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Method quote

~ Editing ~

On this page, reference works are categorized for each proposed element.

​ Target works are National Architecture Student Award, National Graduation Design Award, JIA Master Design Exhibition, Tokyo Architecture Collection, Sendai Design League, Ara Brick Graduation Design Exhibition, National Joint Design Exhibition, Chubu Graduation Design Exhibition, Diploma Kyoto, Design Review, Hase Ko Competition, Daiwa House Competition, ERI Student Competition, Daito Kensetsu Competition, Furic Competition, Public Space Competition. In addition, we will categorize related videos, books, magazines, and buildings, aiming to be one of the largest and most advanced architectural design platforms.

Hiroshige Utagawa Methodization of element baton relay in "Fifty-three Stations of the Tokaido" and its application

Outline of work

"Each element connects with surrounding things and rewrites the reader's perception many times." Hiroshige Utagawa applies the spatial experience he felt when he read the 55 booklets of the Fifty-three Stations of the Tokaido. Therefore, I chose the theme of the master's design because I thought that I could spin the chopped city with recognition.

The elements that make up the composition of the work, "things that show only a part of another element and suggest depth" are classified as "objects", and "things that correct invisible fragments with the reader's head" are classified as "subjects". The 55 transfer methods are divided into 7 patterns, named [with board], [remaining attestation], [brush], [fade in], [fade out], [rearrangement], and [lightening].

The elements scattered in the urban space also have no relationship between object, subject, and subject as in the 53rd order, and by planning an architecture to edit to these relationships, the surroundings are indirectly changed, " I felt that it would be the beginning of a world where people actively discover and experience cities, not people who experience them.

Mountain climbing and architecture

Outline of work

I felt that there was something to do with climbing mountains and building architecture, and I studied these similarities. Among them, we conducted two experiments, "climbing a mountain-collecting and organizing-" and "building an architecture-designing". The production started with "Collecting and organizing-climbing a mountain-", but two experiments were conducted in parallel, such as collecting cases while designing, organizing and designing. Therefore, it is composed of two parts, but the order of viewing is not fixed.
In "Building a building," we regarded the mountain lodge as an extension of the equipment, and proposed a five-year construction project that would be made with standards and construction methods that are easy to transport and construct. In parallel with "Collecting and organizing-Climbing the mountain-", when "climbing the mountain" is the architecture, what kind of design can be done, like packing, the construction method, extension method, material We proceeded while selecting and prioritizing one by one.
In "Climbing a mountain," designs similar to the act of climbing a mountain were collected from a wide range from daily life to polar architecture, and organized from several perspectives. It's also a tool for thinking about what it was like to climb a mountain. It is used as a dictionary to find out what to prioritize and how to select and design by using these cases and values for problems that arise while designing.
This production is a history of exploring the essential way of architecture and composition by experimentally designing in an environment with various restrictions such as mountains.

Translation of poetic language  --Aiming for spatial poetry through the interaction of syntax and context--

Outline of work

Although the word'poetic', often found in the description of architecture and music, is understood through mental and physical sensations, it seems difficult to articulate what its true nature is.
The concept of poetry is derived from the tension and ambiguity found in the binary opposition of linguistic structure code (syntax) and context in the field of literary criticism. On the other hand, one of the poetic factors of architecture seems to be the positional relationship of the material components found in the spatial succession and the rhythm associated with their temporal succession. Such an arrangement rule of the material components of architecture is called syntax.
This design aims to be a part of poetics in the architectural space by applying the concept of poetry derived from the binary opposition of independent scripture and context to the architectural space.
Therefore, I tried to extract the syntax of modern Japanese houses composed by Modur in relation to the context and divert the structure to the design.
The feature of this design is that it uses linguistic theory and presents a design method for translating linguistic structures into space. This translation of the language structure into space translates rules that do not have irregularities such as svo, which is the phrase structure rule of the language, into a uniform grid space, and moves, repeats, superimposes, and lacks in that grid space. It is an adaptation of transformation operations such as taking, hollowing, and inserting in relation to the context.

Architectural design proposal focusing on the expressive effect of montage theory in video works

Outline of work

In the 1920s, the Russian avant-garde revolutionized the world of cinema. Soviet film director Sergei Eisenstein invented a film editing method called montage theory based on the Kuleshov effect, an experiment in cognitive psychology, to collide the image of the audience with the image of the subject as a symbol. Succeeded in constructing an in-movie story.

Currently, when talking about the relationship between film and architecture, the focus is on the formability of the screen and space. However, in this research, by referring to Eisenstein's montage theory and reviewing the user's image and sensibilities that do not appear in the form as part of the architectural composition, we aim to develop a new design methodology, and aim at the development of cinematic architecture. I will search for the ideal way.

First, five methods, 1. Metric montage, 2. Rhythmic montage, 3. Tonal montage, 4. Intellectual montage and 5. Overtone montage, were extracted from Eisenstein's discourse and analyzed. The specific features have been verbalized. And by translating this cinematic language into an architectural language and constructing each as an aggregate, architecture that stimulates the image and sensibilities of the user such as meaning, context, light, flow line, and knowledge at an unconscious level. I designed the space.

Calligraphy and architecture

Outline of work

"Calligraphy", which I have been doing for about 15 years since I was a child, and "Architecture", where I began to learn to touch the baton. The beginning of this master's thesis was that I felt something in common between the two.

The main purpose of the treatise was to find the connection between calligraphy and architecture. If you think of both calligraphy and architecture as "modeling," the two are in the two major trends of "breaking the mold" brought about by China in medieval Japan and "reviewing the mold" that has been seen since modernization. I caught connecting with each other.

