PORTFOLIO 2015-2019 Architecture Project / Folly Construction / Art Works
Kyoto Institute of Technology Nagasaka Lab.
ATSUSHI ONOE
PROFILE Atsushi Onoe / 尾上 篤
BACKGROUND
1996.10.06 Born in YOKOHAMA 2001 - 2004 lived in MEXICO 2015.03.09 Graduate from TokyoCityUniversity HighSchool 2015.04.07 Kyoto Institute of Technology (KIT) 2019.04.05- Graduate school of Architecture, KIT
AWARD 2017.08 "Rookie Competition 2017" best100 2019.01 2nd Prize for Graduation Work at KIT
EXHIBITION 2015.09 "First Escape Velocity" duo painting exhibition 2018.07 "Formative Heritage 42-53" Kyoto D-lab HQ
INTERNSHIP 2019.01-03 Yusuke Koshima Architecture Studio
SKILLS Quite precise and efficient model making, drawing and computer graphics. Softwares
Vector Works Rhinocerace Cinema 4D
LoftyMatsugasaki202, Kawaradamachi2-29,Sakyoku Matsugasaki, Kyoto 606-0941
Auto Cad
PHONE : +8180 6649 9239
Illustrator
MAIL : mex.makeitpossible100639@gmail.com
Photoshop
HP : atsushionoe.com
Indesign
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CONTENTS
"Architectural Mediation" p.05-p.22
"Curious Walls" p.32-p.38
Graduation Project at KIT 04.2018-03.2019
Construction Project at KIT 10.2017-11.2017
-2nd Prize in KIT review
-1st Prize in a competition (in a )
-Best 20 in SENDAI Design League (one of the biggest graduation work competitions in Japan)
-Realized for the colledge festival as a meat-bun stall and bar PORTFOLIO 2015-2019
(cooperated with firiends majoring pruduct design and graphic design)
Architecture Project / Folly Construction / Art Works
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1
2
3
4 Duo Painting Exhibition 04-11.09.2019
Introduction Text Design thought underlieing my whole works
"Concept" p.04
KyotoProject Institute Technology Nagasaka Conversion at KITof06.2017-07.2017 Design studio in a sprimg semester of the third year
ATSUSHI ONOE
"Transient Presence" p.23-p31
Held in Kyoto "Gallery Kitano"
Lab.
with Hodaka Kawasaki
"The First Escape Velocity" p.39-p.43
Other Works p.44 3
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CONCEP T
0
lim 1/n = 0 n→∞ (n:number of differnce reproductions)
Formula of the consumption society When difference making becomes a kind of destination or something like propaganda forces us to do so, people strugle for making differnces and keep reproducting differences. Under that circumstance, almost all the consequences would be "nothing" . If it is a positive consequence, the result could be cruel. In other words, the "nothing" might be true and real for things beeing reproducted. We are standing in the consumption society which is in a serious situation espacially about semiotics. People are no longer care about what creators or architcts design itself but people are interested in moral dealing through what they design. I named this situstion "Absence of Morphology". I think it's really meanigful to think about things beyond the moral dealings. Architectures have represeted histories, not only a historical things but also feelings what every single peolple have had. In that way of thought, architectures or other creations are grave markers. I want to think a great deal of creating architecture as grave marker for architecture itself and for people.
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Architectural Mediation
1
at the border between MEX-USA, proposal for mediate two nations' conflicts Graduation Project at KIT 04.2018-03.2019
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CONCEPT BOOK
Concept book : BORDER SPACE
a family talking to the other side of the wall
I started my graduation work from making concept book. From the beginning, I had decided to think about the MEX-USA boreder and that would not change at all. I felt something I should think about the border architecturally that is maybe because I spend my childhood in a Mexico and 9.11 happened. I saw the tragedy on TV. I will never forget that moment I constructed theoreis so that making people understand this project is not only composed by my sentimental feeling but also my philosophy of architecture, society or arts. I travel to Tijuana and San Diego to see what is going on at the edge of the border. I saw a family talking beig seperated by the wall (the picture above). I was shocked and also thoght this is so humiliated. Border is just a imaginary line and I think national border should not determine the space that people can stay. I know this oppinion is so radical and not realistic. So I tried to make spaces as a nutral area that no one can disturb.
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BOREDER ISSUES
Mediation
Occurrence
-MEDIATION-
Modern Confliction
Economism Racism
non-Occurrence
Border Wall
no relation place
THREE ARCHITECTURES
Ideology
Cemetery / Border Center / Meeting Point
SYMBOLIZE
dealing
non-violent
ASYLUM
these architectures mediate USA and MEX.
