妄想都市ノ解体絵図 DEMOLITION PAINTING OF DELUSION CITY ∼ Proposal of urban follies inspired by abstract paintings ∼
HARUKA KAJIURA
HARUKA KAJIURA 1997
Born in Nagoya, Japan
2017
JIA(The Japan Institute of Architects) Design competition 2nd Prize
2018
Competition of Chulalongkom University in Thailand Special Award
2019
Diploma project 1st Prize in Meijo University 8th Prize in Desing Review
そ し て 戦 争 と 平 和 は 等 価 値 と な り 、
人 は 無 力 。 私 は 有 力 。
重 力 に 縛 ら れ 続 け る 私 た ち 。
かつて私は１つの家族を
守っていた
孤独で、他と変わりない
夫婦が死んで私だけ残された
つまらないただの箱
私は裸になってみた
live
mov e wor k city
y
wa high
d
a
ad
ro
un
「Died once more」 /Union DC(2018)
「Demolition painting of delusion city」 /Diploma(2019)
ty
highw
co
ay
pe
op le
ro
rb bu su
「Useless architecture」 /Korea(2018)
すると人が集まった
「Kaleidoscope」 /School Pj(2018)
「Chao Phraya」 /Bangkok(2018)
彼らはかつて長く巨大なインフラ
「Monumental house」 /JIA(2017)
だった場所に住んでいる
あ き れ る
彼らの世代を渡るコミュニティは
あ き れ る
左 右 で 人 が 争 う 。
どこまでも続くあたたかな
あぁ、私は生きている。
何 何 が が 豊 機 か 能 さ だ 戯 だ 言 が 。
インフラだった
重 力 に 縛 ら れ 続 け る 私 た ち 。
separation between residential and working place
「Behind the city」 /School Pj(2018)
鯉“KOI”/To Mr.& Mrs. Tezuka(2019)
妄想都市ノ解体絵図 ∼抽象絵画を用いた設計手法の提案∼
時々、ほんの一瞬、この世界とは違う場所に行きたくなる時がある。その一瞬はロウソクが消える前の瞬きのようなもので、すぐにこの世界へと戻される。 決まりきったルール、スーツ姿の作り笑い、しがらみだらけの風景、固結びの世間体など、この世界を許容できるほど私たちはそれほど強くはできていない。 私たちはほんの一瞬の別世界を感じながら今の世界を生きている。
引きこもりがちだった私は絵を描くことによって別の世界を見ていた。それはこの世界を写した具象画ではなく、目に見えない抽象画によって… 幼い頃から何百枚と描いた抽象画は周りから馬鹿にされ、理解はされなかったが、確信していた事があった。抽象画にはふと立ち止まる一瞬を与える力と、 何かと何かを繋ぐ 2 つの力がある事。例えるなら前者は偽善のような一瞬で、後者は受精のような繋がりに近い。私は抽象画が持つ力で都市と世界がどこま で繋がる事ができるのかを知りたかった。
都市は小説や評論、建築書物など読む限り、汚い。騒がしい。つまらない。窮屈だ…と言わんばかりに同じことが述べられているのをよく見るだろう。確か にそうだ。そんなこと分かってる。誰もが思ってる。改まって言うことでもないであろうが。昔から言われ続けているそれをこれまではるかに優れた建築家 や都市計画者 ( 日常を変える者 ) が構想してきたが、治る気配がない。むしろ悪化と言わんばかりに恩着せがましく世界が膨らむ。その上で日常を送る者は 手のつけられないそれに不満を持ちながら暮らし、轢かれた猫の死骸や親の性行為、見てはいけない腫れ物のようにタブー事と思っている。 私がこの作品に取りかかった時、それならそれでいいと思った。その人のズルさや、身勝手さごと、このつまらない世界を愛する。愛する方法を見つけ、別 の世界を少しだけ覗く扉を探したかったのである。
世界を変えるのではなく、平行世界を見ることで少しだけこの世界を愛せるであろう。
0-1.BACKGROUND
Unstable,unsure,stiff... The urban image everyone holds is always gloomy. That is like an invisible huge monster.Nobody can see or touch it. We look at a city as if we were manipulated by it.
0-2.BACKGROUND
I lived in the center of Nagoya, Japan, and I had a nagative urban image. But I hoped to love this city.
I drew the city to love it, and to find its charm.
0-3.BACKGROUND
My painting became more and more abstract. And there was the charm of the city.
The small abstract imagination that even children could think of made the city interesting. And that disappeared my negative urban image.
0-4.BACKGROUND
Originally, a city is attractive. Just, we don't notice its charm.
