Portfolio by Eiko Tsuchiya

Contents ■ Exibition Hall ■ Into

the Realm of the Painting

■ The

Softness

■ Sink

and Pile

● Other

Works

● Awards

& Publications

Exibition Hall

Exibition Hall Concept

This Exhibition hall is located in a heavily-forested mountain region. Mountains

spread around the hall, and there are groves and forests with wild animals.

I experimented with a rooftop garden to integrate greenery into the design and maintain the natural environment. Because the site is located on gently-

sloping hilly land, I tried to adapt the buildings to the circumstances, using

curvilinear forms and avoiding straight lines and right angles.

For maximum flexibility in displaying various types of artworks in the large

exhibition space, I used movable partition walls. Also, so that I could adjust the

lighting, I set up movable louvers along the window.

I employed a column-free space truss structure to make a large open

exhibition space and to support the weight of the rooftop garden without

columns.

Exibition Hall

Exibition Hall The Passage of the Seasons

Exibition Hall Stractural Model

Into the Realm of the Painting

Into the Realm of the Painting Concept

The themes of this museum are "nature" and "night". The museum is

different from traditional art galleries, which are enclosed in a building that

close in the evening. It will be open from noon until evening and late into the

night in the vastness of nature. There, people may pass the time relaxing, engrossed in the pictures. There are no rules or order for looking at the art. You can look at any of the artworks as you like. Like walking a path in the

forest, you can wander from picture to picture, careless of where to go next,

choosing to enjoy different ways of viewing.

Most of KAGAYA’s art works are drawings of nature and the universe. An

example is “The Celestial Railroad,” which is drawing of a scene from the well

known Japanese novel. The computer aided painting made extremely detailed drawing possible. You can enjoy large art works both from far away and

up close. I propose an exhibition space in which people don’t look at framed

paintings in a row on the wall, but they gaze intently at a large painting and

immerse themselves the realm in the artist created.

About KAGAYA

A Japanese digital fine artist. Born in 1968, he has created artworks relating to the universe including CG animation pictures, digital prints, illustrations for astronomical books and magazines. The main themes of his work are the universe, the blue planet, and humankind as a part of the universe --- their dreams and yearnings. His artistry and scientific accuracy enable him to embody the beauty that integrates all the elements of the universe.

Into the Realm of the Painting

The Softness

Since the history of architecture began People have lived in architectural forms To keep off the rain and storm To cope with the summer heat or winter cold To live in comfort

To protect lives from the mavels of nature Architecture needed to be hard

Everyone has lived thinking If we are in a hard box We can live safely

But, then…

Is hardness exactly what the architecture should be like?

The space we live in We human beings are “soft” creatures Having bodies composed of skins and muscles

How can I make soft architecture which is soft like human beings

The Softness

Sink and Pile Theme : Architecture in Harmony with Mighty Nature

Sink and Pile

Human beings have generated various technologies to protect themselves against disaster, to develop their civil

People made fire, discovered electricity and even changed the temperature inside their rooms, and then, they be

As they have solved one issue, however, so the development of science and technology have led to various disc

Thinking globally, in the ne

lization, and to have comfortable lives.

egan to control the global environment.

coveries in one cycle after another.

There is an artificial island called â&#x20AC;&#x153;Yume-Shimaâ&#x20AC;? in Osaka Bay. Where there was once sea, human beings have created land by the use of their developed technologies. This land, imposed on nature, now faces the problems such as subsidence and liquefaction.

ear future, the surface of the sea will began to rise, and even now, it is changing all the time because of the tides.

Sink and Pile ■ Concept In this proposition "Mighty Nature" means

the force of the nature uncontrollable by

human beings, and "in harmony with" means

not to resist the force of nature, but to work with nature itself.

Our solution is not to use every means

at our disposal to prevent the man-made

islands from sinking, but to accept the

sinking and, in the process, live with the

architectures and surroundings that are changing with the times.

■ Suevey Changing Sea Levels ● The Rise in Sea Levels Currently, greenhouse gases causing a temperature rise in the atmosphere is

regarded as a problem around the world, including Japan, and the greenhouse gases are increasing every moment. Basically, it

states that the change in sea levels is caused

by changing in atmospheric and water

temperature. Antarctica, and one of the

biggest problem in contemporary society.

Surplus containers

■ Site

● The increase of distribution The expansion of globalization due to the

development of Information Technology

promoted the increase of distribution.

Nowadays, we can obtain products easily all over the world. It is because the rationalization

of transportation and the decline of costs

has been made possible by the introduction of container system. With the growth of the

worldwide distribution system, it is estimated

that container handling will increase. Yume-Shima, Osaka, Japan

● Land subsidence

● Flux and reflux

Yume-Shima, the site of this project, is an

Flux and reflux are phenomena whereby there

is sinking under its own weight of island and

the moon which pulls the surface of the sea

island created by humans. The artificial island the load on island. Therefore, the island needed

sustainable management in the future.

is a change in sea levels due to the gravity of

on the earth. In Osaka Bay, using sea surface

as the base, the sea level ascends 1000 mm

at high tide, and the sea level descends 1000

mm at low tide. The sea levels are changing in 24 hours in a day, and the gap is at most 2000

mm.