BorderSpace
y
MEX
der
border today
ck P oint
of M
rity
Wa
y
Tec
ana
Bord
hnic
One
er L
al B
Way
artu re
Tiju
Dep
One
Che
trol
Secu
ine
ord
proporsal
er
Gate
7
Spa Sec
urity
ce
USA
USA
Con
ca
trol
meri
rity
Con
Bor
of A
Secu
go
k Po int
MEX
go
urity
re
Die
trol
Sec
Che c
San
Die
Con
Dep artu
San
o
Wa
exic
One
Tiju
ana
Con
trol
Tec
Virt
ual
hnic
Bor
al B
der
ord
er
TREE ARCHITECTURES
Future
Present
Ocean
History
Layouts Pacific
Time
Story of Fading Border
Back Grounds
Meeting Point
Social Needs
to Meet freely
Cemetery
BorderCenter
Meeting Point
Wall Situation
BOR DE R
Programs
L I N E
to Memorize
Border Center
Desappear the Wall Cemetery
Mexico
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U.S.A.
Walls are Fading Away
SanDiego
Cracking the Wall
Tijuana
Existing Situation
MATERIALS
Acconmplice : Rusty Steel
Crossing : Red Walls
existing border walls are nearly 5m tall
as a metapher of latain-american colorfulness and lands
Each materials represent existing and aiming situations. Taking advantage of symbolism, three architectures show a critical message and let people recognaize the problems. But programs and spaces are completely mediated ones that both sides of people can be as one.
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CEMETERY　Project1
exterior view
The first project is about the history. People who tried to cross the boreder wall illegally and shot by border security are increasing. Some of them are drag dealers, but people who have nothing to do with it desparately live in US because of thier own living. Border security sometimes kill no matter who they are, and it cause race issue.Showing sympathy for the victims, I gave them a place to feel safe.And this could also be a memorial.
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Layout Plan
Plan S=1:200
Memorial Wall
Tijuana Mexico
5000 5000
Cemetery BORD ER
SanDiego U.S.A.
Border Center
5000
Pacific
L INE
5000
Ocean
20000
Meeting Point
contour line 1000/1line 0
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1
2
5
10m
Carlos Fuentes Macías
José de la Cruz Porfirio Díaz Mori
Luis Buñuel
Francisco Ignacio Madero González
Diego Rivera
Octavio Paz
Magdalena Carmen Frida Kahlo
David Alfaro Siqueiros
y Calderón
Sor Juana Inés de la Cruz
interior view
Memorial Walls Existing border walls carry the names of victims who died around the boreder.
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names on the existing walls
BORDER CENTER　Project2
exterior view
The second project about the present issues. Some of People don't understand why they need VISA or any permition to go US. At Refugees Center, they can ask or learn about that and can stay if they need. Concidering about the location, Tijuana and SanDiego are the famous for sightseeings.Putting the Marche at the cross point of the architecture, they can buy some suveniors or vesitables. This is a good idea not only for visitors but also for the people who cannot cross to each country.
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Layout Plan
Tijuana Mexico
Border Center BORD ER
SanDiego U.S.A.
Existing Check Point
Cemetery
Pacific
L INE
Ocean
Meeting Point
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Border Center Plan S=1:600
1FL GL+4500
4" 1"
3"
2' 2"
Passport Control
2'
3"
1'
4'
3'
4
6*
3
Refugee Center
E.V.
5
FL+1300
7
8 9
6
FL+500
5*
4*
3*
2*
1
Marché
FL ±0 (GL+4500)
FL+500
FL+500
FL±0
1*
Marché
Border Chapel E.V.
9*
8*
7*
FL+500 FL+3200
2
12
11
10
E.V.
