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Physical space experience​ Physical space experience

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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.

Does the world look more beautiful through "architecture"?

Outline of work

Does the world look more beautiful through "architecture"?

The blue of the sky gradually turns into the red of the sunset. The vitality of plants that change their appearance and color depending on the four seasons. The coziness felt from the warmth of the sun and the physical sensation sharpened by the shadows. As a result of continuing to pursue the convenience and beauty of the present age and the richness that is easy to understand, I have lost the sensitivity to such changes in the "world." Isn't it possible to create architecture in the continuous behavior of such changes in the "world"?

This plan is a plan of "Forest Tea Corridor" created in "living nature". The Ueno Royal Museum in Taito-ku, Tokyo, which continues to change gradually depending on the time and season, was selected as the target site. People experienced the changes in the "world" through architecture, and thought about the existence of architecture that would be a place for people and other diverse creatures.

Five keywords, "three-dimensional façade," "constructive shadow," "internal lighting expression," "floating," and "framing," are used as design clues. These are design methods that create gaps of various scales in the standing appearance and space of architecture. The gap makes the "world" look beautiful by allowing various changes such as sunlight, people walking in the park, and the scenery of the trees in the forest to enter.

Thinking about the world beyond through architecture.

The theme of this project is that the series of thoughts will redefine the value of the architectural space for the future.

(Rim) Take architecture  ――Construction of an architectural space where the visual depth fluctuates ――

Outline of work

I was interested in the existence of the "edge" that is born at the boundary of the territory.
The edges that connect different regions are considered to be closely related to the depth recognition of space, and we focused on those relationships. Depth includes the actual physical depth and the visual depth perceived by humans. When the contour line of the building space is weakened, the recognition of the vanishing point is also weakened, so that distortion occurs between the physical depth and the visual depth, and it is considered that the recognition different from the actual distance occurs.
An edge that occurs on a shielding surface that limits the field of view, called a shielding edge. It is thought that the visual depth fluctuates by making the invisible area feel and reminiscent of the invisible space. Create awareness of two areas, the visible and invisible areas, by using a continuous shielded edge that multi-layers the opening to emphasize the edge and a fluid shielded edge that composites the curved edge and obscures the edge. It is defined as [take (edge)].
A shared studio with a stay function will be planned for the target site in Yanaka, Taito-ku, which is characterized by an alley space composed of narrow streets with invisible areas.
It can be said that this design method is effective in causing the expansion beyond the actual distance to the limited site conditions by generating the fluctuation of the visual depth, and [(edge) building] is an act of state-owned space. Fragments overlap to create an architectural space where mutual functions are buffered.

From urban experience to architecture  -Design method based on the description of successive visual experiences in Shibuya-

Outline of work

This plan is a tentative plan of a method to leave the memory of the city in the future. We are constantly experiencing urban space with movement. There are various scales such as walking, swinging, and minute eye movements, but the structure in the visual field changes according to the movements, and the space is visually experienced. For example, while walking, there are various visual experiences such as another building appearing from behind one building or starting to hide the building behind, depending on the positional relationship between the body and the visual object.

We defined this visual experience, which people passing through the city unconsciously continue to enjoy, as the experiential quality inherent in urban space, that is, the memory of the city, and extracted 18 types in Shibuya. Then, by writing down the visual experience in the urban space from the viewpoint of the observer and converting it into space, we tried a method to describe the visual experience as the memory of the city in a form.

Project _ 01 "Parallel running" Gallery as a portrait of Shibuya where the memories of the city run in three-dimensional parallel

Project _ 02 "Crossing" Complex as an afterimage of Shibuya where fragments of memory float in all directions

The range of this method was explored by developing from description to space and from different perspectives to two experimental trials. Objects that are built up with dynamic spatial descriptions as blueprints phenomenon while surviving / mutating the visual experience in urban space. It is a space that continuously / fragmentarily recalls the memory of the city, and is also the stage set of the city that visualizes the unconsciousness of the observer.

Perceived comfort  -Office space where adaptation opens-

Outline of work

This is a proposal for an office space that is open to adaptation in Tama City, Tokyo.

There are many different definitions of comfort, and I sometimes wonder. Therefore, I thought about linking various studies on "comfort" to design, and collecting design content on comfort, with particular emphasis on human perception.

Currently, the item that is emphasized in the comfort of the architectural space is mainly the feeling of warmth. However, recent research has revealed that various factors other than the feeling of warmth are related to the comfort felt by humans. Based on that background, we focused on various other factors-perception and comfort-created a collection of design content patterns. Based on the adaptability of human beings and the usefulness of incorporating nature, which goes beyond the conventional concept of comfort, we made proposals for offices.

