線的な家具も床目地に対応させて配置する。

5. 床目地による空間の歪みに対応させて一部の壁も歪ませる。

4. 家具による流れを促進させる床目地と、流れを減衰させる床目地を加える。

by different types of floor joints.

7. Served space and servant space are distinguished clearly

furniture is arranged.

6. Corresponding to the flow of the floor joint, linear

of the walls are distorted.

5. Corresponding to the distortion of the floor joints, some

others reduce the flow.

4. Some floor joints promote the flow of furniture, and

住宅内に流れを導入する。 アイストップとなる家具などを配し、流れを 作り出す。 また、主要な視線の抜けをあらかじめ考えている。

3. 主要な視線をあらかじめ設定しておく。

2. アイストップとなる家具を配し、住宅内に流れを導入する。

3. Set in advance a major line-of-sight.

eyestops.

2. Add flow into the house by arranging furniture as

パティオ中心の構成、servant spaceとserved spaceの分節、垂直動線、 床レベルなどだいたいのゾーニングは初めの時点から決定している。

垂直動線、床レベルなどの大まかなゾーニングは初めの時点から決定している。

1. パティオ中心の構成、サーブド・スペースとサーバント・スペースの分節、

and served space, the stairs, and floor level etc.

configuration fo patio centered, separation of servant space

1. The approximate zoning is decided from the beginning:

⑥

⑤

④

④

③

②

①

8. Graduation Thesis 79

This page, 4-2): Transition process up to "Dynamic Balance".

本頁４－２）：「動的均衡」に至るまでの変遷過程。

8. Graduation Thesis

5. Discussion

80

5 - 1) Commonality by comparative analysis I demonstrated that Gio Ponti and De Chirico used a common space composition method of "Melt" and "Dynamic Balance".

The extracted "Lines", "Surfaces" and "Points" has a common relationship.

"Lines" · · Giving direction "surfaces", and associating "points".

"Surfaces" · · Stabilizing and associating disordered "lines" and "points".

"Points" · · Giving uniqueity and rhythm to "lines" and "surfaces" .

br ea to

ジオ・ポンティとデ・キリコは「融解」と「動的均衡」という共通の空間構成の手法 を用いていたことが実証できた。

"Lines"

to break order to give order

r de or r ve de gi or k

Dynamic Balance

ea br

to

to

５－１）．比較分析における類洞性

to

gi ve or de r k or de r

"Surfaces"

"Points"

抽出された「線」「面」「エレメント」の関係性にも共通がみられた。 「線」・・「面」に方向性を与え、「エレメント」を束ねる。 「面」・・バラバラな「線」、「エレメント」を関連付けて安定させる。 「エレメント」・・「線」、「面」に固有性やリズムを与える。

← Site condition: on a hill, a prevailing wind, a field of view spreading to a valley ←敷地条件：小高い丘の上 ౛ ॡ वՈ ←敷地条件：小高い丘の上であること、卓越風、谷間へと広がる視界

であること、卓越風、谷間 アビラ

へと広がる視界

北に向かって

丘 カラカス渓谷

南北 断面図

← Client condition: Mr. Planchart's family composition, hobbies and other requests ↑ヴェネズエラの太陽高度 ←プランチャート夫妻

５－２）．比較分析における相違性

←施主条件：プランチャート夫妻の家族構成、趣味、その他要望 から決まる庇

の家族構成、趣味、

絵画は形態的な美学のみで構成されているが、一方で建築には形態的な美学だけでな

その他要望

く、生活的な美学が統合されている。 これは、建築が暮らしの中で鑑賞されるものであり、絵画のように集中した鑑賞を前 提としないことを示す。

6. Conclusions To the architecture as general art - Poetics of drifts in a distraction The Villa Planchart, which is established by "melt" and "dynamic balance", should not be carefully appreciated and should be appreciated being "distracted" (quoted from "The Work of Art in the Age of Mechanical Reproduction" of Wolter Benjamin) in a daily life.

"Distractedness" means the relaxation and flexibility of the architecture, which interacts face to face with the change of the daily feelings of residents.

Through the Villa Planchart, Gio Ponti presented the idea of "Drifts in a distraction" as a way of free general art unique to the architecture.

建築条件

5 - 2) Differences by comparative analysis Paintings are composed only of morphological aesthetics, whereas architecture consists of aesthetic of life as well as morphological aesthetics.

This indicates that the architecture is appreciated in everyday life and not carefully appreciated like paintings.