3'
1' 3"
2'
2"
2" Passport Control
3"
1' 4"
Refugee Center
1.エントランス（風除室） 2.受付/事務室 3.ロビー 4.バーカウンター 5.祈りの場 6.一般トイレ 7.電話室 8.機械室 9.倉庫 10.従業員トイレ 11.男性更衣室 12.女性更衣室
1FL GL+4500
Marché
1'.警備事務所 2'.職員休憩室 3'.広場用倉庫 4'.キュービクル室
Passport Control
1".エントランス 2".出入国審査場 3".手荷物検査場 4".書類記入カウンター N
Border Chapel
・コンター線：
（風除室） 2*.受付/事務室 3*.倉庫 4*.牧師室 5*.職員休憩室 1*.エントランス 6*.礼拝堂 7*.小礼拝堂 8*.一般休憩室 9*.一般トイレ
・国境線：
0
15
1
2
5
10
20
500/1本
40m
Border Crossing Section S=1:500
8000
8000
10000 Y'23
5000 Y'22
5000 Y'21
5000 Y'20
5000 Y'19
5000 Y'18
5000 Y'17
5000 Y'16
5000 Y'15
5000 Y'14
5000 Y'13
5000 Y'12 120000
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5000 Y'11
5000 Y'10
5000 Y’ 9
5000 Y ‘8
5000 Y’ 7
5000 Y’ 6
5000 Y’ 5
5000 Y’ 4
10000
5000 Y’ 3
Y’ 2
Y’ 1 0
1
2
5
10
20 m
Top
GL+
1FL
GL+
Marche view: the space border line and passing path are crossed
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Detail Section S=1:150
Staying on the border
Top
GL+21500
1000
RoofTop GL+17000
屋根：ステンレス t=3 +水性ウレタン塗装
水勾配 1/100
1000
水勾配 1/100
天井： 軽鉄下地 t=30
4710
石膏ボード t=9.5+12.5
500
500
00
出国審査場
荷物検査場
=5
Stマリオン 50×1250
chapel interior view
Stマリオン 50×100 +水性ウレタン塗装
250
CH=7910
アルミパネル t=3 鉄骨フレーム 494mm幅
8930
外壁：t=500
500
50
D
間仕切り壁：t=104 エキスパンドメタル t=2 Stマリオン 50×100
100 1000
2000
3200
手荷物検査機
床：コンクリート打ち放し
275
t=30
50
325
1FL GL+4500
3
494
750
3
Wall Detail Plan S=1:10
4225
1000
Y1
1200 100 500 175
50
50 175
Bottom GL-2400
500
100
1200
2400
GL±0
450 350 350 450
D
450 350 350 450
10200
refugee center interior view
Key Plan D'
X1
X2
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MEETING POINT　Project3
The third project is about the future that border walls no longer exist. I saw a family that a son works in US and the rest of his family stay in MEX. They talk each other on the other side of the border walls. Here they are "allowed" to talk by border security. This is not natural for me but the truth. By planning this architecture, I hope them to enjoy talking without any ugly walls.
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Layout Plan
Tijuana
Meeting Point
Mexico
BORD ER SanDiego U.S.A.
The Site
L INE
Pacific Ocean
Cemetery Border Center
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Meeting Point Plan S=1:150
FL±0
10000
3000
5000
+600
+600
5000
FL±0
+600
FL±0
N
5000
5000 10000
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0
1
2
5
10m
No Border Walls
Section S-1:150
Top +6400
FL ±0
Bottom -2000
5000
5000 10000
0
interior view
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1
2
5
10m
Tr a n s i e n t P r e s e n c e
2
conversion project : elementary school to mediatheque, deal modernism architecture as a spcace blocks Design Studio at KIT 06-07.2017
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INTRODUCTION
Project 1 : Text "Abcence of Morphology"
Project 2 : Conversion Elementary School to Mediatheque
Outputs are composed by two projects; Project1: Text that construct the concept, and Project2: Conversion proporsal based on Project1. Through these two steps, I tried to make sure that how to link between social theory and architecture planing. I focused on problems in a consumption society especially in a semiotics. As Jean Baudrillard said in his authorings, our societies are overflowing with excessive informations. And we consume the values of informations we get everyday. I propose a spacial system that give people a chance to be faced on various media. This is based on a thought that we should have a resilience of handling medias.
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METHODS
01. Renovation Policy extention
contract
play ground
02. Space Bloks preserve
street
I respect the facade faced on the street and based on that respect, I
Make space extention to vertical direction by contracting stucked
decide the operation order.
existing, and handle the rigid grid system as a space blocks.
03. Construction
04. "HARE"and"KE"
When existings and extentions are the same place, extention's burden
I set up two ereas and one buffer zone. The two ereas define as
are splited with the existing structure.
"HARE" (extraordinariness) and "KE"(ordinariness). Program functions also correspond to each of them.
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model: bird's eyes view
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B1&1F Plan S=1:500
+580
+580
Library
Work Station GL-3020
±0
Entrance GL±0
-3020 倉庫
information
loby
Dock Space
±0
-3020
+580
E.V. AV
Grass court
E.V.
