Portfolio 2019 by ryomorimoto

Audio Boxing Formula 1 Te a R o o m Internet Environment Logistics Bookshelf Language Glass

ANYTHING

RYO MORIMOTO Po r t f o l i o 2 0 1 9

ARCHITECTURE

1. 都市の音サンプルの採取

2. 視覚障害者の音空間のインタビュー

3. 音空間の

音から作られる都市のイメージを研究するた

音を頼りに空間を把握している視覚障害者に協力してもらっ

視覚障害者のインタ

め都市の音を録音した。これらの音のサンプ

た。インタビュー方法として、採取した音から都市空間をイメー

ように記述していっ

ルは場所だけでなく天候や曜日などの条件を

ジしてもらい、それを記録する事で街の音の印象を分析した。

ンタビューから作る

かえて録音することで様々な音のサンプルを

これらから都市のどのような音の要素が空間や感情を作るのに

なる。

集めた。

重要なのか把握する事ができた。

People 1

- What kind of sound do you reme I thought it clouds, first thought in the then someone is walking down the stree the noises are out of air. And people a people play music on the street and go you ware top of Fargate and you were more talking. As someone plays the mu And going towards that. I could hear wa Children’s Park.

- What kind of buildings and peopl I remember two or three music, and pe children talking and I think in a park, s And music is louder and louder, the end couldn’t be park…? There are parks, caf it was shops. And there is, you know, mu

- How are your image changing emotion changing? Music is louder, the first singer is sort When I was walking, I heard like the mu the music. This sounds like a busy place

- What kind of day do you think I re ahh. I think as this is really in the day, yo 12 o'clock, and weekend or Friday.

P-7: 週末の Strength of Sound Impression

01. Audio Townscape P. 06

大学院修士研究、設計作品

It sounded like an interesting day. The Sounded like there was a fairly loud radi be someone just with some loud music. or shoving trying to get past people. It's because there was you doing the recor singing somewhere and everybody else that there were no other people if there themselves. Someone singing on the str

学内最高評価作品

建築家や都市計画者は、空間を考える時、主に視覚に頼っている。しかし、実際には空間は視覚情報以外の要素とのコンビネーションによって創られており、さらに近年では音がもたらす空間的影響が大きいことがわかった。そこで、このプロジェクトでは普段視覚に頼らず、主に音から空間を認識している視覚障害者の視点から都市を考えることで、見落としているような小さな空間の変化や都市における音の問題を探っていく。そして、音の視点から都市空間を研究することで、視覚に頼らない都市を創ることがこのプロジェクトの目的である。これらの研究によって創られた都市空間は音を頼りに歩くことのできる都市となる。これは視覚障害者にとって、安全で住みやすい都市となるだけでなく、普段見落としているような小さな問題の解決や、音がれる空間の創造によって、街に住むすべての人にとって豊かな都市となる。

Traffics

0:00 0:00

- Do you identify where I record it?

視覚障害者への音を使ったインタビュー方法

I was going to go with the Winter Garden there might be, but not that I can think o I'm not sure. I would guess you started a the Peace Gardens where it could sound would say was the Winter Gardens, so I if there was water. I'd have to go down to busker, and as I say, it sounded lonely a no warmth and no happiness. I know tho

Serial Sou S- ４: 週末の街中の騒音

LISTENING

IMAGINATION

DESCRIVE

１. 音のサンプルを聞く

2. 音から都市を想像する

3. 音のイメージを語る

事前に録音した街の音を、録音した場所を伝えずに聞いてもらう。

音から都市空間を想像してもらう。

音からイメージされた都市空間について幾つかの質問を元に、語ってもらう。

S-5: ビルの間の路地空間の入

S- ６: 徐々に街の音が遠ざか

1. 地域コミュニティからの情報収集

２. デザインの軸となるストーリ

幅広く地域コミュニティの情報を収集をするため、子供のコミュニティやお年寄りの集まりなど複数の地域のイベントに参加し、そこでインタビューやワークショップを行いどのような要素が重要であるのか調査を行う。

それらの調査を元にグループのメンバー全員でい、グループのデザインブリーフを作成する。を考察していき、計画の軸となる物語や提案を決定する。

街を結ぶ Brendan Ingle の線：Wincobank とショッピングモールの間の道を、Bren 描かれたステップを練習するための色のついた線を使って、各遺産や名所を結ぶよこの線はショッピングモールに訪れた人を街の遺産へと導くだけでなく、人を安全な果たす。また、このルートに Brendan Ingle のストーリーを与えることで、日常生活彼の文化を学ぶ事ができるようにして将来の街へ文化を継承していく。 SELF DISCIPLINE

P. 112

学内最高評価作品

初回のクライアントとの打ち合わせ：60 年間 Wincobank に住んでいるクライアントに街に存在する危険な箇所や、重要である街の遺産をマッピングしてもらった。また、この打ち合せは Brendan Ingle のジムで行われ、床に描かれた模様が彼の考案した特殊なステップの練習に重要であることを学んだ。

‘Respect for Others’

PRACTICE AND LEARN

RESPECT FOR OTHERS

O WINCO ET B M

Traffic calming mural

“THE HARDEST DISCIPLINE IS SELF DISCIPLINE” Time Challenge

TRAN

IMPROVE AND ACHIEVE

NINE SPEN

SELF RESPECT AND MODESTY

Gym

BRENDAN’S PO

S ET CK

Sitting Area

Footwork Trail

SELF CONFIDENCE

Brendan Ingle のストーリー：Brendan Ingle の考案するボクサーとしてメンタルを鍛えるための日常的な物語を設計の軸とした。街頭聞き込み調査：街に住んでいる人にインタビューを行い、地域が抱えている問題や、将来の展望を調査した。

Peace Garden

Brain Training Zone

‘Rest and Recovery’

‘Respect for Others’

Zebra Crossing

Ingle’s Steps

子供のコミュニティ調査：子供のコミュニティに参加し彼らがどのような施設を求めているかアンケートをとった。

Y WA TE

‘Welcome Everyone’ Accessible for All

SQUAR ER I

WIncobank という郊外都市の一部を設計するグループプロジェクト。この街は独自のコミュニティを持っていたが、隣町に巨大ショッピングモールが建設されたことにより、街の道路は交通量が大幅に増え、事故が多発し、さらに地元の人々も地元の商店よりショッピングモールを利用するため独自の文化が失われつつある。クライアントはボクシングの世界チャンピオンを育てた有名な監督 Brendan Ingle のジムであり、Wincobank からショッピングモールまで続く道の課題を解決しつつ、このボクシングジムと彼のつくりあげた歴史を一つの街の遺産として未来に継承していくことがこのプロジェクトの目的である。 Wincobank に住んでいる人の地域コミュニティを調査し、グループでの議論を通して、交通安全、街の文化、遺産の継承など総合的に都市を設計していくことで、未来において強い地域コミュニティを持つ都市をつくる。

2 l INDEX

K AN

大学院でのグループプロジェクト

WEL CO

10. The Ingle Way

Master Leaderboard

‘Self Confidence’

ボクシング体験教室：Brendan Ingle のジムでボクシングを体験し、実際に彼の考案した特殊なステップを学んだ。

お年寄りのコミュニティ調査：お年寄りのコミュニティから意見をもらうことで、街の歴史や問題などを具体化していった。

グループ内で案を説明している様子：街の問題点をどのように解決していくか、また文化をどのように継承していくかを実際に話し合い、それぞれの案をマッピングし、物語をつくっていく。そこから具体的なデザイン案を作成していった。

街にストーリーを与える物語の要素を街の特徴都市空間を設計してい

して彼の物語を感じるなる。

4. 音の都市の提案

5. 音の都市を構成するサウンドフォリー

タビューから得られた情報を、音楽の記述方法であるノーテーションを使って、都市の音空間の

都市における音の研究から実際に音の都市を提案する。この都市は偶然的

具体的な音の都市の設計として、音の特徴的な場所や音の問題が存在する

った。これにより、音空間を可視化させ街を音という要素から分析することができる。また、イ

に様々な街の音に出会い、また音を頼りに街を歩くことができる都市空間

場所にサウンドフォリーという音の視点から設計された建築物を建てるこ

ることで、視覚障害者の方々が感じ取る音空間のイメージと実際の都市空間をつなげる記述にも

を目指して設計したものである。この都市は視覚障害者にとって安全で歩

とで音空間を強調する設計をした。これは都市の音を増やすだけでなく、

きやすい都市設計となるだけでなく、新たな都市設計のあり方でもある。

騒音を軽減するなど都市の音を調整するデザインとなっている。これらの

のノーテーションを作成

サウンドフォリーは人や物と音空間を結び、新たな都市空間になる。

ember? e shop and something like that, et and going in the path because and church bells, and the music. oing around the music. I thought down because more clouds and usic, so I knew rock on who are. alking anyway, something like that,

People 2

People 3

- What kind of sound do you remember? I remember people talking and warking and also echo which is inside, and I don’t know exactly where is but, from half of the track, somebody singing, Probably somebody singing in the club or some gardens, usually that is kind of in the evening.

- What kind of sound do you remember? All sorts. People talking, children, suddenly an echo starting as if you'd gone inside. Someone playing a pipe, like a flute or something like that, but very quietly so maybe in the distance. Then might have been a radio with some music on. Towards the end it sounded like a busker, someone singing outside but they were inside. Lots of people talking. Oh, and traffic at the beginning. So you were outside somewhere where there was traffic. That went away so you obviously went indoors or away from traffic, where there's no traffic. Quite a lot of people talking, just chatting away. There was some cutlery, so maybe an outdoor café. There was water at one point. I couldn't figure out where that was. I heard some water towards the beginning. I wasn't sure where that would be, listening to water, that was near the beginning. But I thought that sounded like it was the indoor bit, so I'm not sure where that is. Yeah, again, it sounds like just people milling about. Obviously in the city because of the traffic that you hear at the beginning. Not overly noisy, not loud. No shouting. People on the streets or wherever you were. if it was you were going somewhere it was then echoing back on you somewhere else. It sounded odd because at one point you sounded very close to them, and then you were away from them but they weren't any quieter as there was a lot of sound bouncing around. I couldn't quite figure that one. I have that sound at work, but ... because I'm trying to picture it all in my head where buildings and things might be to cause sound reflections and things. And towards the end I think you heard traffic again but not close by, so you weren't near traffic. But it was there, it's just there because it's a city.

視覚障害者のインタービューの文字起こし - What kind of buildings and people is there? The way impressing and getting to me is within the building and many around talking. And somebody tests the drams in the middle of the sound, and when you go towards performance, people were laughing with drinking. I think in the club, stands singing people which I mentioned. There are fairly happy people probably young people probably in night clubs, lovely people are enjoying themselves and entertaining. That would be anywhere, could be large clubs. When I went to a big concert, that gets the echo in. Because I actually can not see, this could be anywhere.

le is there? eople and children laughing when someone walking to somewhere. of music is the main things, well.. fes, there a few building, because usicians. from beginning to ending with

- How are your image changing from beginning to ending with emotion changing? The emotion is just curious about listening, that good way is a bit of laughing. I thought that is a good time and talking the first time is a good time but I didn’t appreciate the quality of singing. I thought that is not good..lol. I think the music is too right for me, I like more passive music, no aggressive music.

of man and approaching singer, usic indoors, then walking through e but I do not like the music,

ecorded? ou recorded in the afternoon, after

- What kind of people and buildings is there? Youngish people. There did seem to be children. But people probably younger than me, but certainly no older than me. I would say, children, maybe in their 30s, 40s at tops. In the beginning, there was traffic and then there was the ... It just sounded like a bustling street sort of thing, so it could be any mix really. But there was nothing that said that people were elderly, so I'm assuming they were all young, middle-aged sort of thing. Nothing said they were older than that to me. Outside to start with, then suddenly inside and it was echoey as if it was confined. But then that went away as if you were still inside but it got bigger. You must have gone back out at some point but I didn't notice that. I'm guessing you went back outside at some point, but I didn't notice that suddenly happen. Whereas going in, there was a sudden change, it definitely changed. Going outside. So you went in somewhere that was quite echoey to start with, then I think you still stayed inside, but it was a bigger space. Now, by inside that could be like Orchard Square where you've got buildings between you and the road, so you can't really hear the roads, but you're sort of indoors as ... well, no roof, but you're in the square of buildings. Or Leopold Square or somewhere like that where you're away from the roads and in between all the buildings. In the end, as I say, I couldn't figure it out because of the way, what I would say is a busker singing with a guitar at the end. I couldn't work out that sound because the sound seemed to be changing. But yes, obviously artificially, yes. So yeah, definitely around buildings and in buildings. Near traffic at the start, not very close to traffic at the end, so you were further away from traffic. - How are you image changing from beginning to ending with emotion changing?