６．結論 総合芸術としての建築へ －散漫に漂うことの詩学－ 壁から何までもが「融解」し、 「動的均衡」によって成立しているヴィラ・プランチャー トは精神を研ぎ澄ませて注意深く観察するものではなく、日常を通して” 散漫”（ヴォ ルター・ベンヤミン『複製技術時代の芸術』）に付き合っていく中で魅力を感じ取る ものである。この” 散漫” さとは住人の日々の心情の移り変わりにも向き合って対話 してくれる建築の緩さ、柔軟さを意味する。 ジオ・ポンティはヴィラ・プランチャートを通して、「” 散漫” に漂う」という建築 特有の自由な総合芸術としての在り方を提示したといえる。

VACANT

・建築 − 形態的美学 ＋ 生 （線、面、エレメント）

・絵画 − 形態的美学

（線、面、エレメント）

（

8. Graduation Thesis

8. Appendices ８．附録

roof 2nd floor ceiling joint 2nd floor wall 2nd floor floor joint 1st floor ceiling joint 1st floor wall 1st floor floor jint

furniture

people

81

� Abstruct

� Introduction

“Gio Ponti and Giorgio De Chirico Dynamic Balance and Melt�

In Italy, where cultural hegemony had been robbed since the early modern era, the two have created a breakthrough in each field. One is a painter Giorgio De Chirico (1888-1978), who influenced many Surrealists in 1910’s. Other one is an architect Gio Ponti (1891-1979), who tradition and modernism in 1960’s.

The purpose of this thesis is to find a commonality in the architectural space of architect Gio Ponti and the painting space of painter Giorgio de Chirico and to demonstrate that Gio Ponti applied the method of space composition of Giorgio de Chirico's works to architecture.

On this thesis, I investigated the two common design methods - “Melt� and “Dynamic Balance� - by the analysis to the works of Giorgio De Chirico and Gio Ponti who get over the conventional designs.

Next, I focus on the originality of the architecture by comparing with the both results.

Finally, I tried to review an architecture as a general art by revealing the artistic identity of the Villa Planchart of Gio Ponti and defining it’s position in the architectural history. 

The topic of this thesis is that an architecture is reviewed as a general art by revealing the artistic identity of the Villa Planchart of Gio Ponti and linking architectural art and painting arts. 

Dynamic Balance

Melt

"A situation that is exquisitely balanced by an invisible order while taking seemingly unbalanced composition"

� Composition of the thesis

Gio Ponti Gio Ponti (1891-1979)

"To overcome the restraint of the convemtional design by disassembling and reorganizing the deified established order"

Pantheon 118 - 135

Giorgio De Chirico Giorgio De Chirico (1888-1978)

Villa Planchart 1953 - 60

Medici Chapel by Michelangelo 1521 - 34

The positions

�Abstruction

the Roman era

Gio Ponti (1891-1979)

the Renaissance era

B.C.700

1500 1700

500

Persisting with walls from the Roman era      → Gio Ponti / by melting walls hegemony from Italy to Paris

hegemony from Italy to German and France

of artists

Summary

The Last Supper

by Leonardo Da Vinci 1495 - 98

1891

Giorgio De Chirico (1888-1978)

the Renaissance era

1979

1500

One-point perspective from the Renaissance era      → Giorgio De Chirico / by multifocus

1700

1891

1979

â… ďźŽIntroduction

To classify the extracted elements into three types of

ďź‘ďź?ďź‘ďźšResearch background

ďź‘ďź?ďź’ďźšResearch Purpose

The way

"lines", "surfaces" and "points" and examines it.

lines

lines

　　　　　Position of Gio Ponti in modern Italian architecturte 　　　　　Position of Giorgio De Chirico in Italian modern art

Gio Ponti and Giorgio De Chirico recover cultural hegemony to Italy.

surfaces

surfaces

*/

*/ */ */

of analysis

*/ */

*/

"Lines" ... flow of directional force

*/

points

points

ďź‘ďź?ďź“ďźšPrevious study

"Surfaces" ... those absorbing force "Points" ... those having centripetal force and centrifugal force

ⅥMethods Villa Planchart 

ⅢResults 1　Method of space composition of paintings of Giorgio De Chirico

  - Plan drawing contains many writings. â€ƒâ€ƒďźˆwall, furniture, people, joint, vegetation etc

Ⅲ �Reason for selecting three paintings by Giorgio De Chirico Ⅲ �Analysis 　　Ⅲ �� Extraction of lines 　　Ⅲ �� Extraction of surfaces

1F PLAN

Works

　　Ⅲ �� Extraction of points

NORTH ELEVATION

â…˘ ďź?ďź“ďźšRelationship between elements

EAST ELEVATION

Villa Planchart 1953 - 60

　　Ⅲ � 3 � Relationship of lines

 / Caracas of Venezuela / RC structure

　　Ⅲ � 3 � Relationship of surfaces

SOUTH ELEVATION

 / two-story building / Total oor area 1,321 ㎥

　　Ⅲ � 3 � Relationship of points

  - Works of the golden age, 1960’s

SECTION

2F PLAN

Mystery and Melancholy of a Street

The Great Tower

The Soothsayer's Recompense

1914 ÂŚ canvas ÂŚ oil painting

1913 ÂŚ canvas ÂŚ oil painting

1913 ÂŚ canvas ÂŚ oil painting

87Ă—73cm

WEST ELEVATION

123.5Ă—52.5cm

134Ă—179.1cm

“Mystery and Melancholy of a Street� / “The Great Tower� / “The Soothsayer's Recompense�   - Three works which feature the elements of lines, surfaces and points   - Works of the golden age, 1910’s