±0 -1500
±0
Gallery
Stone path
Boundary Wall h=5000
N
012
5
10
20
40m
27
lounge
exterior view from the street
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Stree Elevation S=1:300
0 1 2
0 1 2
5
10
20
5
10
20
40m
Long Section S=1:300
0 1 2
29
5
10
20
40m
exterior view from stone path
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Detail Section S=1:100
RFL GL+13180
3600
RFL GL+11430
Electronic Media Room
3600
3FL GL+7830
Cafe
フローリング t=20 遮音ボード t=6 構造用合板 t=24
2FL GL+4230
3600
ケーブルラック
1FL GL+630
WorkShop Room GL±0
3650
Dock Open Space
Outdoor Workspace Office/Strage 設備置き場
B1FL GL-3650 モルタル金ゴテ仕上げ t=50
1610
2650
2500
2500
2300
11560
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C u r i o u s Wa l l s
3
construction project : folly construction for a meat-bun stall and bar Colledge Festival at KIT 09-11.2017
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front exterior view
This construction project is an annual event for the colledge festival. I was a member of ArchNoa which is a group of students majoring architecture, graphic design or product design. We took part in this festival to build a folly by ourself and sold some hot snacks or liqure. Every year the festival was coming closer, competition was held to decide which design to build. In this competition we collaborate with students who are majoring different studies. This made me really interesting because I could have different opinions that I had never thought. Then I realize how important the opinions are,and this might be a necessary when I willdesign an architecture for real.
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I also joined this competition with my friends, and I won. The site is faced on a main gate of the campus, so people would see this first. Even that situation, I did not choose to make an open facade but put a three meters tall walls making some gaps. Usually stalls for festivals are open wide but I wated to make a ambiguous space. So the high walls are put and they separate the space into three different atmosphere. The walls have many gaps between each of them and people can get a small look from outside of the folly. These three spases are characterized by funiture scale objects such as benches, lights or ceilings.
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Plan S=1:50
2200
Quiet Space
850
Cooking Tent 3m×6m
6000
100
Bar Space
1150
防炎シート
Entrance/Service Space
垂れ幕
1800
Casual Counter
壁 漆喰仕上げ ; 詳細図参照
2230
770
1000
1000
1000
1000 12000
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1000
1000
1000
1000
1000
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Short Section S=1:50
直交クランプによる接合
・屋根 白松材を垂木クランプで小梁に固定
・照明
単管パイプ 49φ 白松材 10×10×1800
固定ベースによる柱固定
・壁 アルミ板
2×4材（継ぎ材） 39×89
天蚕糸
ラワンベニヤ t=4 灰汁止め（アクドメール） 漆喰仕上げ
Top
69
51
69
120
51 120
・壁2
防炎シート
・カウンター シナベニヤ t=4 2×4材 39×89
1800
2000
2200
6000
37
2841
Quiet Space
2790
Bar Space
2778
Entrance/Casual counter
2500
3000
2×4材 39×89
front exterior view at night
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T h e F i r s t E s c a p e Ve l o c i t y
4
duo painting exhibition : Atsushi Onoe Ă— Hodaka Kawasaki Kitano Art Gallery, Kyoto 09-14.09.2015
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This exhibition was held soon after we got into colledge. Hodaka and I thoght that we shold set up the agenda by ourself in a colledge life. Althogh we are not majoring the same thing the motivation for what we create is taltally the same. This was a really meaningful exhibition for me to think about creation in my colledge life.
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" untitled " 2015 oil pastel, paint, gesso
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" Mexican Revolution " 2015 oil pastel, paint, gesso
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" Story of the Eyes " 2015 oil pastel, acrylic paint, gesso This is about a eroticism that Georges Bataille express in "Histoire de l'Ĺ“il". The story of the eye in a literature.
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O t h e r Wo r k s
5
Structure Design Project at KIT 10-12.2016
Art Museum Project at KIT 12.2017-01.2018
-Selected work in a campus review
-Selected work in a campus review
"Shelter for Religious people"
"Misterious Walls"
Competition for Recreation Hotel 02-04.2018
Idea competition of wood house 02-04.2018
"Work and Rest"
"Tiny House for Lonly Death"
Conversion Project at KIT 10-11.2016
Construction Project at KIT 10-11.2016
-Exhibited at Kyoto D-lab
-Realization
"Ruin or Arch"
"RiceCake Domes"
Here are some other projects that I worked on basically in undergraduated years.These works also based on what I wright about my creation concept first. I tried to take many ways to represent my works such as computer graphics or model photos edited with Photoshop. At the indivisual level, I do not like to express my plan in a same way. So I have chalenged every time I work on projects as long as I can do the different ways. Maybe it's a quite natural thing, but I really care about the way I represent each works then they have different impressions.
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The End
Thank you for yor time!
I would really appriciated to work with you.
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