P-11: ストリートミュージシャン

C-4: Winter Garden の反響音

の Peace Garden で遊ぶ子供の声

S-9: 週末のオープンスペースにいる人の声

C-3: Winter Garden の自動ドア

S-10: テラスで食事をする人と食器の音

P-8: 建物の中の小さな噴水

S- ４: 週末の街中の騒音

S-5: ビルの間の路地空間の入り口

C-5: 週末の路地裏の音

S-12: 建物の中のフルートの音 1:00

2:00

3:00

S- ６: 徐々に街の音が遠ざかる路地

4:00

5:00

Timeline of Sound samples

音の印象のノーテーション

ere were people using the café because you could hear the crockery and the spoons and things clinking about. io on somewhere at one point with some pop song on it. I don't know whether that would be a building or that would People didn't sound rushed, again they sounded like they were relaxed. Didn't sound like there was anyone pushing just an average sort of day. Actually, the end with the busker sounded quite, the only word I'm going to use is lonely rding and the busker, you couldn't really hear anyone else around, as if there was no one else there. They were was someone else, they were on their own. So there's sort of loneliness to that sound at the end because it seemed where they were being very quiet and not making much noise. So the busker seemed to be on their own singing to reets. They're just on a street corner with a guitar singing.

- What kind of day do you think I recorded? Yes. I would say it's a weekend, probably Saturday. Because the café was open. Now, that could be open on Sundays, but it would definitely be open on Saturdays. There were children around so again, not a weekday because they should be at school. Middle of the day, maybe lunchtime because people seemed relaxed, they weren't particularly rushing anywhere, so I'm thinking maybe around lunchtime. Whereas, before lunch and after lunch people might be trying to get back to work or get out of work and rushing a bit. So I would go for a lunchtime ... No, I said Saturday so why would they be going to work? Middle of the day, yes. People weren't ... they'd done their shopping, they were having a break, they were having a rest, or they were just meeting to go and do their shopping. I would go for a Saturday lunchtime.

ns until I heard the water, and I can't picture where the water is. I don't know if there is water in the Winter Gardens, of. I know it's outside the Winter Gardens, at the back of the Peace Gardens, but I thought it was inside the sound. at Tudor Square side, Winter Gardens, and then maybe went through and between all the office blocks at the back of d a bit lonely and quiet. But I don't understand where that sound of water seemed to be running inside the bit where I don't quite ... That's the image I've got that I created of what I know of Sheffield. I don't know if that would work, and o the Winter Gardens now to have a look and see if there is any there. In terms of the end of it. It was the bit with the and it sounded like you were in a very different place. Like I say, no people. It sounded cold as if it was all concrete, ose are the wrong words to use, but it sounded lonely and as if that person was on their own.

und

Serial Sound Place of Sound Contextural Sound

Contextual Sound

Place of Sound P-7: 週末の Peace Garden で遊ぶ子供の声

S-10: テラスで食事をする人と食器の音

C-3: Winter Garden の自動ドア

印象的な音の要素

入り口

かる路地

P-8: 建物の中の小さな噴水

P-11: ストリートミュージシャン

C-4: Winter Garden の反響音

S-9: 週末のオープンスペースにいる人の声

S-12: 建物の中のフルートの音

C-5: 週末の路地裏の音

リー

3. デザインアイデア

4. ガイドツアーとワークショップ

5. 最終成果物

で意見を出し合。そこから問題を議論を通じて

リサーチや物語に対して、具体的なデザインアイデアを各メンバーで出し合い、議論を通じて未来の Wincobank を設計していく。私は Brendan Ingle のボクシングステップを、日本庭園の飛び石の考え方と組み合わせることで、人を街の遺産や公園に導きつつ、Brendan Ingle のステップを日常生活のなかで自然に学ぶ事ができるというアイデアを考案した。

デザインをした後に、Wincobank に住んでいる人々に提案するためにワークショップとガイドツアーを開催する。このツアーは、事前に提案の一部を作成して、住民に体験してもらいフィードバックをもらうという形で今後の設計に活かす。

多くの人に、また多方面から提案を理解できるように、ポスター、ブックレット、ポートフォリオ、映像作品、アプリケーション、SNS、クライアントに提供するためのホルダーケースなど、様々な媒体を成果物として製作した。

Brendan Ingle のボクシングステップ

提供物：クライアントに提供した提案をまとめた 4 つの冊子とオリジ

ndan Ingle のジムの床にようにデザインしていく。な道へと誘導する役割を活の中で、楽しみながら

ナルのホルダーケース

ボクシングステップから創られた人を導く足場

夜間は足元を照らす照明となる

私がデザインした街のポケットエリア：Brendan Ingle のステップからできた足場をつかって人を交通量の多い道路から、ポケットエリアへ誘導するガイドを設計した。

ガイドツアーの事前準備の様子：許可をもらい緑道の一部に人を導く線やイラストを描いた。またベンチやオブジェなども実際に廃材を再利用して制作した。

T シャツの販売：予算が足りなかったため、オリジナルの T シャツを

L TRAI

製作し販売することで、プロジェクト全体の経費を予算内に収めることができた。

Sitting Area

Community Hub

ERITAG EW K AL

Bridge Canopy

‘Rest & Recovery’ Education

Map

道路に描かれた人を街の遺産へ導くガイド：このガイドは街の様々なアクティビティと遺産を結びつける役割を担っている

地元のアートと交差点：事故が多発している交差点を地元のアートを使って改善するデザインを設計した。

ショッピングモールの入り口のデザイン：Brendan Ingleのガイドを使用し、ショッピングモールから街へ人を呼び込むためのデザインを製作した。

街の遺産を使用した休憩所：街の遺産の一つである大きな鉄骨の歩道橋に、休憩所を設計した。

ガイドツアーのスタート地点の様子：ガイドツアーの当日、スタート地点にて計画の全体像と Brendan Ingle の物語を説明した。

‘Walk of Champions’

Practice & Learn Square Ring & Statue

Rest & Recovery Improve & Achieve Welcome Everyone

る：Brendan Ingle の徴と組み合わせながらいくことで、街全体と

ることのできる空間と

提案したベンチに腰掛ける住民：事前に提案の一部であるベンチを制作し、多くの人に利用してもらい意見をもらった。

運動会のワークショップ：Brendan Ingle の考案した物語の自己トレーニングの一環として街に 100m 走をできるトラックや反復横跳び用の器具を作成。そこでは実際に子供たちに向けて運動会を開催した。

The Ingle Way のアプリケーションの開発 : スマートフォンのアプリと連携して、街のアクティビティ情報や物語を見れるようにした。

INDEX l 3

02. Archive of Ayrton Senna

P. 40

伝説の F １ドライバーであるアイルトンセナのアーカイブ。セナの走行データを元にグラスホッパーを使って、実際に歩きながらセナの走りを体感できる空間を設計する。様々なセナの走行データを分解して建築の要素として再構成していき、建築を設計していく。例えば、セナの感じた重力は空間を歪ませ、セナがアクセルを踏んだポイントは足場として構成される。

03. 茶家

構成 : グラスホッパーを使い、速度、重力、アク

構造 : 中央に配置された十字型の壁が 8 つの部屋を支える。面外方向の座屈を防ぐ目的で中心から外に向かって低くなる設計となっている。

セル開度、視線のデータを建築へ変換していく。 1. 速度

2. 視線

3. 重力

P. 52

4. アクセル開度

空間演出装置としての 8 つの部屋

アイルトンセナのテレメトリーデータ

1 玄関 X 茶室

2 客間 X 茶室

3 リビング X 茶室

4 庭園 X 茶室

スロットル開度速度

重力アクセルを踏むポイント

構造、設備が一体となったデザインとなる。

視線 5 マイルーム X 茶室

建築 ( 外） 1. 速度 → 空間の大きさ

2. 視線データ → 窓、ボイド

3. 体感した G → 領域

6 寝室 X 茶室

えながら、排水などのの役割も担っており、意匠、

る。加えて、この十字の壁は、構造的に各空間を支

ながら、内側に部屋同士の関係性をもつことができ

ことによって、それぞれ４つ性格の異なる庭に面し

た、それらの部屋は十字形の壁によって支えられる

演出し、意識の中で連続的な記憶へと変化する。ま

部屋から構成され、各部屋は日常を

字形の壁と、８つの個性の異なった

置として働く。この住宅は中央の十

あらゆる行為を演出する空間演出装

合わせることで、住宅が日常生活の

的な行為と﹁茶室﹂の考え方を組み

として読み解き、この住宅では日常

から設計する。茶室を﹁お茶を飲む

個人の住宅を﹁茶室﹂のコンセプト

5 1 2

3 4

建築 ( 内 ) 4. アクセルを踏んだポイント → 足場

という行為を演出するための装置﹂

7 風呂 X 茶室

8 キッチン X 茶室

8 7 4

3 1

内観パース

畝森泰行賞受賞作品建築新人戦 100 選入選作品

06. BIO PARK ARCHITECTURE

P. 90

P. 98

「文学から空間はどう構成されるか？」という論文中で作られたプログラミングの作品。この論文では Finnegans Wake の持つ空間性の考察を通して、文学と建築の関係について考えた。Jennifer Bloomer によると、James Joyce によって書かれた小説 Finnegans Wake は、文中に世界各地の言語表現が散りばめられており、それらの言語が読者の意識の中で複雑に組み合わさることで空間を構築させているといわれる。そこで、英語と日本語において、人が文を読む時の意識の違いを可視化させるプログラムを作成して、なぜ世界各地の言語を散りばめることが、文学から空間を構成する一つの要因になるのかを考察した。このソフトは文字列と、文字から文を構成する進行数を組み合わせて、文字の軌跡線を構成する。英語においては、「ABCDEFGHIJKLMNOPQRSTUVWXYZ」という 26 文字の文字列に進行数を組み合わせて、2 次元的に文を把握している。一方、日本語では、「あいうえお」という母音と「あかさ日本語の文構成英語の文構成たな」という子音の二つから構成されており、そこに進行数を組み合 Alphabet 進わせることで把握の軌跡線は 3 次元となる。要するにこのソフトは言行子音進数語把握を空間に変換するソフトであり、それによって文学を空間とし行数て批評することに挑戦している。

渋谷の宮下公園の隣に位置するオフィスビルを設計する課題。宮下公園の自然はビルに囲まれてしまい都市から断絶してしまっている。その現状に対して、ビルの外壁を通り公園の自然を表通りまで延長する計画を提案する。この建築にはオフィス、ショップ、スポーツジムが入っており、これらは外廊下によって繋がれることで利用者が多くの自然を感じられる配置計画となっている。また、この建築は渋谷において新たな自然の広告建築となることで、公園や都市など周りの環境を変えていく建築となる。断面計画：植物の成長を促すように断面を設計する

07. Iroha-Gram

植栽計画：植物の特性に応じてプランターを設計する

フェンス一体型プランター：フェンスと一体となった植物用プランター。土の入った袋が入っており、つる科の植物がプランターを超えて成長することができる。

母音

水耕栽培用プランター：土の代わりに水を使うことで植物の成長を維持する。これにより普段渋谷ではみられないような幅広い種類の植物する育てることができる。

自然を感じられる外廊下：建築を外廊下を中心とした計画にすることでどこからでも植物を感じることができる。

軽量土壌プランター：70cm の十分な土の深さのあるプランターを三層ごとに設置する。このプランターでは草花だけでなく低木なども育てることができる。

大都市における季節の窓：渋谷の都市側に対して、季節の窓として自然のボイドを設計する。春には地上 28m から桜の花びらが渋谷に降り注ぐ。

4 l INDEX

もりもとりょう : 日本語のかなは、初めから母音と子音の表で表さ MORIMOTORYO: 英語において文字空間は線形に表現される。

れ、そこに進行数を加えることで立体的な文字空間となる。

東京都市大学新居千秋賞受賞作品

森本遼 The University of Sheﬃeld 東京都市大学卒業設計展優秀作品賞受賞作品

赤印：コンビニエンスストア

全国大学建築系学科卒業設計優秀作品集掲載作品仙台デザインリーグ 100 選入選作品

平和島ロジスティクシステム

ツリー構造

セミラティス構造

04. Internet City @ shibuya

P. 64

渋谷という情報が反映されやすい都市において、インターネットの構造を利用した都市機能一体型集合住宅をく。この都市はセミラティス構造によって創られており、各住戸の寝室に、複数の家族のリビングやコモンルー