I think that modeling is greatly influenced by the "climate". We also think that the climate forms the "aesthetic taste" and "view of nature" of the people who enjoy it.

And I feel that the current climate surrounding us is full of "simplified and homogenized modeling," so to speak, "books and architecture far from" hands "and" molds. "

Therefore, I picked up eight points that I felt were important from the many connections between calligraphy and architecture, and based on those points, I developed the design proposal site selection, layout plan, and architectural design, and arranged the architecture as if writing a book. And designed the architecture to make letters.

Mai no Kiseki
――Architectural proposal by describing the trajectory ――

Outline of work

People's movements are small and difficult to see, and they keep moving so they don't remain in shape. However, in dance and dance, it is possible for everyone to decide the pattern of movement and make the same movement, or to use music to express something to a person with movement.

This time, I focused on Noh's performance. It is said that the dance is also used in today's daily life, and the behavior has come to be said from the dance. In this research, we will build the actual movement of the dancer. This is a proposal for architectural design that can be made from the scale of the human body. The purpose is to make the movement of a person into various scales and to make the function according to it.

The movement has taken up the Noh dance, which is the root of the behavior that appears in the current behavior of human beings. In the story of Noh, we will take up the story of "Kumano," in which the original pattern of the dance is used. In the end, the story is divided into the "first half" and "second half" of the story, and the development of the story is different from "sadness" and "joy" respectively. The difference in dance before and after that was the subject of research.
Then, the movements of the first half and the second half were recorded every second. Based on the record, a shape is created, the first half and the second half are analyzed, each of the two shapes is transformed, and the modified shape is used for designing.

The design plans two museums, one with routine behavior and more space in the subject.

By applying the difference between these two shapes and the transformation of the shape to various architectural uses, and adding functions according to the movement of the end, the same space disappears as one, and people's behavior in the building becomes Isn't it increasing?

Annulus of meaning

After experiencing Le Corbusier's architectural works of the White Age, I got the impression that the furniture was "prominent" at Villa Savoye, which is a representative work of the "White Age". I was interested in the feeling that my consciousness was being pulled toward various furniture that seemed to be unified but cloudy. This feeling was also felt in Le Corbusier's paintings, and it seemed that Le Corbusier's paintings and architecture had similar spatial qualities.
The "form" of the components by the "net of interaction" that occurs when various components (= objet-type) drawn in the paintings of the same period and the architectural works of Le Corbusier's white period are combined. He designed a house by using his own design method as a method of constructing a space where the meaning of "function" continues to change (circle of meaning). By combining the long-lasting "floor" and the volume as a "window" with various sizes so that the "form" overlaps, the "floor" becomes a "desk" due to the height difference from the "window". It becomes a "ceiling", a "chaise longue", a "kitchen counter", and a state in which "functions" define each other. The meaning of "floor" is intended to create a new concept of distance, in which the meaning of "floor" changes infinitely in the interpretation, creating a state in which it does not settle, and the imaginary expanse can be felt in the space.

Exercise space-Possibilities of spatial expression by facial expressions and facial expressions-

Exploring an expression method that transcends each dimension in all arts is one of the major challenges.
Russian Constructivism has been engaged in creative activities in a wide range of fields such as book design, graphic design, painting, and architecture, and has conducted various experiments through a series of works named "Proun" for the application of three-dimensional expression techniques in painting to three-dimensional space. Focus on one of them, El Lissitzky (1890-1941). Lissitzky said, "As people act, the appearance of the object changes from moment to moment, and as a result, reality exists in the changing experience, not the fixed space." By developing an unprecedented spatial expression targeting the experience itself by movement, he showed his own theory and method of spatial expression. However, it is considered that there is room for reconsideration because none of Lissitzky's designs have been realized in the architectural project.
In this research, we will explore the possibility of new spatial expression methods by analyzing the painting work "Proun" and the realized exhibition space design of Lissitzky, and present it as a concrete project based on the results. The purpose is.

Ye spreading from 24 rhetorical methods
​~ Related architect ~
Algorithmic Architecture

Algorithm architecture is a design method that uses information processing technology and involves fine discrete processes with fine resolution, and redefines the relationship between nature and humans, and the relationship between nature and act = artificial construction. Nature is an infinite continuum, but when human interpretation is added to it in the process of design, it is inevitably "discretized" into finite elements. An algorithm is also a method for discretizing and understanding nature, but unlike the conventional coarse resolution discretization process up to modern times, it discretizes nature with finer resolution and nature as a continuum. It is an attempt to get as close as possible to itself.

​~ Related architectural ideas ~
Algorithmic Architecture

Algorithm architecture is a design method that uses information processing technology and involves fine discrete processes with fine resolution, and redefines the relationship between nature and humans, and the relationship between nature and act = artificial construction. Nature is an infinite continuum, but when human interpretation is added to it in the process of design, it is inevitably "discretized" into finite elements. An algorithm is also a method for discretizing and understanding nature, but unlike the conventional coarse resolution discretization process up to modern times, it discretizes nature with finer resolution and nature as a continuum. It is an attempt to get as close as possible to itself.

[2] Architectural design / work pattern of each proposal process

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[A2] Subjective proposal of the theme

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[D2] Subjective proposal of design method

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[B2] Subjective proposal of the site

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[E2] Subjective proposal of form

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[C2] Subjective proposal of the program

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[F2] Subjective proposal of space
[1] Evaluation items for architectural design and each proposal process

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[D1] Objective evaluation of design method

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[B1] Objective evaluation of the site

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[E1] Objective evaluation of form

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[C1] Objective evaluation of the program

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[F1] Objective evaluation of space
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