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Nostalgia / original landscape Memory and architecture

~ 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.

Living house and living house
――Experience and memory design experiment ――

Outline of work

I am interested in the physical scale that architecture builds.

Koji Taki's book, "The Living House," states that the quality of space changes as people experience it. Although the architecture of a house is modeled, the reality is that it is constructed by accumulating lonely stories woven by individual daily life.

Taking the opportunity of demolishing my 40-year-old parents' house, I took my house as an example of a "living house" and described the experiences and memories of myself and my family's normally unconscious house. From the history of the house, we analyzed the maturity beyond the planned harmony of our house, and devised a design method of the setting for the resident to more proactively spatialize the action.

This is an attempt to dilute the architecture that can only be lived by living into a rhetorical paradigm of architecture by conducting a design experiment of a "house that can live".

Architecture to communicate
――The 400-year East-West Learning Center that inherits the memories of the two Tsukuda ――

Outline of work

By proposing a learning center that connects the two Tsukuda on the planned sites of Tsukuda, Nishiyodogawa-ku, Osaka-shi, Osaka and Tsukuda, Chuo-ku, Tokyo, the 400-year-old gusset connection will be reorganized. Specifically, we plan two learning centers to develop inter-school exchanges between Osaka City Tsukuda Elementary School and Chuo Ward Tsukudajima Elementary School. We conducted a current situation survey and hearing with two Tsukuda, described the spatial characteristics of the two lands, and read them as architectural forms. In addition, the district structure and water area were read from two old maps of Tsukuda, and in Tsukuda, Nishiyodogawa Ward, Osaka City, Osaka Prefecture, the construction was planned along the district when it was a fishing village. I planned the space. In addition, in Tsukuda, Chuo-ku, Tokyo, the axis of the former Tsukuda Island was respected and the axis of 45 degrees was incorporated into the design to create a hydrophilic space based on the river that was flowing before the land was created. I planned.

Considering that the memory of the place will be taken over by architecture based on the fact that the natural disaster that occurred in the past has lost the memory of the gusset. Furthermore, based on the Nankai Trough earthquake that will occur in the future, we will build a building to communicate with on land with two relationships. At that time, I thought about the basic structure of the building so that the two learning centers could play the role of each other's disaster prevention centers. Communicating architectures transfer the memory of each place, allowing the other architecture to take over the space. By doing so, I think that architecture can pass on the memories of the two gussets that have been involved even a little to the future.

Memory of housing complex and accumulation of apartments  -Study on typology of common areas of apartment houses and methods of housing complex regeneration after the period of high economic growth-

Outline of work

Due to the diversity of lifestyles today, apartments with various uses are often built with architects. The living style of apartment houses is changing, and the number of residents is diversifying. History exists there, not a broken relationship. As a method of revitalizing the housing complex, we hope to redefine the current state of the housing complex by categorizing the common areas of apartment buildings after the period of high economic growth. Treat the common areas of each apartment as a form and extract the properties and characteristics. The analysis will be conducted on three items. The tendency seen from the classification as a building plan and the classification of the arrangement of common areas and dwelling units will be analyzed. The classification as an architectural plan aims to understand the validity of the diversification of the housing complex and the tendency of how to use the common area of the apartment house from the viewpoint of the future. The classification of the layout of common areas and dwelling units analyzes the meaning and composition of each element and their relationship. By performing these classifications, they are organized as elements of the nature of common areas and reconstructed into a design. From the matching and fitting of the housing complex and the housing complex obtained by the trace, the work on the new housing complex can be repeated. And overflow by stacking several plans. The housing complex designed in this way complicates the elements of the common area and creates a new space in the housing complex.

Spell "land fragment"  -Based on Fukushima's hometown-

Outline of work

This plan is for three families who lived in Fukushima before the Fukushima nuclear power plant accident and were deeply involved, but have different circumstances after the accident. Since my hometown is Fukushima, this project is an architectural proposal from the standpoint of a person from Fukushima prefecture, and is a record of what I have actually seen in Fukushima.
Based on the collection survey of "land fragments" in Fukushima, we will create a morphological example and plan a connection between a device that affirms the life of an individual after the accident and a "flower as a base" that holds memory. "Land fragment" refers to the memory and ties of Fukushima that could not be taken over to the evacuation site. The plans are "Dougu group for flowers" that inherits the thoughts of my grandfather, "Ye for memory" that inherits the memories of my mother and Fukushima, and "Mado that takes root in the city" that seeks ways to relate to new lands. Each consists of a small architecture associated with a flower that has the potential to mediate memory.
Although the flowers are very small, they have the potential to remind us of the deceased and hometowns over the years and places. The method of "remembering" is meaningful because Fukushima is physically unable to enter the land anymore. This plan proposes a way of reconstruction for individuals and a way of a new community that does not have physical land. I hope that when something suddenly disappears, this tiny, always-memorable flower-clad architecture will be a great source of personal recovery.