メディア、家族、文化が錯綜する都市

各機能が必ず２つ以上の空間と接続されており、従来とは異なりパブリックスペースから、いきなり寝室にアプローチできる。

P. 76

さシとかのをのうタどこくのなし知間りとで計ダ道保せラわ店新と都たル支ビの視の明をョはしシ目都にジうにて利物てな関、住はすー路ってッり舗す人市利ドえニ都さか日含ン異、ナ的市批オ住人も便が人る係人宅、る状のてコクににる、を便てエ市れ？、むとなこリと問評やむが管性す類空まやがコ。の上いンを巨倉。人提性平いンをた私。はりのオし題的、の住理をぐは間で物ンこ巨空る１大庫現と案を和るス考日近た一ビ在都し獲島ブスえ本年ち言、街をてになかむさ得に必をも、ビの大を。日な体ニをの市て得ラトるに、はい完は設、切視？とれる手要創が都ニ巨コ利こに倉切全、計未り点スする。になり錯市とと大ン用のの何庫持コの人すにウア計お利どれなあし来込かーる倉人入時出綜機な都コビし倉利往街たン関とる、ンの画い便こ庫便復かなビ係物新徹フ物。て性になフのたのむらパな庫がるにすす能っ市ンニたいィ時。一こ現のーら。い究必。るやて機ビをボ街性もらいニを、た底ィ流コ未が住に怖ク代しつと在よスばこな極要そ未人お能ニ設ー、をさト代は更人なしーをン来重む )

を獲得できるこの計画は、まさにインターネットの社会を現実化させた都市となる。

05. ロジスティックシティ

Archizoom

ムが接続され、さらに別の空間へと能動的に接続される。従来の社会とは全く異なったより広いコミュニティ

新ロジステックシステム：倉庫街からトラックを往復させて在庫を保つ代わりに、倉庫街に巨大なコンビニ兼住宅をつくる計画

(

設計する。インターネット空間では、セミラティス構造によってユーザー同士がネットワーク状に繋がってい

新ロジスティックシステム

P: 寝室

倉庫街の道路の上空に作られた巨大コンビニエンスストア兼住宅。倉庫に直結していることで、極限まで物流効率を上げることができる。

全自動で管理される人と物。徹底された利便性は社会構造を変えてしまう。

1/50 模型 : 錯綜する物と人

GL+18000 平面図

08. BOOKSHELF FOR STANDING BOOKS P. 104

09. Butterﬂy Glass

P. 108

本をとっても隣の本が倒れない本棚。この本棚はシンプルなラー

空に羽ばたく蝶、波に漂うクラゲ、風に舞う鳥。生き物たちは常に環境に呼応しながら生きている。このよう

メン構造に薄いフラットバーを載せ、そこに 100 分の 1 勾配とい

な生物たちのように環境に呼応する有機的なガラスの提案。このガラスは、人や自然の力が加わると、まるで

う微妙な傾斜をつけることで、本の倒れる向きを一定にした。そし

生き物のようにゆらゆらと揺れだして新たな環境をつくる。従来のガラスは、人間や自然などの外部の力に対

て、フラットバーを回転式にすることで、本を取ると自然にフラッ

して変化する事はないため冷たい印象をもっているが、このガラスは人間や自然の力に反応して、形態を緩や

トバーが起き上がるようにし、倒れ始める隣の本の重さによって固

かに変化できる。手法として、ガラスタイルやガラスブロックのようなガラスのピースを、円筒状のスペーサー

定されることで、本が倒れるのを防ぐことができる。本棚自体の構

とロープワイヤーを使用し隙間をあけながら積み上げていくことで、このガラスはガラスのピース同士の間に

造はステンレスの全ネジで構成されており、角ワッシャーにナット

生まれた「あそび」の範囲内で可動となる。この「あそび」の空間により、ガラスがゆらゆらと揺れだし光や

を使って三方向から締め上げることで、溶接などを一切使わず剛接

影は均等なグリットから解放され豊かな表情をみせる。

合を実現させた。また、本のストッパーとなるフラットバーの蝶番には、ナットと板の間に銀ろう溶接を施し使い強度を保っている。

関節の様なあそびの空間をもつガラス円筒型スペーサー

ワイヤーロープガスケットあそび : t =5

INDEX l 5

01. Audio Townscape PROJECT TYPE Dissertation Project DATE November 2019 SITE Shieffield,UK DURATION 6 month PROGRAM AudioTown

Architects and city planners rely on vision when thinking about space. However, in reality, space is created by a combination with elements other than visual information, and in recent years, it has been found that the spatial influence of sound is large. Therefore, in this project, I do not rely on visual perception and think about the sound space in the city from the viewpoint of the visually impaired who mainly recognizes the space from the sound. The purpose of this project is to create a city that does not rely on vision through spatial research. The urban space created by these studies is not only a city full of sounds, but also a city where people can rely on sound, which is not only a safe and livable city for the visually impaired, but it is usually overlooked from vision. It is a rich city for all the people who live in the city by solving such small problems and creating a space that can be felt through sound.

6 l Audio Townscape

Research Question ‘How is the space in a town constructed from sounds?’ ' 都市空間はどのように「音」から構築されるのか？ ' This project will be mainly divided into two phases: the investigation phase and the design phase (See the diagram of project). The aim of the investigation phase is to research ‘How is the space in the city constructed from the sound?’ and to create my own theory ‘Audio Townscape’. As for the aim of the design phase, this relates to the ‘Audio Town’, which is based on the investigation. In this section, I will discuss each phase and critically consider the narratives in this thesis project.

このプロジェクトは主に、研究と設計の二つの段階に分けられる。この研究の目的は『どうのように都市空間は音から構築されるか？』というリサーチクエスチョンから、「音から都市を綴る」という自らの理論 'Audio Townscape の完成である。そして、設計の目的としては Audio Town を元にして実際に都市を設計することで全ての人にとって豊かな街を設計する事である。

Audio Townscape l 7

Non-Visual Field Work

This research is based on "research for urban areas imagined from the point of view of the visually impaired" I had previously done. S o a s t o experience the city from the point of view of someone visually impaired in this research, I actually put on a blindfold and walked around the city with a white cane. In this experiment, compared to the sensations from my feet or the information I received directly from the white cane, I realized that sound creates information and sensations about a three dimensional area. Also, a lot of these sound spaces are normally difficult to perceive, and I realized that the urban areas someone visually impaired experiences has more components to it compared to an area experienced through sight.

この研究の動機は私が以前に行っていた「視覚障害者の視点から考える都市空間の研究」を元にしており、この研究の中で、視覚障害者の視点から都市を観察するため、実際にアイマスク、白

をもって

都市を歩いて記録した。この実験では、足の感覚や直接白

から伝

わる情報に比べて、音は立体的な空間情報と感情を作ることがわかった。また、これらの音空間は普段気づくことが難しいものが多く、視覚障害者の感じている都市空間は、視覚から感じる空間よりも要素が多いことがわかった。

Remenbable Elements in Town and Spatial Sence In this ﬁeldwork, I walked around the city with an eye mask and white cane, and then recorded what I remembered and where it was. As a result, it was found that most of the images of space are related to sound.

このフィールドワークでは盲目の状態で都市を歩き、そのあと記憶に残ったものや場所を、感覚と共に記録した。これによって、空間のイメージの多くが音と関係があることがわかった。 Red Word: Sound

1. Brick wall_Sound

2. Bin box_Hand

3. Hand rail_Hand

4. Stairs_Sound from Cane

5. Open Space_Sound

6. Mail Box_Hand

7. Fence_Sound

8. The edge of road_White Cane

9. Tactile Tile_Foot

10. Bike_White Cane

11. Entrance of Building_

12. Street light_Body

13. Open Space_Sound

14. Tree_Sound

15. Stairs_Foot

16. Leafs_Sound

20. Grass _Sound

21. Grass _Sound

22. Street light_White Cane

23. Grass_Sound

24. The edge of road_White

Sound

17. Hand Rail_Hand

18. Tunnel_Echo of Sound

19. Hand Rail_Hand

Cane

25. The edge of road_White

26. The edge of road_Foot

27. Park_Sound

28. Road_Sound

29. The edge of road_Sound

30. Street light_White Cane

31. Grass_Sound

32. The edge of road_White Cane

Cane

33. The edge of road_White

34. The edge of road_sound

35. The edge of housing_

Cane

from White Cane

Sound

41. The edge of road_White

42. The edge of road_White

43. Street light_Skin

Cane

43. Intersection_Sound

44. The edge of road_White

45. The edge of road_Sound

Cane

from White Cane

8 l Audio Townscape

36. Grass_Sound

37. Grass_Sound from hand

38. Grass_Sound from Cane

39. Grass_Sound from Foot

40. Shadow of the building_ Skin

44. Fire hydrant_White Cane

43. Grass_Sound From White

44. Street light_ Sound

45. Sign Bord_Hnad

46. Tactile Tile_Foot

48. Edgeof road_ White Cane

49. Intersection_Sound

50. Parking_Sound

Cane

46.Porl_ Hand

47. Texture on road_Sound

Categorie of Audio Townscape

"Town Scape" from the 20th century architect Gordon Cullen is a book based on researching cities. This research visually collects architectural spaces in urban areas and includes the drama associated with the people and the ambiance of those places. The visual components that make up those cities are divided into the three categories of "Serial Visual", "Place", and "Context", and they represent a relationship between buildings with a city and its people. This research was for a new urban theory that not only dealt with buildings but also included the changing circumstances of people in these areas, but the research was limited to "vision".

都市を研究した著書として 1900 年代の建築家 Gordon Cullen の「Town Scape」がある。この研究は都市を人やその場所の雰囲気などのドラマを含めて視覚的に観察している。それらの都市を構成する視覚的要素を「Serial Vision」「Place」「Context」の３つの分類に仕分け、都市や人と建物の関係を示した。この研究は、空間を建物だけでなく、人や雰囲気などの変化するドラマを含めて研究した新たな都市理論であったが、研究は「視覚」にとどまっている。

I based on this research to produce a new "Audio Townscape" theory that studies cities from the perspective of sound. I have also reconfigured the three components of "Serial Vision", "Place", and "Context" into "Serial Sound", "Place of Sound", and "Contextual Sound".

Seerial Sound

この研究では Gordon Cullen の都市の 3 要素をもとにして、音から都市を認識する重要な３要素「Serial Sound」Place of Sound」「Contextual Sound」を定義する。

Place of Sound

Contextual Sound

Serial Sound

Place of Sound

Contextural Sound

This acoustic element showcases the

This refers to locational information. These

These sounds are anchored in specific

continuity of sound. As with how sequences

sounds include human voices and the

sites. Sounds that allow the visually

are important in visual representations of a

sound of water, which allow people to

impaired individuals whom we interviewed

city, continuity is also a critical element in

determine their physical position in the city.

for this project to identify specific locations

the acoustic space of a city. Serial Sound これは音の連続性を示す要素である。視覚的な都市においてシークエンスは重要な要素であるように、おそらく都市の音響空間においても連続性は重要な要素である。

have been classified as contextural sounds. Pleace of Sound

Contextural Sound

これは場所の情報である。人の声や水の音など

これは土地に根付いた音である。このプロジェ

自分の身体の位置を把握するための音である。

クトにおいては視覚障害者へのインタビュー ( ページ 10) を通じて彼らが場所が特定できた音を Contextural Sound として分類している。

Audio Townscape l 9

Sound Recording in Sheffield, UK Recording Sound Sampe in Town

都市の音の採集

I have created six samples by recording urban noise,

都市の音響空間を調査するために、イギリスの

in order to observe the city, including its urban drama, as part of this thesis project. This recording

Sheﬃeld において街の音の録音を行った。この音の

was conducted mainly in the Sheﬃeld City Center.

採集は CIty Center を中心におこなわれ天気、時間、

As sound is particularly influenced by time of day

曜日、場所が異なるように集めた。これら音のサンプ

and environment, I have gathered a broad range of data, divided not only by location, but also time and

ルは視覚障害者のインタビューに使用した。

weather.