As we proceeded with the design according to the contents of the design content pattern collection, we came up with an architecture in which various spaces such as the inside and the outside, the outside like the inside, and the inside like the outside overlap like layers. While repeating the layout of the courtyard and the study of the openings, the office was opened to the outside to promote the perception of changes in the surroundings such as changes with time and seasons and changes with movement, and to bring out the adaptability of people. It became a space that was taken away.

changing house

Outline of work

When you experience a space, the image of the space you receive changes constantly depending on the emotions and actions of the person. It is the same for all the elements that make up space.

There are various elements in a space, such as pillars, walls, and doors, and although each of them plays an important role in the composition of the space, in order to define the space, Roles are defined and pushed out of our consciousness.
By abstracting the elements that make up the space, we create a space that allows people to perceive them. Remove the scales we usually experience and incorporate extraordinary scales.
By transforming and arranging intricately the elements that are out of consciousness in daily life and the perception of space that accompanies them, one thing is given two or more meanings. I think architecture is like an abstract painting. Abstract painting does not express things that exist in the real world, but expresses the artist's own subjective world with shapes and colors, and tries to go beyond the real world. Even in architecture, it may be possible to subjectively capture the image of space by transforming the scale and spatial perception of all the elements that make up the space. "Form follows function", not "form follows". I created such a space.

――Recognize the value of a cozy space and change the values in a capitalist society ――

Outline of work

Recognize the value of --a cozy space--and shift to qualitative value for the present age when it switches to quantitative value. Collect the spaces that you feel comfortable with and analyze the characteristics of the space. We find two features in the analysis.
① Look at the bright space from the dark space. (2) There are two or more spaces in the same space.
The light that enters the space creates a bright space and a dark space, and makes people recognize multiple spaces. These features can be explained by two spatial theories.
① View hiding place theory-Jay Appleton ② Transparency-Real and imaginary-Colin Rowe
From these two spatial theories, it was found that a cozy space is a space in which others do not recognize their existence. A personal space that defines coziness by distance. By using an unrecognized space, it is possible to construct a cozy space regardless of the distance from others. Next, consider how to create an unrecognized space. The collected cozy space is made into a diagram and the space features are summarized. Find 6 spatial features. Light is put into the space, and the recognized space and the unrecognized space are created at the same time to build the whole. This project is set in the suburbs where homogeneous redevelopment is actively carried out. The suburbs, which divide the land evenly and inhabit more people, value not the value of the place but the proximity to the city center. We propose a residential area that has a relationship with the surrounding area while retaining the value of the land itself. We will reconstruct the relationships between people in the living space using unrecognized spaces.

A story about a white line 15 cm wide

Outline of work

As long as architecture exists in a fluid city, I think that the way of architecture and how to face it will always be asked for the environment. In a certain shopping district, I notice that there is a "road white line" that works as a system to induce the overflow of personal belongings. There, people's actions were controlled by a minimal object called a white line instead of architecture, and the surface layer of the city was created. Can you think about the future of architecture using this white line as a clue?

So I tried two projects. In [project 1], we will analyze the "white line" from the road survey and describe the actual situation. It presents a discussion on the relaxation of building regulations through a neighborhood agreement on the special relationship between the front of private land and roads. This is a proposal for the idea of public existing regulations. In [project 2], it is a proposal to think of the minimum mechanism of "white lines" that produced the primitive actions of human beings as an architectural space. We will create a shared space on the border of the land next to the private land and develop it as a regional network.

These two projects are a story consisting of a white line with a width of 15 centimeters, which describes the concept of spreading from everyday scenery to architectural space and even to the entire city.

Edit route

Outline of work

Occasionally, we often see the words "view of the sea" and "superb view", but in many existing accommodations, similar seas are cut out from some regular windows. Those seas are clearly inferior to the seas seen from the observatory and the coast.

This research considers the ideal landscape beyond the filter of architecture.
People sometimes change the way they see and feel things with their emotions. The sea beyond the cave that I experienced in my childhood. It is thought that the reaction of feelings of anxiety and tension → a feeling of openness was born there, and I was even more impressed even in the same sea.

Therefore, the flow line plan leading up to the window was reorganized by the three architectural elements of "intonation, attraction, and concealment", and a feeling of tension, anxiety, expectation, and uplifting. .. ..
Isn't it possible to give such mental and physical stimulation through architecture and to attract various landscapes by combining these elements?