 / 1F 630 ㎥ 2F 472 ㎥ basement 220 ㎥ / couple

　　Ⅲ � 3 � 4 Relationship betwen lines and surfaces 　　Ⅲ � 3 � 5 Relationship betwen lines and points 　　Ⅲ � 3 � 6 Relationship betwen surfaces and points Ⅲ �Concluding - Pictorial Balance -

ⅣResults 2　Method of space composition of architectural works of Gio Ponti

Lines

Surfaces

Points

Lines

Surfaces

Points girl

Classifying into "lines", "surfaces"

floor joint

ceiling joint

colour of ceiling

and "points"

walls

pillar

floor joint

vegetation

people

“Melt� makes all elements equal . wagon

ground

*/ */ */

*/

walls

lines of sight

flow line

*/

*/

level

colour of the floor

furniture

multifocus

flag

shadow of statue

*/

*/

â…Ł ďź?ďź‘ďźšReason for selection of Villa Planchart

sky shadow

building

While one element is incomplete, elements

building

Ⅳ �Analysis 　　Ⅳ �� Extraction of lines 　　Ⅳ �� Extraction of surfaces

Joints for moving

“Dynamic Balance� makes various relations .

Joints for staying

　　Ⅳ �� Extraction of points Ⅳ �Relationship between elements

"Lines" ¡ ¡ Giving direction "surfaces", and associating "points".

"Surfaces" ¡ ¡ Stabilizing disordered "lines" and "points".

"Points" ¡ ¡ Giving uniqueity and rhythm to "lines" and "surfaces" .

　　Ⅳ � 3 � Relationship of lines 　　Ⅳ � 3 � Relationship of points 　　Ⅳ � 3 � Relationship betwen lines and surfaces 　　Ⅳ � 3 � Relationship betwen lines and points

Relationship with "lines", "surfaces" and "points"

Joints for moving and for staying

�Site condition: on a hill, a

　　Ⅳ � 3 � Relationship betwen surfaces and points Ⅳ �Analysis of Architectural condition - external factors -

Architectural

â…Ł ďź?ďź•ďźšConcluding - Architectural Balance -

features

ⅤDiscussion　Comparison between Gio Ponti and Giorgio De Chirico Ⅴ �Difference by comparative analysis

⅌Appendices

Colours deciding the position of furniture and people

Many multifocus points shake a gaze.

Planchart's family

preading to a valley

composition, hobbies and

Eaves decided by the solar

ă‚ŤăƒŠă‚Ťă‚šć¸“č°ˇ

Conclusion

The ground associates several elements.

Architecture − morphological aestheticsâ€ƒďź‹â€ƒaesthetic of life

VACANT

ĺŒ—ă Ťĺ?‘ă ‹ă Łă Ś

丘

The shadow stabilizes confused multifocus.

�Client condition: Mr.

other requests

ďźˆlines, surfaces, points

Painting 

ďźˆArchitecture feature

− morphological aesthetics

ďźˆlines, surfaces, points

altitude in Venezuela→

Commonality by comparative analysis

To the architecture as general art - Poetics of drifts in a distraction -

Differences by comparative analysis

The Villa Planchart, which is established by "melt" and "dynamic balance", should not be carefully appreciated and should be appreciated being "distracted" (quoted from "The Work of Art in the Age of Mechanical Reproduction" of Wolter Benjamin) in a daily life. "Distractedness" means the relaxation and flexibility of the architecture, which interacts face to face with the change of the daily feelings of residents. Through the Villa Planchart, Gio Ponti presented the idea of "Drifts in a distraction" as a way of free general art unique to the architecture.

I demonstrated that Gio Ponti and Giorgio De Chirico used common methods of "Melt" and "Dynamic Balance". Gio Ponti overcame sticking to the walls of the Roman architecture by "melting" them, and got back cultural hegemony to Italy since Michelangelo by "Dynamic Balance".

â…¤ ďź?ďź“ďźšConcluding - Comparison of both relationships of balance -

ⅼConclusion　 Poetics of drift in distraction, seen in "Dynamic balance" and "Melt"

ă‚˘ăƒ“ăƒŠ

spring / automn winter summer

prevailing wind, a field of view

ĺ?—ĺŒ—â€ƒć–­é?˘ĺ›ł

â…¤ ďź?ďź‘ďźšCommonality by comparative analysis

Furniture and people featuring line-of-sights

Line-of-sights scraping walls

Paintings are composed only of morphological aesthetics, whereas architecture consists of aesthetic of life as well as morphological aesthetics.

This indicates that the architecture is appreciated in everyday life and not carefully appreciated like paintings.

â–ź

　　Ⅳ � 3 � Relationship of surfaces

Thank you for your consideration Yuichiro Takei Kitasenzoku 1-22-3, Ota-ku, Tokyo T : +81 70 2176 8275 M : takei_yuichiro@akane.waseda.jp