Sound Interview in Blind Society Interviews with the visually impaired I examine acoustic spaces based on these recorded urban sounds. These examinations led me to the blind community where I conducted interviews with the visually impaired. They are specialists at constructing an area from its sound, and my goal is to investigate how they construct an image of an urban area from its sound. As a specific method, I first had them listen to a sound sample without telling them where it was recorded, and then had them imagine the urban area. After that, I asked them questions about the mental image they imagined from that sound. 視覚障害者へのインタビュー録音した都市の音を元に音響空間の調査を行う。この調査では盲目のコミュニティを訪れて、そこで視覚障害を持っているの人へのインタビューを行った。彼らは音から空間を読み取るスペシャリストであり、都市空間のイメージはどのように音から組み立てられるのかを調べることが目的である。このインタビューは 6 つの音のサンプルに対して 3 人づつ合計 18 人の視覚障害者の方々に協力してもらい幅広いデータを取得した。具体的な方法としては、まず、録音した場所を伝えずに音のサンプルを聞いてもらい、そこから都市空間をイメージしてもらう。その後、その音から想像したイメージについて質問してイメージについて語ってもらうという形式で行った。

Interview Process

LISTENING

IMAGINATION

事前に録音した街の音を、録音した場所を知らせず聞いてもらう。

音から都市空間を想像してもらう。

10 l Audio Townscape

DESCRIVE 音からイメージされた都市空間について幾つかの質問を元に、語ってもらう。

Sound Notation ノーテーション：

Notation: Based on these interviews, I created a notation for each audio sample to visualize the image of the urban space it invoked in the visually impaired individuals. I developed my own notation method in order to be able to more deeply analyze urban sounds from the sound samples and the interviews conducted with visually impaired people based on those sounds.

Sound Sample 1 タイトル

Notaion as Plan

これらのインタビューを元に、視覚障害者の人々が持つ都市空間のイメージから、さらに注意深く都市の音の印象を分析するために、都市の音のノーテーションを独自に作成した。これは John Cage などの現代音楽家が音のイメージを表現する時に

用いる方法を参照しており、日常の音を一つの音楽の譜面のように可視化する手法である。

Notaion as Section

Place: From the Peace

to the cathedral 音Garden を録音した Day: Thursday

4:00 p.m. 日Time: 付、天候、

People 1

People 2

People 3

- What kind of sound do you remember? Sound like water, someone walking, talking, vehicles, I think that was tower moved away from that, trams sound, someone walking. then, wind noise and trees, that also sounds like you want to be opened if you were closed as someone else is walking with the echo of footsteps. And, Then After the wind noise and trees, started the church bells and went towards church bells. There were here footsteps and talking on and off throughout this. That was sounds like a basketball, bouncing the basketball. Might be, You ware stamping your feet. That again like it was internal as the hard objects, wall or I don’t know but something objects like that, sounds echo in. Could be, vehicles go through this then ends. The church bells are louder and louder, and end of records these were vehicles, buss. So this could be the bus stops, sometimes sounds are closed as move around. I was trying to find the place in Sheffield in this sound, one of them is the cathedral. And the Walter, I could imagine this in my picture my self in the city somewhere listening from the sounds.

- What kind of sound do you remember? Someone is walking towards the down streets, and the sound like the waterfall and there are two fountain and church bells, and getting the church. Churchbells ringing and louder and louder. People talking, there was something road. The background of Sound is like students, there is at Sheffield University (probably West park) because it is a fountain and around busses. It is sound noises.

- What kind of sound do you remember? Water and church bells, I hear the voices are very low and outside of the fountain (probably at the station) but change the mind. As you can hear, the water of the fountain there and traffic road and half pass that the cafe opposite the cathedral and I think the way you got two people talking and cross the Pank hill and as you pass and get sound of the traffic as you get Pank hills. I remembered the sound of talking, walking, water, bells and traffics. I hear the deep voice and couple of voice is moving on the road, I believe it, men and women. Last where I hared is people talking.

視覚障害者のインタービューの文字起こし

場所

Weather: Sunny

- How your emotion is changing from being to ending? This was generally relaxed and not rushed, even though the centre of the city. The voice of all sound was fairly relaxed, there was folly anywhere and many people were laughing about.

縦軸 : 音の印象度

音の印象のノーテーション

S-2: 教会のチャイムを途切れさせる騒音

P-2: Fargate の木に集まる鳥の声

Strength of Sound Impression

ノーテーションマップ

- How your emotion is changing from being to ending? I was a bit curious at the beginning and in the middle, I afford to guide joke and hearing the bells from water. Then, the end of that is traffic which is I do not like it. We guess traffic is pollution. Walking is louder and louder. I think you recorded the sound is somewhere middle of the paths and moving around there. I think you recorded millennium gardens, used to be gone the Peace gardens, changes to the millennium garden the sight. I think this sound is like different from noise but different pleasure. You know, to me, the bells are music, but traffic is joke and walking is the process of access from one place to another, so that is acceptable noise, but pleasure is bells displeasure is traffic.

- Where do you think I recorded it? Definitely, there is a church and busses and people who are could be shoppers and there are a lot of shops. That is Fargate or Pinstone street because the was the busses and trams there are many shops. At first, it wiWll the general people walking and talking and there was the sound of the water. The fountain is in a Pool square or Peace garden. A few minutes walking and get the church as the church bells are close to close, that is interesting. It is not noisy, it is ok for me.

C-1: Peace Gardem の滝の音

0:00

P-6: バスのエンジン音

P-3: トラムのベルの音 P-5: 街を歩く人の話声

P-1: Peace Garden の噴水

S-1: 教会のチャイムが聞こえ始める場所

1:00

S-3: 教会の終着点

C-2: シェフィールドの教会のチャイム P-4: 街を歩く大人の足音

2:00

3:00

Timeline of Sound samples

横軸 : タイムライン Serial Sound

Place of Sound

Contextural Sound

This notation was created based on the sounds

平日の夕方の Peace garden から Cathedoral までの

from the Peace Garden to the cathedral on a

音をもとに作られたノーテーション。全体的に平日の

weekday evening. Since it was a weekday, the overall variety of sounds was low. The sounds of the waterfall in the Peace Garden and the

なので音の種類は少なめであった。音の序盤は Peace garden の滝の音や人の足音が多く聞こえた。また ,

Elements of Sound Serial Sound P-1: Peace Garden の噴水

P-4: 街を歩く大人の足音

C-1: Peace Gardem の滝の音

S-2: 教会のチャイムを途切れさせる騒音

P-2: Fargate の木に集まる鳥の声

P-5: 街を歩く人の話声

C-2: シェフィールドの教会のチャイム

S-3: 教会の終着点

P-3: トラムのベルの音

P-6: バスのエンジン音

滝の音 (0:50) のほうが印象的である。また、終盤に

cathedral are frequently-discussed contextual

かけては Cathedral の教会の音の事が多く語られて

sounds that make a strong impression.

おり、印象度の強い Contextural sound である。中間

Understanding that there are two types of

には鳥の声と風の音が入っておりそこから Catedoral

sounds in the Peace Garden, the fountain and

のベルの音が聞こえ始める。ここは一つの音のシー

クエンスを作っているポイントであり、このまちにサンプルの分析結果

the waterfall, the waterfall seems to make a stronger impression. Between the two sites, the

音のサンプルの URLcan start to hear the bells of the cathedral. In

sounds of birds and the wind enter, then you

This has an audio works, Please listen to the linked audio file. https:// drive.google.com/open?id=1v4P_ ZbQ2CMig5mXfc8dVn9ZPQ81T2g-l

おいて教会が目視できなくても教会の存在や教会へ

印象的な音の要素

の道を示している。しかし、この Catedoral のベルの音は、Serial sound を形成するものにも関わらず、 Cathedoral の前の Trraﬃc のノイズはこの連続性を断

addition, even though the bells of the cathedral

ち切ってしまう要素でもあるようだ。この自動車の音

form a serial sound, the traffic noise from in

は視覚障害者にとって不快な音であるだけでなく、方

front of the cathedral breaks up the continuity.

向感覚を失わせる要因でもあることが判明した。また、

Midway, the footsteps seem to sound louder

途中、工事のための仮設建築のしたを抜けた時に足音

when passing through the temporary structures

が大きく聞こえるため、この場所の反響音は一つの特

built for the ongoing construction.

Contextual Sound

Place of Sound

S-1: 教会のチャイムが聞こえ始める場所

Peace Garden の噴水の音はあまり響くことがなく、

徴となっている。

This is the process of notation and Audio Townscape

ノーテーションと Audio Townscape の作成方法：

1. I generated a script for the interview with visually impaired individuals. Each notation is generated from three people's Description.

１：視覚障害者の方々が語ってくれた音のイメージ文字に書き起こす。

2. The sentences in this script are classified according to the acoustic characters of the 3 different categories of sound: serial sounds, place of sounds, contextural sounds, and emotional sounds. 3. I then create a timeline for the audio clips and draw lines to connect the sentences to the corresponding audio segments in order to make clear which parts of the audio clips the sentences we have categorized are referring to respectively. 4. The strength of the impression for each sound is determined based on the number of connecting lines. The icons and lines for that sound are then drawn based on this information. For instance, if there are many verbal references to the sound of fountains,

2. これらの視覚障害者の音のイメージの文章を 'Serial Sound', 'Place of Sound', 'Contextural Sound' に分類していき、ハイライトをつける。 3. 実際の音源のタイムラインと分類分けされた文章を線で結ぶ。これにより音のタイミングや、発言回数によっての音の印象度を決定させる。 4. 3 で決定した音の印象度を元に各音を表す記号を作成していき、音楽の譜面のように音の空間を可視化させる。 5. これらのノーテーションから音の印象度が強い音をピックアップして、3 つの音

5. I have developed my own theory of the "Audio Townscape". As Audio Townscape is base on the sound impression from the notation, I pick up some sounds which have the strong impression from notation. After this, I sort out these sounds into three categories.

の分類に仕分けをしてまとめることで 'Audio Townscape' を作成する。

Audio Townscape l 11

Sound Sample 1

Notaion as Plan

Place: From the Peace Garden to the cathedral Day: Thursday Time: 4:00 p.m. Weather: Sunny

This notation was created based on the sounds

平日の夕方の Peace garden から Cathedoral までの

from the Peace Garden to the cathedral on a

音をもとに作られたノーテーション。全体的に平日の

weekday evening. Since it was a weekday, the overall variety of sounds was low. The sounds of the waterfall in the Peace Garden and the

滝の音 (0:50) のほうが印象的である。終盤にかけては Cathedral の教会の音の事が多く語られており、印象度の強い Contextural sound である。途中には鳥の

Understanding that there are two types of

声と風の音が入っておりそこから Catedoral のベルの

sounds in the Peace Garden, the fountain and

音が聞こえ始める。ここは一つの音のシークエンスを

the waterfall, the waterfall seems to make a

作っているポイントであり、このまちにおいて教会が

can start to hear the bells of the cathedral. In

目視できなくても教会の存在や教会への道を示している。しかし、この Catedoral のベルの音は、Serial sound を形成するものにも関わらず、Cathedoral の前の Trraﬃc のノイズがこの連続性を断ち切ってしま

addition, even though the bells of the cathedral

う要素でもあるようだ。この自動車の音は視覚障害者

form a serial sound, the traffic noise from in

にとって不快な音であるだけでなく、方向感覚を失わ

front of the cathedral breaks up the continuity.

せる要因でもあることが判明した。また、途中、工事

Midway, the footsteps seem to sound louder

のための仮設建築のしたを抜けた時に足音が大きく聞

when passing through the temporary structures

こえるため、この場所の反響音は一つの特徴となって

listen to the linked audio file.

12 l Audio Townscape

Peace Garden の噴水の音はあまり響くことがなく、

sounds that make a strong impression.

sounds of birds and the wind enter, then you

https://youtu.be/8YLYefoahTQ

garden の滝の音や人の足音が多く聞こえた。また ,

cathedral are frequently-discussed contextual

stronger impression. Between the two sites, the

This has an audio works, Please

なので音の種類は少なめであった。音の序盤は Peace

built for the ongoing construction.