This master's design is to design and plan a story (sequence) leading up to the window (landscape).

Perceptual walk  ――Reconstruction study by opening and flow line of La Roche-Jeannelet ――

Outline of work

<Draw a person here. Let's put this person in the house. He moves forward. And a new volume and a new light. If you go further, another light will come in, and if you go further, there will be a place full of light, and there will be a dim light right next to it. When each of these volumes unfolds various light and dark one after another, one breathes it. > This research begins with the lyrics of Le Corbusier. Humans have a habit of letting their memories and sensations dwell in space, but I thought that architecture and people could be closer to each other by designing from the <perception> that is closest to the experience. From the point of view of <perception>, the reconstruction will be carried out with the theme of La Roche-Jeannelet's house of Le Corbusier architecture. Based on the field survey, "Route Extraction-A" and "Route Extraction-B" are gradually brought closer to the actual experience, and <perception> is extracted by unwinding the La Roche House. By visualizing perception, we formed a "tool" and reconstructed it. Le Corbusier defined standards such as Modulor and used a design method to put them in a box, but in this research, we eliminated the program and site and designed from a new perspective by focusing on the perceptual attractiveness of the opening of Le Corbusier architecture. I think I could have redefined Le Corbusier.

Sense rectangle  --Architecture for blindness based on study of Scandinavian Architecture -

Outline of work

By constructing the concept of affordance, a recognition method that extracts only the necessary information from the reaction obtained by repeatedly working on the environment, and mobilizing the five senses experience that everyone can originally share, architecture becomes a society. Scandinavia is an open cultural area. Scandinavian architects such as SE Rasmussen of Denmark and Yuhani Palasma of Finland describe the richness of the experience of Scandinavian architecture that mobilized the five senses in his book. Assuming that such "richness that does not appear in the drawings" is "richness as an experience that can be perceived by the five senses other than vision," it is a richness that can also affect the cognition of the visually impaired grandfather. Isn't it? This proposal began by actually describing "richness that does not appear in drawings" from actual experience and consideration through the field survey of 23 works of modern Scandinavian architecture. Against the background of research, I propose two architectures that my grandfather can also experience.
Project 1. Library / Crossroads of Sound and Light
Project 2. Work shed / Sound and light nesting In these days when the members of society are becoming more diverse, architecture needs to be easier to use and understand for a larger number of diverse people. These architectures, which open public spaces to individuals and individuals' whereabouts to the public, are another light for my grandfather, and they melt infinitely transparently into the daily lives of the people who live here.

Scale Share Housing

You can experience a special physical sensation in the curved architectural space. The "floor" stands up and becomes a "wall" and a "ceiling" before you know it. Here, as "elements" with various scales change in a single connection, the physical sensation also changes accordingly. I called this "crossing the element" and thought it was a characteristic of space using curves.
This design is a thought-experimental work that develops "crossing elements" and aims to express a special physical sensation in an architectural space using curves with straight lines. This time, as a case study, we set up an apartment building in Shinjuku, which continues to rise in height, leaving the body behind. It is composed of four types of structures with different sizes and heights, and each of them interacts to create a new element. Functions such as "bench" and "table" are born there, and the structure changes into a physical structure, and the space develops. This is an architectural proposal that creates a spatial experience that transcends scale, such as going back and forth between the "body" and the "city."

Proposal of space design method to create a sense of depth  Parametric design with the refraction of space as a variable  --- 

In recent years, as a method of partitioning a space, instead of segmenting using a wall, the refraction of the space is used to gently divide the space, and by using the refraction of the continuous space, the visible / invisible relationship and the depth / shallowness of the depth It is possible to create an architecture from a scale that can be perceived by humans with visual changes such as. For that purpose, it is necessary to consider not only the depth generated by the size of the actual distance but also the sensuous sense of depth such as the expectation for the space ahead. There are cases where it is continued. The purpose of this research is to propose a space design method that creates a "sense of depth" by using "refraction" as a three-dimensional space fold including not only a plane morphology fold due to a wall fold but also a roof fold. .. While "depth" is the actual distance, "sense of depth" is defined as the sense of distance by visual spatial perception that does not depend on the actual distance.