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.

Going back and forth between space and time  ――Kenji Nakagami's Oryu Nooba as a shitajiki ――

Outline of work

The nuclear accident has created a gap in space and time, leaving many challenges for nuclear evacuees. Kenji Nakagami sublimated the problem as a pleasure. The gap between the soul that lives for a thousand years and the body that exists now is regarded as a rich thing that can go back and forth between the space and time of a thousand years. And it is the existence that continues to be rich. In this sense, the Fukushima Daiichi Nuclear Power Plant is regarded as a negative Oryunooba.
This plan is a positive proposal of Oryunooba for Okuma Town. It is a plan to make the divided space and time positive, and the design of the relationship to go back and forth between them.
Plan AA:'Design of a warehouse for "words" and "words". It functions as an office of a tourism consulting company and a cultural research institute for travel.
Plan B: Proposal of a travel ritual that imitates Okuma Town traveling to another land after 3.11. At the moment of dedicating a baby lion dance, a landscape that transcends space and time appears.

Spatial design method in Michael Polanyi's Dimension of Implicit Knowledge

The maps we usually see have the same amount of information written everywhere.
However, when you actually walk around the city, you will notice that the amount of information in the town we are aware of is not constant like a map.
In every city, there is a concentration (unevenness) of people's consciousness that is made up of things that such individuals unconsciously recognize.
Isn't it possible to build a building based on the unevenness of people's consciousness that is not usually shown on the map, the unevenness of the people who live in the city, and the unevenness of the visitors? The outline of the research project is to visualize and spatialize the unevenness of people's consciousness that is not normally shown on the map, and to build the building based on the clues that arise from the unevenness of the people who live and visit the city.
The research method used a method called social map. Social maps are a method of quantifying words, photos, pictures, etc. that people like this one have spoken. In my master's thesis, I actually set up a town and created a social map by waiting for students and interacting with visitors and residents. In the project, we divided it into an element that guesses the function that was estimated to be necessary in the future based on the social map and an element that creates a space like this city, and designed it.

Kemono no Michi-Rethinking the sense of time and values in modern times-

The flow of time in modern society is too fast, and various things and things fly around like bubbles. What do you see at a speed that you can't even think about the true meaning of things and the invisible value? In this production, where I searched for a way of being in such a time at a speed that I do not know what I am looking at, I focused on the floor. It was a "scratch". These scratches are generally classified as "dirt" and no meaning is found there.
However, when you think about why the scratch is there, you can see the reason there.
The traces of the desk that had existed since I entered the school, the scratches that were made when carrying wood, and the places where my seniors were always working, had countless scratches left behind.
Seen with such an eye, the wound also had a rhythm and had "emotions". A wound is a "trace" of something. It can be said that it is someone's "proof of existence."
Its existence is not recognized in life, and it is not proved that its "proof" is important, but I just wanted to cherish such a world view.
It may be useless, but in a modern society where even values and morals are fluid, the act of believing in oneself and proving it without relying on established criteria does not seem wasteful.
I'll take a look again. The meaning, the reason, at a speed that can be thought of slowly.
If I come to the conclusion that the act is useless, I think it is not a meaningless act.

Human Vernacular-Nonverbal communication across generations and nationalities through human indigenous nature

A condominium that collects dwelling units that accept human vernacular (human indigenous nature) born from memory, experience, and individuality, and generates nonverbal communication that makes it possible to understand people without talking.

The accumulated memories are overflowing, and ...

A room is created by stacking things that have increased as people get older. Those that cannot fit in will overflow to the outside and will be used by other residents, and their memories will be inherited.

Nostalgia in the city

Pleasure is what humans feel. Pleasure created by connecting people, moving emotions, and sharing emotions. In addition, the pleasure that sometimes becomes nostalgia and memories, and is born from the memories that are revived. Despite living in a city, it is a place where people live together, live with people, feel the tranquility and tranquility of nature, and have a calm time. It will be a place where you can feel attachment, and you will feel nostalgia someday. The connection between humans and the calm environment nurture human emotions and create a present that will eventually turn into memories.

​~ 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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