いる。

Notaion as Section

People 1

People 2

People 3

S-2: 教会のチャイムを途切れさせる騒音

Strength of Sound Impression

P-2: Fargate の木に集まる鳥の声 C-1: Peace Gardem の滝の音

P-5: 街を歩く人の話声 S-1: 教会のチャイムが聞こえ始める場所

P-1: Peace Garden の噴水

0:00

P-6: バスのエンジン音

P-3: トラムのベルの音

1:00

S-3: 教会の終着点

C-2: シェフィールドの教会のチャイム P-4: 街を歩く大人の足音

2:00

3:00

Timeline of Sound samples Serial Sound Place of Sound Contextural Sound

Elements of Sound Serial Sound

Place of Sound

Contextual Sound

S-1: 教会のチャイムが聞こえ始める場所

P-1: Peace Garden の噴水

P-4: 街を歩く大人の足音

C-1: Peace Gardem の滝の音

S-2: 教会のチャイムを途切れさせる騒音

P-2: Fargate の木に集まる鳥の声

P-5: 街を歩く人の話声

C-2: シェフィールドの教会のチャイム

S-3: 教会の終着点

P-3: トラムのベルの音

P-6: バスのエンジン音

Audio Townscape l 13

Sound Sample 2

Notaion as Plan

Place: From the Peace Garden through the Winter Garden to the Exchange Gateway Day: Sunday Time: 2:00 p.m. Weather: Sunny

This has an audio works, Please listen to the linked audio file. https://youtu.be/yfcJiIqU0NE

14 l Audio Townscape

Since it's a sunny weekend day, the town is full of all kinds of sounds. The recording started from the Peace Garden, but people's voices make a stronger impression than the sound of the waterfall on the weekend. The Winter Garden has a distinctive echo that's its own contextual sound. In the middle of this, the sounds of someone playing a wind instrument and the gentle flow of water are just barely audible. In Tudor Square on the weekend as well, you can hear lots of people talking in places where music plays on speakers. However, this is like being in a pub and doesn't give a particularly good feeling. Midway through, there are sounds of plates and forks that give the impression of a meal sitting at a café. This emotional sound is a good element, as it gives the impression of people relaxing on the weekend. At Fargate, a street musician is singing a song. However, the sound from the amp echoes off of the buildings around it, drowning out the sound of the surroundings, which causes a visually-impaired person to lose their sense of direction and feel uncomfortable. Upon entering the exchange gateway, the sounds of the city suddenly seem far away, giving a slightly lonely feeling.

晴れた週末なので街には多くの音が

れてい

る。街の中心部の Peace Garden から録音を始めたが、週末であるため、滝の音よりも人の声の方が印象的である。Winter garden は特徴的なエコーを持っていて一つの Contextural Sound となっている。この中では誰かが管楽器を吹いているような音や、水のせせらぎ音が微かに聞こえる。また、週末の Tudor Square において、スピーカーから音楽流れている場所でおおくの人が話をしている音がする。しかし、これはパブの中にいるような印象を与えてあまり良い感情をつくらない。途中には食器やフォークなど音からカフェのその席で食事をしている印象を与える。これは週末に人々がリラックスしている印象を与える。Fargate ではストリートミュージシャンが歌を歌っている。しかしこれはアンプから出る音楽が周りの建物に反響し、周りの音をかき消して視覚障害者は方向感覚がなくなってしまう音であり不快である。Exchage Gateway にはいると急に都市の音が遠くに聞こえて少し物淋しい印象を与える。

Notaion as Section

People 1

People 2

People 3

- What kind of sound do you remember? I thought it clouds, first thought in the shop and something like that, then someone is walking down the street and going in the path because the noises are out of air. And people and church bells, and the music. people play music on the street and going around the music. I thought you ware top of Fargate and you were down because more clouds and more talking. As someone plays the music, so I knew rock on who are. And going towards that. I could hear walking anyway, something like that, Children’s Park.

- What kind of buildings and people is there? The way impressing and getting to me is within the building and many around talking. And somebody tests the drams in the middle of the sound, and when you go towards performance, people were laughing with drinking. I think in the club, stands singing people which I mentioned. There are fairly happy people probably young people probably in night clubs, lovely people are enjoying themselves and entertaining. That would be anywhere, could be large clubs. When I went to a big concert, that gets the echo in. Because I actually can not see, this could be anywhere.

- What kind of buildings and people is there? I remember two or three music, and people and children laughing when children talking and I think in a park, someone walking to somewhere. And music is louder and louder, the end of music is the main things, well.. couldn’t be park…? There are parks, cafes, there a few building, because it was shops. And there is, you know, musicians. - How are your image changing from beginning to ending with emotion changing? Music is louder, the first singer is sort of man and approaching singer, When I was walking, I heard like the music indoors, then walking through the music. This sounds like a busy place but I do not like the music,

- What kind of day do you think I recorded? ahh. I think as this is really in the day, you recorded in the afternoon, after 12 o'clock, and weekend or Friday.

Strength of Sound Impression

- How are you image changing from beginning to ending with emotion changing?

P-11: ストリートミュージシャン

C-4: Winter Garden の反響音

P-7: 週末の Peace Garden で遊ぶ子供の声

S-9: 週末のオープンスペースにいる人の声

C-3: Winter Garden の自動ドア

S-10: テラスで食事をする人と食器の音

P-8: 建物の中の小さな噴水

S- ４: 週末の街中の騒音

S-5: ビルの間の路地空間の入り口

Traffics

C-5: 週末の路地裏の音

S-12: 建物の中のフルートの音 0:00 0:00

1:00

2:00

Timeline of Sound samples

It sounded like an interesting day. There were people using the café because you could hear the crockery and the spoons and things clinking about. Sounded like there was a fairly loud radio on somewhere at one point with some pop song on it. I don't know whether that would be a building or that would be someone just with some loud music. People didn't sound rushed, again they sounded like they were relaxed. Didn't sound like there was anyone pushing or shoving trying to get past people. It's just an average sort of day. Actually, the end with the busker sounded quite, the only word I'm going to use is lonely because there was you doing the recording and the busker, you couldn't really hear anyone else around, as if there was no one else there. They were singing somewhere and everybody else was someone else, they were on their own. So there's sort of loneliness to that sound at the end because it seemed that there were no other people if there where they were being very quiet and not making much noise. So the busker seemed to be on their own singing to themselves. Someone singing on the streets. They're just on a street corner with a guitar singing.

3:00

4:00

S- ６: 徐々に街の音が遠ざかる路地 5:00

- Do you identify where I record it? I was going to go with the Winter Gardens until I heard the water, and I can't picture where the water is. I don't know if there is water in the Winter Gardens, there might be, but not that I can think of. I know it's outside the Winter Gardens, at the back of the Peace Gardens, but I thought it was inside the sound. I'm not sure. I would guess you started at Tudor Square side, Winter Gardens, and then maybe went through and between all the office blocks at the back of the Peace Gardens where it could sound a bit lonely and quiet. But I don't understand where that sound of water seemed to be running inside the bit where I would say was the Winter Gardens, so I don't quite ... That's the image I've got that I created of what I know of Sheffield. I don't know if that would work, and if there was water. I'd have to go down to the Winter Gardens now to have a look and see if there is any there. In terms of the end of it. It was the bit with the busker, and as I say, it sounded lonely and it sounded like you were in a very different place. Like I say, no people. It sounded cold as if it was all concrete, no warmth and no happiness. I know those are the wrong words to use, but it sounded lonely and as if that person was on their own.

Serial Sound Place of Sound Contextural Sound

Elements of Sound Place of Sound

Serial Sound

Contextual Sound

S- ４: 週末の街中の騒音

P-7: 週末の Peace Garden で遊ぶ子供の声

S-10: テラスで食事をする人と食器の音

C-3: Winter Garden の自動ドア

S-5: ビルの間の路地空間の入り口

P-8: 建物の中の小さな噴水

P-11: ストリートミュージシャン

C-4: Winter Garden の反響音

S- ６: 徐々に街の音が遠ざかる路地

S-9: 週末のオープンスペースにいる人の声

S-12: 建物の中のフルートの音

C-5: 週末の路地裏の音

Audio Townscape l 15

Sound Sample 3

Notaion as Plan

Place: From the Peace Garden through the Winter Garden to the cathedral Day: Thursday Time: 10:00 a.m. Weather: Rain

This has an audio works, Please listen to the linked audio file. https://youtu.be/IltfRr8056A

16 l Audio Townscape

This notation is based on sounds recorded on a rainy day. Overall, the rain inhibits other sounds, making the sounds of cars and the like stand out and seem louder, resulting in an unpleasant experience. In addition, the rain drops falling on the umbrella also make a sound, so the presence or absence of a roof has major effects on the sound space on a rainy day. The recording starts at the Peace Garden, but the sound of the waterfall is not very noticeable due to the rain. Next, when entering the Winter Garden, although you could differentiate between being inside the space and outside of it through the changes in the echoes on sunny days, since the presence or absence of the sound of rain is sufficient on a rainy day, the difference between inside and outside makes a stronger impression. Also, since it's a rainy day, there are few people out in the town. The Town Hall's 10:00 a.m. chime is a contextual sound that everyone can understand. At around 4:00 p.m., the person talking that you pass is speaking in accented English, so you can tell they're not local. The final sound is a very distinctive space. This is because although the sound of falling rain is present, the echo is like an interior space.

雨の日に録音した音のサンプルを元に調査したノーテーションである。全体として、雨は他の音空間を妨げる要素であり、車などのノイズを大きくするので視覚障害者にとって、普段より不快な環境と言える。また、傘に落ちる雨粒の音が一つの空間なっており、屋根の有無やわずかな庇空間までもが音響空間に大きく影響する。Peace garden 録音の開始地点であるが、晴れている状態では印象の強い滝の音は雨のせいでただのノイズになってしまっている。次に Winter Garden に入った時は晴れの日はエコーの変化で内部空間と外部空間を把握していたのに対して、雨の音の有無で内外を把握できるので、より印象が強くなる。また雨の日なので街にはあまり人の声がしなく、静かで誰も街にいないような印象を与える。Town Hall の 10 時のチャイムの音 (3:10) は全員が理解できる Contextural Sound であり、場所と同時に時間も伝える特徴的な音である。4:00 あたりですれ違った人が話している英語が訛りが異なるので地元の人でないことがわかる。また、雨の日で音の数が少ないことからすれ違った人の特徴などを記憶しやすい。終盤に録音されている工事現場の足場の麓部分の音は、雨は落ちてる音はするため、外部空間のような場所であるが足音からの反響音は内部空間のようであるため、とても特徴的な空間である。

Notaion as Section People 1

People 2

People 3

- What kind of sound do you remember? You've got an umbrella in your hand. Yes, he was under an umbrella, yep.Your footsteps. Not at first, I couldn't hear much traffic, and then you went undercover because the rain stopped. You went under cover, and then you came back out because I heard your umbrella go up, and back into the rain ... Voices and a clock striking. At first, I thought it was the town hall clock, but now I think it's the cathedral clock because I heard a tram. Then you went under cover again. So, probably the first under cover ... well, you were quite a long time under cover, so say the Millennium Gallery or something, or Winter Gardens, or it could have been Orchid Square? But you sent to be under cover quite a long time.

- What kind of sound or do you remember? Yeah. Um, big vendors are cool. It ain't challenging. A man. Talk John at work and then the car went down and then choking, laughing and talking when Chyna shop or something. And then there's a Bush pull something. A character in Use that kind of people is are children. There were adults when women were a vendor, you, uh, when did you.

- What kind of sound do you remember ? At the beginning, it sounded like a fountain or wind in trees before you heard the rain. It was a different sound, so it could be a fountain. I couldn't hear rain then, you heard the rain on the umbrella, and walking along.Then you went indoors and sort of heard the doors creak, and then close. It sounded like almost a Tannoy sound ( Sound from a speaker). There was a very distant voice, as if there was a Tannoy going, or someone was talking over a loudspeaker system or something, but it was very ... You couldn't understand any of it, it was just a lady's voice. You walked through there, and then next set of doors opened, and as you went through those, there were some men talking as you put your umbrella up and then went out into the rain. As you're walking there ... Oh yeah, and shortly after that, heard the Town Hall clock, 10 o'clock, it actually chimed. I counted them. But it was ever so strange, because you could hear people talking, but you were clearly outdoors, but they sounded like they were indoors. I knew you were outdoors, because I could hear the rain on the umbrella, but they sounded like they were undercover, so the only thing … I think after I heard the clock chiming there were some ladies talking, but they sounded like they were inside and under cover, as if you were inside, but you weren't. And the only thing that couldn't make any sense is, and I never thought sound changed that much, would be the bus stop with the shelter. It sounded indoors. I've never noticed that before. Only because I've done this, I've thought, "Oh, that sounds different." Then, again, you went somewhere that sounded under cover. People's voices were echoing as if it was under cover, but there was no rain falling on your umbrella, but you could heard water splashing down and running. It's as if you were under some sort of concrete canopy, but part of it one side was still open, and you could hear a lot of water running down that was splashing off, and running down walls, what have you. You could hear some men walking past. And then again, you were back in the rain. So again, it sounded indoors, but obviously outdoors, because you could hear it was rainwater that was there. It wasn't a fountain or anything. It was like running down gutters and things. Then heard a ... Don't know, could it be a tram horn? It sounded like a tram horn, but I can't imagine where you would be to do that, to record that. So maybe a bus driver tooting the horn. In the meantime, actually, when those ... So there was lots of

- What character is there in your image? Some foreign people, some females. Not too many voices really. Just now and again, just people in town. But I did hear some foreign voices at first. It didn't seem very busy because it was raining, you see so- So not many people around. Puddles splashing. It's very nice, splashing. - What kind of buildings is there? So, first- Well, undercover for quite a long way. The first time and, at the second time I could still hear the rain dripping as though you were under a bus shelter or something. Probably under a bus shelter or something.