Design proposal of spatial continuum focusing on the perception of virtual boundaries

Many of the architectures seen today are so much in pursuit of economy, rationality, and productivity that similar spaces are arranged vertically and horizontally by a single module, and such architectural spaces are spaces for users. It feels like it causes the monotony of the experience and halves the appeal of architecture. Therefore, in this proposal, we propose a spatial continuum that is not an array of homogeneous spaces, but sublimates the perception of virtual boundaries from a psychological point of view into a three-dimensional space and organically connects them.
The word space was first used in the history of architecture as "space as an enclosure" as defined by G. Semper. Later, with the liberalization of the structural form of architecture, the concept of space changed, and Mohori Nagi came up with the concept of "space as a continuum." This concept has had a lot of influence on contemporary architects, and a space as a continuum is born as an actual work. We showed that such a spatial continuum has a perceptual boundary that is not a physical boundary called a virtual boundary, and defined the ideal state of the spatial continuum based on the definition of Nagi's space that contributed to the continuity of space in modern architecture. .. Next, referring to the principle of perception in Gestalt psychology, five spatial continuum models were created from the viewpoint of defect compensation, and a design proposal for a spatial continuum using these models was made. Here, we present a proposal for an exhibition space in which rooms with more limited use have a mutual relationship, consider fluidity, and realize spatial graspability from a certain point.


People visually take in 80% of the information they get throughout their lives. Da Vinci and Goethe also regarded vision as the most sublime of the five senses. First of all, I investigated the relationship between vision and architecture, and found the difference between Western art and Japanese art. Focusing on the "appearance" of Japanese art's ancient expression methods, this paper focuses on collecting, investigating, and analyzing, establishing it as a design method, selecting an actual site, and developing it into architecture. The purpose. The site is a public library in Towada City, Aomori Prefecture, which is aging and plans to rebuild it. However, there are plans for architecture that has nothing to do with location. The design will be based on the motifs (pioneering, horizontality, grid-like blocks) obtained from Towada on this site. We will give shape to those motifs, synthesize them, and guide the final form of architecture. In my daily life, I rarely think of gussets. A library that looks like the gusset, created by the "design method". The act of walking around while walking around books in this library is linked to the experience of walking in the gusset. Using this architecture is close to owning the entire gusset, and the architecture made from the elements of the land evokes the identity of the region, creating a strong architecture with the symbolism of the gusset.

Film as a phenomenon  ---  Architectural design method using "catalytic" of clothes  --- 

Focusing on the phenomenon at the fiber level of clothing, we regarded the property of clothing as a mediator between humans and the external environment as "catalytic" and compared it with the building boundary. Proposal of a design method that uses the "catalytic" found in clothing that feels close to the body, especially swimsuits, to the architectural boundary. Since clothing is a shelter created from the relationship with the climate, the relationship between people and the environment peculiar to the land appears in the clothing. By analogy with clothing, the architecture was grasped from the relationship with the land-specific environment, especially the light environment, and a trial design of an architecture with a boundary surface describing the phenomenon of external light was made in Sotokanda, Chiyoda-ku.

"Sukiya" shop / or "cage"

Impressions about space

This architecture is not only an attempt at spatial perception, but also an excuse to indirectly explain my thoughts. To be honest, I don't have any "confidence" yet, and even the "suspicion" I have in myself is probably included in this excuse. But I make a loud excuse.

  First of all, I think that the peculiarity of "Sakuyori" has one possibility. Like, sheer, gap, vacancy, oddness, love ... etc Japanese-style words with various nuances are the keywords of this small and huge room. I was very impressed by the private arts I experienced in Italy and Kyoto. The purpose of this research is to use that experience as a starting point, and at the same time, to embody that "experience".

The dimensions are 2000 x 1220 x 2070 mm. Think of "space" from a different perspective than "necessity" from the human act of "function." I want to think from the "necessity" that comes from the inside. Like the space realized by Scarpa and Ukon Takayama, this small room acquires physical characteristics by fragmentation. It is a display rather than an arrangement, and a siege rather than a composition. In this huge space with a building area of 2.44 m2, it is proved that architecture is not just a machine but a step into the inner side of human beings and influences its spirit. 

I call this "enclosed space" a "cage".

Is it a cage or a secret base for adults?

Now is the time to need a cage.