If we want to make a city better, I think that necessary is a small architecture changing the urban image, not big violent urban design.
1. Site
Nagoya is one of the largest cities in Japan. Nagoya has diversity of complex potentials, including many buildings, factory areas, traditional castle town, and natural green areas.
Japan
Aichi
Nagoya
Nagoya Castle
Nagoya Station
Arimatsu street
Green park
Nagoya Port
Nakagawa Canal
2.-1 Conversion The Map to Canvas
First,make the map look like a canvas. So, Nagoya map is a new white canvas.
・・・Nagoya City
2.-2 Creation of Abstract Urban Painting
Of course, Nagoya City comprises artificial and non-artificial elements. These are visible forms on the map. Such visible forms are drawn by lines. In addition, the City also comprises historical elements. Such invisible forms are painted by surfaces. Next, while being inspired by the flow of lines and the power of surfaces, an abstract urban painting is created.
1. Artificial and non-artificial element
Artifact
on the map (Visible form)
A ＋
Non-Artifact
Draw by line
B ＋
2. History and origin element
History
(Invisible form)
Nagoy a City
＝
3. Inspire by“flow of lines”and “power of surfaces”
INVISIBLE
C
＝
Paint by surface
VISIBLE
Original MAP
Abstr
act P aintin
g
4. Completion of the abstract painting
Another MAP
ABSTRACT PAINTING IN NAGOYA
What is the silent point ? One of the pioneers of abstract modern art, Wassily Kandinsky exploited the evocative interrelation between color and form to create an aesthetic experience that engaged the sight, sound, and emotions of the public. He believed that total abstraction offered the possibility for profound, transcendental expression and that copying from nature only interfered with this process. Highly inspired to create art that communicated a universal sense of spirituality, he innovated a pictorial language that only loosely related to the outside world, but expressed volumes about the artist's inner experience. His visual vocabulary developed through three phases, shifting from his early, representational canvases and their divine symbolism to his rapturous and operatic compositions, to his late, geometric and biomorphic flat planes of color. Kandinsky's art and ideas inspired many generations of artists, from his students at the Bauhaus to the Abstract Expressionists after World War II. Wassily Kandinskyďźˆ1866â€?1944
平成 30 年度 卒業論文
I wrote a thesis about abstract paintings. Found: ・In the early days of abstract expression, many abstract painters had erased the
抽象絵画からみた建築空間の可能性
vanishing points. ・Kandinsky alone said that there was an important point in abstract painting. ・That point is“silent point”. ・The silent point is necessary and important to form the whole painting.
名城大学理工学部建築学科 150450038 梶浦悠翠
2.-3 Plot The Silent Points Mondrian
Composition Ⅱ,1913
「silent points」
Kandinsky
Composition Ⅵ ,1913
a.
d.
d a
f
c
c.
e
f.
b
e.
b.
There are 6 silent points in this abstract painting.
2.-4 Return to The Map
a
f
a
f
a
b
Important point in the painting
e
f
c
c
c e
d
d
d
b
e
b
The canvas is returned to the map. Therefore,“important points”in the painting can be interpreted as“important spots”in the city.
d a
d
f
a
c e
d
f
a
c b
e
f
c b
e
b
Important spot in the city
d f 001. choja-machi Street
a c
e
b
002. Togasa Park
003. Kanayama Station
004. Obata Green Park
005. Nagoya Canal
006. Nekogahora Cemetery
3. Creation of Abstract Site Paintings Generally, we deign architecture while using photos taken on the site in order to understand context there. However, that's not enough to understand. So, I made the following rules. 1. To create an abstract site painting while feeling various senses that cannot be in the photos.(e.g.:sound, wind, color, smell, atmosphere...) 2. Deadline:12 hours × 2days for a site drawing. (This time,12hours×2days×6sites 144hours in total) 3. To put“notices”together.
notice = charm
001. Choja-machi Street
「Gap between buildings」
002. Togasa Park
「Encounter someone」
003. Kanayama Station
「Looking up to the sky」
004. Obata Green Park
「Territory of human and forest」
005. Nagoya Port
「Forgotten child's mind」
006. Nekogahora Cemetery
「Facing myself」
4. How to Design Follies
A folly form is determined by using a this cube because a fixed scale and abstracted that when considering the volume.
8500
And the notice is function of the folly.
600
0 6000
Site
001.
002.
003.
004.
005.
006.