- What kind of buildings are there in your image? Uh, internal space or outside. Yeah. Or people recognize things sometimes. Yeah. I just went around with channel grounded peace gardens. Multiples. Yeah. And Cars Project Jewish. Sean, I'm crossing road actually twice as long. How many,

- How your emotion is changing from being to ending? Well, I'm glad when I'm under cover because I don't like rain, and when he was dry, under cover, that was fine, yeah. Rain makes noise from traffic and it makes everything louder. - Where do you think I record it? I will say under cover, probably the Winter Gardens. Then you walked to the cathedral, because I heard the cathedral clock. I thought it was going to be the town hall clock, but then I heard a tram at the same time, so cathedral. But you could have been Orchard Square, under cover.

C-7: 雨の日の Winter Garden の反響音 C-6: Winter Garden の床のテクスチャー

P-14:Town Hall の 10 時のチャイム

Strength of Sound Impression

S-8: 雨の日の Winter Garden の出入り口 S-7: 雨の日の Winter Garden P-15: 雨が傘を叩く音 P-17: 水たまりを歩く音

S-9: 音の変化が少ないオープンスペース

C-8: 細い路地空間の足音と特徴的な反響

P-16: バスの水しぶき

P-13: 雨の中、足早に歩く人々

1:00 2:00 0:00 light traffic, sort of cars. You could hear lots of tires on the road. Couldn't really tell what the vehicle was, but you could hear obviously it was tired moving in the water on the road. You could hear that and then towards the end, you would hear that as well. It's not a lot of engine noise, so the cars are moving quietly. Yeah, it's clearly outdoors, but the indoor sound that threw me, because it sounded a bit odd. I mean, the bit where you heard the men, it sounded like you were doing an underpass. You went down an underpass and under a road, but there aren't any in Sheffield. Well, there are, but there's not many. But the fact you could still hear a lot of water dripping and running made me think, "It can't be going under a road, because that would essentially be quiet." It'd echo as it did, but you wouldn't hear water, so it's somewhere where water could run at the same time, and I'm not sure where that is. So I don't know where you went. No, it's a bit of an odd one, that. I'm guessing the Winter Gardens, only because I know they have automatic doors, and they sounded a bit like automatic doors. But that was all. After that, hear the Town Hall, because it was the Town Hall clock, that one that was chiming. - What kind of people is there? Not many. At the beginning, not many at all. When you went through the building, there were people stood talking. I'm assuming they were standing under a cover as the doors opened, and they were covered. There were a couple of ladies talking again under cover, as you walked past them, through the recording. So they were keeping out of the rain, and then you passed some other people, some men, and this other indoor sounding, but clearly outdoors, because you could hear the water. But very few people, so I would think ... I would say it was 10 o'clock on a Sunday, because 10 o'clock because of the chimes, and Sunday because it's the quietest day of the week, so there are the least amount of people around. Saturday, I think there'd be more people around. - How your emotion was changing from beginning to end? Again, miserable day, not nice to be out. Different to the other one in some ways, but the fact that there seem to be fewer people, it sort of felt lonely. There were not many people around, so you definitely felt like you were on your own. I didn't like the undercover bit towards the end, because that was the sound of an underpass. I never like that sound, so I always get apprehensive with sounds like that. So I didn't like that strange covered sound of you were undercover, but still, there was still a point somewhere around that was open to the rain. - Where do you think I recorded it?

3:00

4:00

5:00

6:00

The only places I can imagine are ... You went through the Winter Garden, started round about Tudor Square, but I don't know what the first sound was, because it sounded like fountains, but I don't think there are any there. Into the Winter Gardens, through ... See, this doesn't make sense, because it's not long enough. No, that doesn't make sense. But into the Peace Gardens, hear the clock, people stood at a bus stop on Pinstone Street. But then, the only place I can imagine that sounds indoors but you could still hear the rain as if it's still running near you, and has that sort of underpass, echoey sound might be those steps that you went on once before, that goes from Arundel Gate to the Peace Gardens, so if you doubled back on yourself to get to those. But that would take longer, so I can't imagine where ... Unless you started in the peace gardens, went the other way through the Winter Gardens, the men were stood under the cover at the end there, you went out to Tudor Square. Obviously, you would hear the Town Hall clock, but I don't know where the other sound is that sounds covered but not ... But open-air, but covered with the men. I don't know where that could be.Towards the beginning. It was empty. There was a sort of a Tannoy sound of an announcement. I didn't really hear anyone else, notice anyone else there, until you went outside, and there were clearly people stood, keeping out of the rain. The floor didn't squeak, and he must've had wet shoes, because he walked in, and it wasn't a squeaky floor, so it wasn't a polished floor. So a highly polished floor will squeak when you walk on it. It wasn't, so maybe it was just plain concrete. I don't know what the floor is in the Winter Gardens, I don't know if it was that or not. Because when you went inside I thought, "Oh, I'll hear your shoes squeaking," because often they do when they're wet and you walk inside first thing, and they didn't. And I thought, "Okay, that's interesting." So I couldn't quite work out why that was ... So that seemed a bit odd, but it just sounded, whatever the place was, it sounded like there was really no one else there, no one had turned up. It was open, clearly, because you could get in, but it was empty. There was some sort of fountains or something, or wind blowing in the trees. But I didn't hear the rain on your umbrella, so that's what made me wonder where you were, because I'm thinking, "Well, I think you're outside, but it doesn't sound like it's raining." So that sounded a little odd, and then when you went through the first bit into the next bit where you came out again, it was clearly raining, because I think that girl said you heard your umbrella. You pressed the button and your umbrella went up. Heard that, so, "Oh yeah, it's raining." Then you could hear the rain on the umbrella. So the beginning actually sounded like maybe it wasn't necessarily... Right at the beginning, it sounded like it wasn't running, and then it sort of did rain. So I don't know if you had your umbrella up at the start or it literally started raining as you were about to walk in the building, and you didn't bother putting it up until you walked out the other side and it was raining properly. But yeah, it was an odd one, because I couldn't quite figure it out, unless the fountain or tree sounds were masking the sound of the umbrella and the rain.

Serial Sound Place of Sound Contextural Sound

Elements of Sound Place of Sound

Serial Sound

Contextual Sound

S-7: 雨の日の Winter Garden

P-13: 雨の中、足早に歩く人々

P-16: バスの水しぶき

C-6: Winter Garden の床のテクスチャー

S-8: 雨の日の Winter Garden の出入り口

P-14:Town Hall の 10 時のチャイム

P-17: 水たまりを歩く音

C-7: 雨の日の Winter Garden の反響音

S-9: 音の変化が少ないオープンスペース

P-15: 雨が傘を叩く音

C-8: 細い路地空間の足音と特徴的な反響

Audio Townscape l 17

Sound Sample 4

Notaion as Plan

Place: From Cathedral through the Orchard Square to the Leopold Square Fountains Day: Thursday Time: 10:30 a.m. Weather: Rain

This has an audio works, Please listen to the linked audio file. https://youtu.be/LMU47RnTByI

18 l Audio Townscape

The sound of rain is present throughout. The

このサンプルもまた全体的に雨の音がする。雨の音は

sound of the rain magnifies the urban noise and

都市のノイズを増大させつまらない印象にする。様々

gives a boring impression. A variety of sound

な音の要素が雨によってかき消されてしまう。しか

elements are erased by the rain. However, when

し、屋根の下から街を眺めている分には雨の音は不快

looking out on the town from under a roof, it's

ではなくリラックスできる音である。はじめに仮設建

relaxing and not unpleasant. You first notice

築の下を抜けたときに屋根の存在に気がつく。しか

the presence of the roof when coming out from

し、長い間特徴的な音はなく車ののノイズとバスの扉

under the temporary structures. However, there

が閉まるノイズしか聞こえない。雨の日に歩いている

are no distinctive sounds for a while after this,

音は孤独感を与える。街には人があまりいない印象を

and all you can hear are the noises of cars and

与えており、人は屋根の下で雨宿りをしているような

the sounds of bus doors closing. The sound of

想像ができる。中心部の商店街から Orchurd squie と

walking on a rainy day gives a sense of isolation.

いうショッピングモールのエントランスに入ると屋根

There's a roof when you enter Orchard Square,

があり、雨の音がしなくなることで内部空間であるこ

and the sound of the rain dies off, so you can tell

とを認識できる。また、ここではスピーカーから音

you're in an interior space. In addition, there's

楽が流れており、この音楽と Orchurd square の屋根

music playing here, and it combines with the

の高さから特徴的なエコーが作られている。Orchurd

height of the Orchard Square roof to create

squaire を通過すると、また車のノイズが印象的にな

a distinctive echo. When you pass through

る。バスのエンジンの音でいつも乗るバスかどうかを

Orchard Square, car noise once again makes

判断できる。また車は特に水しぶきをあげながら走っ

an impression. You can tell whether a bus is the

ている音がするので、視覚に頼らない都市では大変不

one you always ride by the sound of the engine.

快な音である。最終的には小さな噴水に行き着くが、

Although you arrive at a small fountain at the

その音は一切雨の音や車の騒音で掻き消されるため把

end, the rain drowns out the sound entirely.

握されない。

Notaion as Section People 1 - What kind of specific sound do you remember? Rain with an umbrella. Briefly went undercover in a bus shelter or something. I think I heard a tram because I didn't hear the tram rumble, but you know when the doors open it goes, "Bleep, bleep, bleep." I thought I heard that, or it could be a vehicle reversing. I heard the number 52 bus. I think I heard a bus, and it was number 52. I heard a bus because it's got an engine, and the 52A has which is what I catch, another noisy engine. 52 ... Well, I heard the bus. Then you went under cover with music, so I'm thinking that was Orchard Square with the music, briefly, then you were back out again. Then I heard other heavy ... A little bit of splash from the vehicles. Splashing. Yeah. And then one of the vehicles was quite loud in the rain, yeah. Not many people around. I could hear the music, you know. If you were in Orchard Square sounded quite empty, echoey. Back out into the rain, flip umbrella.

- How you are emotion changing from beginning to end? Glad when you were under cover. Yeah. Wanted to stay under cover. How about under cover is with the music playing. - Can you identify where is it? I was going to say Orchard Square, Leopold Street and Church Street. - How do you think this sound for you? Well yeah, but I did hear a noisy bus and I thought, "Oh, that sounds like my 52 bus." A vehicle at the end, quite noisy, what with the splashing up the rain, just sounded empty inside the shopping area where you was, yeah.

- What kind of people is there? Not many. I didn't really hear many people, just murmuring, murmuring, you know. Yeah. No conversation. - What kind of building is there? You went under cover briefly. At the beginning, it sounded like you was under some trees or under a bus shelter just briefly because it stopped coming down on your umbrella, just very briefly, half a minute. Then you went under cover, heard music, and then back out into the rain.

Strength of Sound Impression

- What kind of sound do you remember? First thing was the rain. Obviously, you could hear that on an umbrella or something, it was on some sort of cover. Then I heard a tram, the little bell they have. I thought, " somewhere near the tram." Some of the vehicles around. Your feet in the rain, you could hear the splash on the pavement, so it was quite wet. There were clearly people around, but there was no one near you. They were distant, they were all keeping out of the rain. You were the only person walking in the rain. I couldn't tell what sort of nationality ... I assume they were English. I was speaking English, but it's hard to tell a nationality of any sort. Then you went indoors and it was clearly a smooth, shiny floor because you could hear the shoes squeaking because they were wet. That was a fairly short distance you were indoors, or under cover anyway, if not indoors you were undercover. And you'd walked through somewhere and then out the other side. Then heard some vehicles. Before you went under cover it sounded like, it must have been distant vehicles because it sounded like wind blowing round buildings, like a whooshing sound. I could only imagine that was a distant vehicle. The only other sound I know that's like that, and I can not imagine anywhere in Sheffield where you would hear it, is the sound you get from elevators as they go up and down buildings. Moving that amount of air, as they go up or down they push a lot of air around. That's actually what I thought of. I can't imagine that at all anywhere in Sheffield outside, so it had to be a distant vehicle. Then there were more vehicles close about. Heard some music, Not sure what that was. It was just a wet, quiet day. Not much happening, and I assume the vehicles that you heard were buses that had to ... you didn't really hear any cars, they always have big diesel engines so I'm guessing they were just buses, and the tram at the beginning. Not a nice day to be out.