The space of the ring-through Aldo van Eyck's architectural ideas-

The purpose of this design is to give back to individuals while maintaining sociality in architecture. Sociality used here is defined as "a universal part of architecture that can be shared by everyone", and humanity is defined as "a part that differs depending on individual psychology and perception". I found that possibility in Aldo van Eyck's work. In his architectural method, "anti-phenomenon," individual perception plays a part in architecture, and how to perceive the ambiguous space created by anti-phenomenon depends on the individual. It can be said that the power of the form induces human action. I will call the space that leaves room for this individual act as the "contour space". We conducted a prototype study that three-dimensionally applied the pair phenomenon used by Van Ike in a plane, and designed the house as a case study. The continuity of the contour space makes a difference in each space. Actions are created when the form of architecture acts on the perception and psychology of the individual, and the function is finally determined according to the action. The "individual" here means each human being, and in the contour space, it is possible to act freely without the framework of family and others.

In the contoured space, giving back to the individual gives the architecture a sociality. A space of contour that has no regulation and induces to individual human beings. We believe that it will be an architecture that can be shared across times, cultures, and races.

About the relationship between the body and architecture

I would like to give a reinterpretation to the immaterial elements of architecture by thinking about the "relationship between the body and architecture".
Architecture is only possible with people. But something must always seem to be made very far from it. Architecture is more tactile, more clinging to human skin, and is densely packed. I really want to think about architecture that is familiar and universal by thinking about architecture from the side of my skin. Spatialize the tactile bodily sensations centered on the element of the body, which is oneself and a common language. Wear the air and space that surrounds you.

At 35 ° 41ʼ25.68 ”N 139 ° 42ʼ18.86” E-Architecture as a phenomenon-

What does the form follow?
The phrase "form follows function", which has been treated as a theorem of functionalism and rationalism, has forgotten its original meaning and walked alone, and no longer has any meaning. Then, this question naturally comes up. In response to this question, I redefine the comfort that is the basis for determining the space, and make it comfortable. Comfort is a perceived consciousness brought about by changes caused by external factors existing in the external space. Therefore, it should be read as follows.
Form follows consciousness From cognitive psychology Spatial cognition works more strongly on abstract elements, so we explored the possibility of acquiring space by abstract light images instead of concrete walls, and created a new space with transformation. The purpose is to find out the quality of. It is not a place that is forced by physical factors, but a place that can be obtained by connecting it to human consciousness. There is certainly comfort here.

A lively space: visible, audible, smellable

The main theme of research and production is to develop housing design based on the perception of the scene and its experience. Normally, when we experience a space or phenomenon, we should be experiencing it with all our senses, but it does not appear in our consciousness. The hypothesis of this research is that by designing with a focus on "what the experiencer feels", when it rises consciously, a new perspective to capture it may be acquired. Is.
At that time, I observed the perception of the scene by focusing not only on the visual sense but also on the perception of the sounds heard and the smells drifting. It turns out that human beings are living while moving around, and their sense of sight, hearing, and smell are continuous, as if they were looking back in response to the noise heard from behind. In the house designed based on that, the scene is reconstructed by the sounds heard and the smells drifting in the space that is visually separated and connected, and the appearance different from the scenery that I have seen so far stands freshly. In modern homes, the relationships between families are weakened, but the target of "what the experiencer feels" is the same dwelling from the surrounding furniture and accessories. It is thought that it will extend to the actions of families living in Japan and will be an opportunity to build new relationships with them. We designed a house where you can perceive the situation that should have happened unconsciously, such as the smell of cooking by your mother and the humming of your father, beyond what you can visually perceive.

Small room / small time

I was thinking of changing the space by changing the architecture. But when I saw the scene in the desert, which changed from moment to moment, I thought that the space would change without changing the architecture. We propose a method of designing with the theme of construction time. And what I always felt was the lack of tools to express architecture. I've traveled all over the world, but the temperature and humidity that weren't depicted in architectural magazines and books, the experience I got there, and the scents I hadn't imagined are the ones that drive me the most.
We propose a new expression method that expresses the time of construction.
■ Experiment "Not from a plan or section (without a timeline)
Is it possible to create a space from phenomena and events (with a time axis)? "
■ PROJECT 1 "Can you create a space from literature?"
He interprets "Hojoki" as a theory of housing, and launches "Hojoan", where Kamo no Chomei last lived, only from literary depictions.
■ PROJECT 2 "Can you create a space from events and phenomena?" Try a method of designing with the phenomenon you envision as a trigger.
・ Related Research I “Comparison of Time Depictions in Japan's Three Great Zuihitsu” Comparative Analysis of Time Depictions of Hojoki, Pillow Book, and Tsurezuregusa・ Martin,
We will explore the historical transition of the minimum space by taking the case of the International Space Station residence unit.
The urges and impressions I received are packed into a small room with the richness of events / universe in an extremely shaved environment.

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