● “Export” ＜ ”Import”

● Super-Hub Port

Japan imports large quantities of resources

In Yume-Shima, the site of this project, the

in fact, the amount of imported goods and

started running from October 2009. Until

and products from around the world, and

large container terminal called Super-Hub Port,

materials is larger than that of exported goods.

recently Osaka Bay, due to the water’s shallow

increasing because producing new containers

but that was improved after the Super-Hub

The number of empty containers in Japan is

depth, the entry of large ships was regulated

is cheaper than returning the empty containers

Port was opened. They traded with nearby

the empty containers are left and stacked

However, because of the possibility of large

to countries one has exported goods to. Thus,

along the harbors.

countries such as those in Southeast Asia. ships from Europe and America entering the

harbor, from now on foreign trade looks set to

increase.

Sink and Pile ■ Necessary Properities of Containers ・Water proofness ・Toughness ・Standardization ・Stackability ・Movability ・Easy of maintenance

■ Process

et Fe et

Present 2010 year

et Fe 20 et Fe eet et Fe 20 0 F et 4 20 Fe t0 2 e Fe et et 20 0 Fe Fe 4 30 t e et Fe Fe 45 30

20XX year

et Fe et Fe 20 et e F et 20 0 Fe et et et Fe 4 Fe Fe 20 20 20 et et Fe e F 40 30 et et Fe Fe 45 30 30

20YY year

Sink and Pile ■ Plan

LEVEL

遊歩道

広場

LEVEL

売店

降車場

エントランスホール売店カフェ

LEVEL

１ LEVEL

広場

広場展望台

乗降場出入国ロビー

カフェ

売店

ラウンジレストラン

待合室

デッキ事務・管理室展望室

売店

待合室

デッキ

出入国ロビー

展望台

乗降場

機械室

駐車場

アクアリウム

倉庫

乗降場売店

エントランスホール

デッキ

待合室カフェ

降車場

事務・管理室エントランスホールレストラン待合室

展望台

待合室

乗降場

機械室

事務・管理室

検査室

降車場

ラウンジ

エントランスホール倉庫

売店

売店カフェ

デッキ

待合室

展望台

レストラン

Sink and Pile

Other Works Awards & Publications

Other Works Sketches

Sculptures 67

Other Works Paintings

Models 69

Awards & Publications The Softness Sendai Design League Nationwide Contest for Graduation Design in 2010

Collection of at the Osaka Technology

Qualified [Best 100]

Won an hono

If there were “soft” architecture, what kind of

life stile would we be able to live?

This is a proposal for a dwelling which will

pursue "softness" from all angles - such as

building materials, shape, and flexibility – so that this building may function in community

as both a place to learn and as a place to live, the focus being on children.

It is regrettable that results

of "softness" lacked cohesion.

is a gap

equipment in amusement

the proc

It seems like play ground park.

The sense of form in the

architecture is insubstantial, though the unique space is

remembered unawares. Because of concern that she had been focused on only competing

with a strained wooden structure, the work received few votes at

first, however, it was reassessed because of the strongly intuitive way

in which structure was formed through the use of fabric.

It doesn

and mo

shape w

interestin

f Designs Contest a Institute of in 2009

Compilation of Designs at the Architecture Institute of Japan Competition in 2010

norable mention

Won in the Kinki Region branch

n't seem "soft". There

p between drawings

odels. Nonetheless,

cess in which use of

was conceptualized is

ng.

In this proposition "Mighty

Nature" means the force of the vast nature uncontrollable by

human being, and "in harmony

with" means not to resist the

force of nature, but to accept

nature itself.

Yume-Shima, an ar tificial

island, proposed in this project,

had problems such as land subsidence and liquefaction. Our

solution is not to use, to the full,

every means at our disposal to

prevent from sinking the man-

made islands, but to accept

sinking and, in the process of

sinking, live with architectures and

surroundings that are changing with the times.

This is a colorful, as if it is Lego Blocks, and perfect powerful presentation. As

entrust with a rise in a sea level and land subsidence of artificial island, sunken

containers are left and disposed, and stacked one after another. They venture not

to say about the question such as inner function, deterioration of sunken parts,

differential settlement and approaching only ships. The proponents symbolize

containers as civilization, and ringing an alarm bell to rise in a sea level by the radical

methods reclaim land from the sea by containers above the sea surface. Also, they

show that dilemma that the more they stack containers the more containers sink themselves. The symbolic message using containers was evaluated highly.

Sink and Pile 71