P-22: Orchurd Square のスピーカーの音 S-12: 人の少ないショッピングモール

P-20: 雨宿りをしている人の会話

P-19: P-18: 排水溝を流れる雨水の音

People 2

P-21: 大型バスの騒音

S-10: Orchurd Square の入り口

から流れ出る雨水の音

S-11: 音が徐々に変化する屋根

P-23: 雨の音に紛れる West Street の噴水

0:00

1:00

3:00

2:00

Timeline of Sound samples

4:00

People 3

- What kind of people is there? Not many. They were avoiding the rain, maybe in a shop, maybe heard through an open window. Or they were keeping under cover out of the way, there was some sort of big covered area that they were ... They weren't near you, they were away trying to avoid walking in the rain or being in the rain. Fairly quiet, so not a lot of people around. I think a quiet day.

- What kind of sound do you remember? There was traffic, a lot of cars or something like that, one side resolves the traffic, some people here and super trams there, but most of that is traffic. Background noise is traffic, or something travelling in the car, or something in the city centre. First of that is a train and in the city centre and I must be in the car.

- How your emotion is changing from beginning to end? You just don't want to be out in the rain. It sounds like you got quite wet doing this recording. It's the sort of thing were you go ... Apart from the bit where you clearly went undercover. You don't want to be out there, it's just not a nice day. You want to be inside, you want to get from A to B, and it's not pleasant being outside. You'd be in a rush, you'd be in a hurry. You've left somewhere, you're going somewhere, you just want to get there as quick as you can to keep out of the rain. And so, yeah, just not nice. It wasn't particularly heavy rain, it was lightish rain. But in this country they say, "It's the sort of rain that would wet you through," because it's the sort of rain that can be blown about if there's a breeze. And so, no matter if you have an umbrella or not, you're going to get wet because it's going to blow with the wind. So yeah, just not a nice day, just unpleasant.

- What kind of characters are there in your image? I think it is in the city, not park as there are no birds and anything. When I was from one to next, I was travelling from one part of the city to next. Some of the places were not busy in the city centre, because there was a noise.

- Are you able to identify where I record it? Like I say, I heard the tram at the beginning so I'm thinking you started ... The only place I can imagine, because you went in and out into the rain again, is you started somewhere near the cathedral, because obviously trams can be there, can be other vehicles there. But the in and out bit I couldn't figure because I'm thinking, Winter Gardens, but then I thought no, I thought actually going through the bottom of T.K. Max and then out into Orchard Square. The inside and out, maybe there'd be music. A very quiet day, because if you were in a shop it was very quiet, there weren't a lot of people. So you were in and out, and then I would think you went up into Orchard Square then turn right at the pub and went onto Leopold Street and round that area is my guess. It's because of the short in and out of the rain near the beginning, I can only imagine. And then maybe, I don't know, you walked into Barker's Pool or went down Fargate or ... No, not Fargate because there's still traffic around. You walked down Pinstone Street, because the traffic stayed close by, or close-ish by. So maybe Pinstone Street, maybe Surrey Street, possibly Barker's Pool. There wasn't a lot of traffic. Nothing particularly happening. Just not a nice day.

- How your emotion is changing from beginning to end? That is a boring city as that is nothing really of characteristics sound. I did not recognize the sound of t any places, it would be just traffic, you know it is too hard to distinguish. In terms of the emotion, this sound track is boring for me, I prefer the sound in the countryside. That is because the sound is silence and there is clean air, there is less traffic. the city centre is boring. the sounds of always like when I use to go to school at the weekends, peopleware relax. - When and where do you think I recorded this? This sound is recorded in the morning on Sunday.

Serial Sound Place of Sound Contextural Sound

Elements of Sound Place of Sound

Serial Sound

Contextual Sound

S-10: Orchurd Square の入り口

P-18: 排水溝を流れる雨水の音

P-21: 大型バスの騒音

C-9: 雨の広場

S-11: 音が徐々に変化する屋根

P-19:

P-22: Orchurd Square のスピーカーの音

C-10: 雨の日の工事現場の足場

S-12: 人の少ないショッピングモール

P-20: 雨宿りをしている人の会話

P-23: 雨の音に紛れる West Street の噴水

C-11: 雨の日の Orchurd Square の屋根

から流れ出る雨水の音

Audio Townscape l 19

Sound Sample 5

Notaion as Plan

Place: Spiegeltent Sheffield Day: Sunday Time: 4:30 p.m. Weather: Sunny

This sample is sound from an open space in a

都市のオープンスペースの音である。全体的に

city. Overall, there are few traits to the sounds,

音の特徴が少なく視覚障害者にとっては空間と

so it is difficult for someone visually impaired

して認識することが難しい。まず、オープンス

to perceive what the area is like. To begin with,

ペースなので風が回っているような音がする。

there is a sound of wind blowing because this

また、歩いている足音が大きく聞こえる。小さ

is an open space. Also, there is a loud sound

く水の音があるので近くに噴水などがあるのが

of people walking. There is a faint sound of water, so it is understood that there is a fountain nearby, but the sound of this water is very weak compared to the Peace Garden. Near this sound are the voices of children and their guardians, and those form an image of this area. The sound of laughter and the voices of children gives it a very peaceful impression. In the middle of it, the

This has an audio works, Please listen to the linked audio file. https://youtu.be/hacWIu5BasE

などに比べると非常に弱い物である。この音の近くは子供たちとその保護者の声がして、それらは空間をイメージを作っている。笑い声や子供の声からとても平和的な印象を与える。途中から City Hall から流れる音楽に近づいていく。しかし、この音も大きい反響空間を生み出すた

music from City Hall gets closer, but this causes

め空間認識を鈍らせている要因である。最後に

a weakening in spatial awareness because this

トラムの音がする。しかし、この音は遠くから

sound creates a large echoing space. Lastly,

発されているような印象である。この場所は空

there is the sound of drums, but the impression

間を把握するだけの音が存在していなく、様々

is that this sound is coming from far away.

な種類の音がいろんな方向からするので方向が

This location does not only contain sounds for

わからなくなってしまう。

understanding what this area is like, and there are all kinds of sounds coming from various directions, so it is disorienting.

20 l Audio Townscape

わかる。しかし、この水の音は Peace Garden

Notaion as Section

People 1

People 2

- What kind of specific sound do you remember? Well, I thought it was raining, and I would have said, we were at Peace Gardens and there was the water coming because I could hear water. And, except for River Don, the only place of water I can think of is, I would have thought was near the fountains, and what not at the centre of town. Because in the back, I could hear buses and I couldn't hear any trams, so it wasn't further out. I should have said, I was in the centre of town, where Bantams are, this side of the town hall. Because I could hear the buses and I could hear people talking, but I could hear children playing.

- What kind of sound do you remember? Oh, quite a few. Water at the beginning, actually right at the beginning I thought it was indoors but it changed and I thought it was outdoors, but water with traffic. So some sort of running water, fountain, fountain or waterfall, or something like that. Quite a lot of traffic moving past that pedestrian crossing, so I heard it beeping. And the water faded away but I could still hear a bit of traffic. Then that faded away. Then I could hear, I'm guessing it was a cafe of some sort or an outdoor restaurant. It sounded like cutlery being moved around. So someone got a handful of knives and forks. Lots of people talking all the time. Oh before the cutlery, it sounded like children. I couldn't quite work out where the children would be, because I knew where I was thinking it was but I didn't ... the sound of children didn't quite fit there for me. Then the people talking, walking, trees, the wind blowing in the trees and then more traffic. So sounds like walked up to the main road. Possibly on a pedestrian area to a main road. After that, I heard what I thought was a town hall clock chiming the quarter hour. That sounded distance-ish. So we weren't next to it. We were, I don't know, maybe up to half a mile away, a quarter of a mile, half a mile, something like that away from it. Then more people talking, heard children, they sounded indoors. As if you'd gone inside somewhere, but if it was indoors, it was big. Because it didn't sound like a small indoor place, it sounded indoors but not indoors. Then birds and more water. And I'm thinking I couldn't quite figure out where the birds would be. But then sounded like more water and some ... I thought, I heard a train in the background or some sort of whistle type thing, but that was quite a way off. Quite faint. Not sure where that would be. So it was urban, but it was moving from between I think major roads. One major road at the start, near the stop then it went quiet to then another road to the sound of lots of vehicles, some quite big vehicles, so definitely lorrys, buses, things like that as well as cars. I heard the air brakes of something. I guess that was the bus.

- What kind of place is there? Well, it's quite an open space, I think. But there were children playing because I could hear children's voices. And the buses were behind me. I could hear other people talking, it sounded to be a lot of people, actually. There were quite a few people talking, so I think, with hearing the water has made me think as though it was open space. I just can hear people all the way, around me. But buses and cars were behind me.I was facing this, and I could hear the children, here. And I could hear the water, it sounded like rain. And I could hear the water, but the traffic was behind me. I felt as though it was. Very heavy traffic. I heard a bus, must have been near a bus stop, because I heard it kind of, start off. - How are your image and emotion changing from the beginning and end? I was quite happy at the beginning. Quite content, because I could hear the water, and I knew I was near water. And then the traffic came, and it was very heavy traffic. And I wanted to look over my shoulder. It was okay at first, but as it got louder, and it sounded as though...and there were buses, or something behind me, some traffic. And it's a bit, "Oh, what's that?" And then I realized, it wasn't right at my shoulder, it was a bit further away, so I wasn't as worried. It didn't worry me because I thought it was a bit further away. I thought it was behind me. I would have said I was facing the nice part, the water. And it was at the back of me, where the buses were because I heard these buses and car- Where do you think I recorded it? I think it was the water at the side of Sheffield Town Hall. It sounds as though water is flowing, and I would say it was Peace Gardens. But I would say, it was the steps, as you go down to Peace Gardens, I think I was stood at the top of it, because I could hear water there at the side, coming down. And then I could hear water somewhere else. And buses at the back of me.

- What kind of people are there in your image? Busy people? Definitely on the move. Certainly at the beginning people were definitely going somewhere. They weren't just standing around. But slightly later on, again, people active, But not necessarily going from A to B. They was maybe moving around an area. That's when I heard the cutlery. That sounded like a cafe or a restaurant. As if there was people out, but they were still doing something even if it was slightly socializing. They sounded... they're just playing around. Some sort of game that made up, maybe just running about, they were just having fun. I'm guessing you might've recorded some of this last week when they were off school because then the children would be out in the day. They wouldn't be at school. Yeah. Now say towards the... I could hear the birds. I couldn't quite figure out in Sheffield where that would be. Not from where I thought it started, but definitely trees, the leaves rustling in the breeze and things like that. A nice day. It sounded a nice day. I noticed it right towards the end. Really noticed them towards the end as if you were definitely near a tree or bushes full of birds. Not... yeah, I didn't really notice them at the beginning. It was at the end, which caught me out something. No, I wonder why that is. So yeah, it's somewhere where there's birds. Now that I'm thinking possibly if I'm thinking about a place that the bush isn't better around the Peace Gardens maybe. But I was also thinking, but I'm thinking no, there's nothing anywhere that... couple of trees there but not much. you've got the sort of steps of water that come out and down.

P-27: 移動遊園地の機械音 Strength of Sound Impression

C-12: 巨大なオープンスペース P-24: 遊ぶ子供と保護者の声

P-25: 2 つの小さな噴水

P-25: 2 つの小さな噴水 Timeline of Sound samples

0:00 - How are you are image and emotion changing? Yeah, it sounded busier, more work orientated at the beginning and then became more relaxed as it went along as if you were somewhere. At the start it was people going to work or transiting between work. Then it sounded... the idea of where the cafe was, it was people who might be at lunch or a weekend and they're outside having lunch or eating outside or something like that. But it still sounded... it wasn't leisure. It was maybe midday. Yeah, children playing and then the birds definitely, although it was still in the city, you could still hear vehicles and things. You weren't close to them, like you clearly you were still at the side of roads at one point as things were going past. Again, it was another sort of a slightly more relaxed. Again, it was more getting towards just sitting, enjoying being there. Type of place where you're just happy to sit, maybe have a drink and just sit and look around, listen to the birds, children playing, things like that. Maybe the water you could hear and just you're just relaxing. So, so the end, but it sounded like you people would just go and relax. Active, working, something like going to work, from work, something like that. Yeah, I mean the first guy I actually thought, if I had to place myself, I was down at the railway station and I'm walking up through Hallam University and up there that's where I was. That's the picture I had in my head, partly because I did that this morning. So I got off the tram at the back of the railway station and literally walked into work. So I did that route this morning. I know, yeah, I noticed that. There's a lot of people, a lot of traffic. So, I actually did that, and funnily enough, water was working today. They've had it switched off for awhile and that was all running today. So, that actually put me exactly where I was this morning at, I don't know, about about 22 eight, quarter to eight this morning and that sound was what I heard this morning. So that bit made a lot of sense to me. After that, with the cutlery, I'm thinking, no, I don't know. I have not been up there in the middle of the day so I couldn't quite place that. But then we came to another road and I'm thinking oh, yeah, that maybe, that is an Arundel Gate, and we're crossing over Arundel Gate. So that all fitted what I did this morning. But some of the sounds didn't fit, because I did it very early in the day and I'm thinking lately, that was later in the day. The first bit still sounded like it was rush hour. It was busy. It was people going to work or going home. It was that time of day either first thing or last thing in the day. The second bit with the cutlery sounded later in the day, maybe lunch time, it was slightly different. And then I guess there's a bit with the children that it could have been in the Winter Gardens, which would be indoors and outdoors at the same time. Because its big enough not to echo and it's got trees and things and there are no birds. So you might have gone through the Winter Gardens and then into the Peace Gardens. So I'm guessing that was a part route or sounds that make up that route to me. Cause clearly you, I could tell you cooked little bits but you stopped and started and, but that's the only route in my head that would possibly make those sounds, that I can't imagine a route that would do that the way you've got it recorded.