Choja-machi Street
Togasa Park
Kanayama Station
Obata Green Park
Nagoya Port
Nekogahora Cemetery
「Encounter」
「Looking up」
Abstract site painting （410×318 ㎜）
Notice
「Gap」
「territory」
「Child's mind」 「Facing myself」
001. Choja-machi Street
002. Togasa Park
003. Kanayama Station
004. Obata Green Park
005. Nagoya Port
006. Nekogahora Cemetery
Design drawings
「Gap between buildings」
NAGOYA CASTLE
WHOLESALER ST
REET
ATION MARUNOUCHI ST
GS
OFFICE BUILDIN
BUSINESS DISTRICT CHO-JA MACHI
DOWNTOWN
a
ENTERTAINMENT DISTRICT NISHIKI. 3
c
b a
b
GS
OFFICE BUILDIN
SAKAE STATION ATION FUSHIMI ST
D STREET
c
Project No.
UNDERGROUN
001
Choja-machi
Drawing time
22.4h
0
SIENCE MUSEUM
20
40
100
3 0 0 ( m)
Site
Environment
Business area
Site area
206.5㎡ Scale
1/4000
A’ A
PLAN1 1/100
A’
A’
PLAN2 1/100
A
A
+1000
PLAN3 1/100
A‐A’SECTION 1/200
「Encounter someone」
HOUSING COMPLEX TECHNOLOGICAL UNIVERSITY
d
JUNIOR HIGH SCHOOL
f e
TOGASA POND
TOGASA PARK
e
M ELEMENTARY SCHOOL
d
KAM IZA WA
N O
ST AT I
T ELEMENTARY SCHOOL
20
40
100
002
23h
3 0 0 ( m)
Environment Residental area
Site
f
Togasa park
Drawing time
RESIDENTAL AREA 0
Project No.
Site area
222.5㎡ Scale
1/4000
A
A’
PLAN1 1/100
A
A’
PLAN2 1/100
A‐A’SECTION 1/100
「Looking up to the sky」
OFFICE BUILDINGS RESTAURANT AREA
h
SHOPPING MALL JR
g
ine
oL
u Ch
g
KANAYAMA STATION
FUSHIMI-DORI ST
M i
ei
te
ts
u
RESIDENTAL AREA N
ag
oy
a
M
ai
n
h
Lin
e
JR ai
k To
OFFICE BUILDINGS
do
i
e Lin
0
20
40
100
3 0 0 ( m)
Site
Project No.
003
Kanayama
Drawing time
Site area
23.5h
Environment Near station
96.7㎡ Scale
1/4000
A’
A’ PLAN1 1/100
A
A
+400
PLAN2 1/100
A’ A
A’ A PLAN3 1/100
PLAN4 1/100
A‐A’SECTION 1/100
「Territory of human and forest」
GOLF COURSE
POND
j
OBATA GREEN MIDDLE PARK
ｋ
ing
Walk
route
k
ｌ
ｊ
HACHIRYU SHRINE
RES
IDE
NT AL
Project No.
KICHIJO TEMPLE
004
AR
0
KINJO UNIVERSITY
20
40
100
3 0 0 ( m)
l
Obata green park
Drawing time
141.7㎡
Environment
Scale
24h
EA
Site
Green lung
Site area
1/4000
A’
+1600
±0
+200
A
A
+200
PLAN1 1/100
A
A’
A’
PLAN2 1/100
PLAN3 1/100
A‐A’SECTION 1/100
「Forgotten child's mind」
NAGOYA STATION
GRASSY FIELD
o
FACTORY (RE.)
HOUSING COMPLEX
FACTORY (TP.)
m BUS STOP
m
n FACTORY (HM.)
n
PUMPING STATION
FACTORY (JTP.)
NAKAGAWA CANA L
RESIDENTAL AREA
0
NAGOYA PORT
20
o
Project No.
005
Site
Nagoya Port
Drawing time Site area
23.5h
40
100
3 0 0 ( m)
Environment Industrial area
95.5㎡ Scale
1/4000
A’
A
A’
A PLAN1 1/100
PLAN2 1/100
A’
A’
A
A PLAN3 1/100
PLAN4 1/100
A‐A’SECTION 1/100
「Facing myself」
ION JIUGA OKA ST AT
HOSPTAL
SPECIAL SCHOOL
ANIMAL SHELTER
KANOKO PARK
N
EE
GR
LD
p
FIE
r
HOUSING COMPLEX
CEMETERY
q
NEKOGAHORA POND p
GRE
EN
r
PAR K
Project No.
006
q
RESIDENTAL AREA 20
40
100
3 0 0 ( m)
Nekogahora Pond
Drawing time
154.0㎡
Environment
1/4000
23h
0
Site
Cemetery area
Site area Scale
A’ A
PLAN1 1/100
A‐A’SECTION 1/100
fin.