1:00

-Where do you think I recorded it? I think you started possibly just inside the station and then walked out and not that slope where you've got the metal wall with water on one side and you've got the little waterfalls on the other side. I'm thinking you walked up there because I know there's a crossing at the top that beeps and the amount of traffic sounded the right amount of traffic. That's a very busy road. There are two lanes of traffic in each direction. So, that all seemed to fit the sound. There was actually sound of traffic after that, which I didn't quite get. Howard Pub is, and that could have been some buses. Often there's nothing on it. But, I also heard children there, which didn't... you wouldn't have children running around there because it's dangerous. So that didn't quite fit. My plan was I was basically walking almost as if I was coming to work, but then cut through the Winter Gardens and out into the Peace Gardens, which I wouldn't do in the morning cause that would just make it longer. But it was that sort of... that's the route I had in my head when I was listening to that. - How is the difference between the waterfall water at the beginning and end? Well, I think it sounded like you were in something like the concourse part of Sheffield Station where you get the tickets. Just inside there. Slight echoey. But not too much. So, it was clearly a big place, but not like the winter gardens. And then the sound of the water. That was hard at the beginning because if it is that you've got water, both sides that you can hear and it's slightly different. And one of them as the fountains pumped up as well at the bottom. So you've got that sound of water running. But a lot of traffic, which was, the thing's still a lot of traffic wherever that is. And then at the end, the traffic was further away. You could hear a lot of water, but the traffic is there. But I know, again, if I had said its the Peace Garden, Pinstone Street isn't as busy as... I don't even know what it's called that one by the station. I don't know what that road's called. But I know Pinstone street, it's just not as busy. There isn't as much traffic on it cause they don't allow traffic on it much. But there was still some traffic there towards the end, but then there are the big fountains if they're going, that makes a lot of noise.

People 3 - What kind of sound do you remember? I remember the waterfall. I remember the pelican lights, and I remember the sound of something running over train tracks. It sounded like cars, because it sounded, like when it goes, "foop foop foop foop?" It sounded like that. But then, saying that, I heard kids shouting and that. Maybe it could have been a train station. I don't know, because there was a lot of garbled talking. Really, a hell of a lot of cars. - What kind of characters are there in your image? Adults, children, How many buildings in the story of buildings? I didn't sound as if there were many buildings at all. Not to me, anyway. It sounded as if it were in that area, to me. And that's about ... I mean, it could have been somewhere totally different because I just remember a waterfall. Train tracks. And people standing talking. - How are your image and your emotion changing from the beginning and end? In end and beginning it was quite distinct, but as it got nearer to end, I had to sort of really listen to see what we're listening ... to hear what we're listening to because it got dimmer and dimmer as it went all silenter and silenter as it went on. The most forceful thing was the waterfall effect. And, men talking. And a couple of children. Basically, because they were shouting. - Where do you think I recorded it? I think it was near a railway station, because I've heard and I've seen the fountain, well the wall, at the station. It was more prominent, because I know the peace garden, or whatever, there.

Serial Sound Place of Sound Contextural Sound

Elements of Sound Place of Sound

Contextural Sound C-12: 巨大なオープンスペース

P-24: 遊ぶ子供と保護者の声

P-26: スケートボードが滑る音

P-25: 2 つの小さな噴水

P-27: 移動遊園地の機械音

Audio Townscape l 21

Sound Sample 6

Notaion as Plan

Place: From Sheffield Station to the Peace Garden Day: Tuesday Time: 4:30 p.m. Weather: Sunny

This has an audio works, Please

This sample starts from Sheffield Station and goes

Sheﬃeld の駅から街の中心部までのサンプル。まず、

to the central area of the town. First of all, the echo

駅の中のエコーは非常に特徴的で Contextural Sound

inside the station is an extremely distinctive contextual

と言える。次に駅前の道路から Traﬃc のノイズがする

sound. Next, there's noise from traffic on the road in

が、駅前の Water Wall がその音を吸収してくれるた

front of the station, but since the Water Wall in the

め、快適な音響空間となっている。しかし、大通りを

same area absorbs the sound, the acoustic space

渡るために再び traﬃc のノイズが大きくなる。これ

is pleasant. However, the traffic noise grows louder

らの音は不快な音である。そして、信号のビープ音も

when you cross the large street. The sound of the

印象的であり、この音の長さから道路の大きさを把握

traffic light also makes an impression. Children playing

できる。この音のすぐ後に、子供たちが遊ぶ声がする

can be heard here, and this is an extremely strange

が、非常に奇妙である。なぜなら、その音は大通りの

feeling. The reason is that it sounds like they're

すぐ横で遊んでいるように思われて危険な印象をあた

playing quite close to the traffic sounds, which gives

えるからである。またすれ違う人々のこえから、人々

an impression of danger. When people pass by, they

は急いで歩いているような印象を与えられる。これか

seem to be rushing due to the sounds of their voices

ら駅に向かう人が主に使っている道ということが想像

and rapid walking. You can hear someone having a

できる。外で食事をしている音が聞こえる。また大通

meal outside. You cross another large street. As the

を渡る。Peace garden に近づくにつれて、音の印象

Peace Garden gets closer, the impression the sound

がかなり変わりリラックスした印象となる。階段を足

gives changes a great deal, taking on a relaxing

音も特徴的であるがこの音の後から、忙しい印象の音

atmosphere. The final section gives the impression

空間は落ち着いた空間へと変化する。最後にはビルに

of an interior space due to the echoes of sound off of

音が反響して内部空間のような印象を与える音空間を

buildings. Although the sounds of birds singing and

聴く。ここでは鳥の声や水の音がするため実際には外

water are actually outdoors, they give an impression

であるが、Winter garden の中のような印象を与える。

listen to the linked audio file. https://youtu.be/wNPfp2NJlNU

22 l Audio Townscape

like being inside the Winter Garden.

Notaion as Section

People 1

People 2

- What kind of specific sound do you remember? Well, I thought it was raining, and then, I would have said, we were at Peace Gardens and there was the water coming because I could hear water. And, except for River Don, the only place of water I can think of is, I would have thought was near the fountains, and what not at the centre of town. Because in the back, I could hear buses and I couldn't hear any trams, so it wasn't further out. I should have said, I was in the centre of town, where Bantams are, this side of the town hall. Because I could hear the buses and I could hear people talking, but I could hear children playing.

C-15: 大きな交差点の誘導音 P-33: バスの騒音

Strength of Sound Impression

S-14: 水の流れるオブジェに沿った遊歩道

P-31: 忙しそうに歩く人の足音

S-13: 駅から街に向かう道 C-13: 駅の反響音

P-33: バスの騒音

P-28: 道路に面した広場で遊ぶ子供の声

P-30: ビルの間の木に集まる鳥の声

P-29: テラスでビールを飲む人の声

S-15: 車道から隔離された静かな歩道

P-32: 水の流れるオブジェ

C-14: 水の流れるオブジェ Walter

0:00

1:00

2:00

3:00

4:00

Timeline of Sound samples - How are you are image and emotion changing? Yeah, it sounded busier, more work orientated at the beginning and then became more relaxed as it went along as if you were somewhere. At the start it was people going to work or transiting between work. Then it sounded... the idea of where the cafe was, it was people who might be at lunch or a weekend and they're outside having lunch or eating outside or something like that. But it still sounded... it wasn't leisure. It was maybe midday. Yeah, children playing and then the birds definitely, although it was still in the city, you could still hear vehicles and things. You weren't close to them, like you clearly you were still at the side of roads at one point as things were going past. Again, it was another sort of a slightly more relaxed. Again, it was more getting towards just sitting, enjoying being there. Type of place where you're just happy to sit, maybe have a drink and just sit and look around, listen to the birds, children playing, things like that. Maybe the water you could hear and just you're just relaxing. So, so the end, but it sounded like you people would just go and relax. Active, working, something like going to work, from work, something like that. Yeah, I mean the first guy I actually thought, if I had to place myself, I was down at the railway station and I'm walking up through Hallam University and up there that's where I was. That's the picture I had in my head, partly because I did that this morning. So I got off the tram at the back of the railway station and literally walked into work. So I did that route this morning. I know, yeah, I noticed that. There's a lot of people, a lot of traffic. So, I actually did that, and funnily enough, water was working today. They've had it switched off for awhile and that was all running today. So, that actually put me exactly where I was this morning at, I don't know, about about 22 eight, quarter to eight this morning and that sound was what I heard this morning. So that bit made a lot of sense to me. After that, with the cutlery, I'm thinking, no, I don't know. I have not been up there in the middle of the day so I couldn't quite place that. But then we came to another road and I'm thinking oh, yeah, that maybe, that is an Arundel Gate, and we're crossing over Arundel Gate. So that all fitted what I did this morning. But some of the sounds didn't fit, because I did it very early in the day and I'm thinking lately, that was later in the day. The first bit still sounded like it was rush hour. It was busy. It was people going to work or going home. It was that time of day either first thing or last thing in the day. The second bit with the cutlery sounded later in the day, maybe lunch time, it was slightly different. And then I guess there's a bit with the children that it could have been in the Winter Gardens, which would be indoors and outdoors at the same time. Because its big enough not to echo and it's got trees and things and there are no birds. So you might have gone through the Winter Gardens and then into the Peace Gardens. So I'm guessing that was a part route or sounds that make up that route to me. Cause clearly you, I could tell you cooked little bits but you stopped and started and, but that's the only route in my head that would possibly make those sounds, that I can't imagine a route that would do that the way you've got it recorded.

Serial Sound Place of Sound

Elements of Sound

Contextural Sound

Place of Sound

Serial Sound

Contextual Sound

S-13: 駅から街に向かう道

P-28: 道路に面した広場で遊ぶ子供の声

P-31: 忙しそうに歩く人の足音

C-13: 駅の反響音

S-14: 水の流れるオブジェに沿った遊歩道

P-29: テラスでビールを飲む人の声

P-32: 水の流れるオブジェ

C-14: 水の流れるオブジェ

S-15: 車道から隔離された静かな歩道

P-30: ビルの間の木に集まる鳥の声

P-33: バスの騒音

C-15: 大きな交差点の誘導音

Audio Townscape l 23

Audio Town

や状況を表現しており、都市は音からデザインすることで、感情的な音で満たされた豊かな空間となる。これは John Cage が提唱したの「偶然的な音楽」や Bernard Tschumi の目指した「偶然的な都市」のように、人々が街を歩くことで

「偶然的に音に出会う都市」を目指す。また、これは音から

都市を歩けようにすることから、視覚障害を持っている人に

とっても歩きやすい都市となる。この提案では、「音の都市」を都市の音をコントロールするサウンドフォリーとサウンドインスタレーションから設計する。これらは都市の音を増やすだけでなく、ノイズを軽減したり、音を整理することで快適な都市空間を設計していく。

Fontana Mix: Amanda Lynn Roehl, John Cage twentieth-century avant-garde composer and a historical perspective of his use of graphic notation in composition, ProQuest LLC, 2012, pp 44

Exploded Folie : Migayrou, F. and Tschumi, B. (2014). Bernard Tschumi. Paris: Centre Georges Pompidou, p.110.

24 l Audio Townscape

左：ラビレット公園 (Bernard Tschumi) フランスの都市公園内にフォリーという機能を持たない建築を点在させることで、人が偶然的に都市の行為に出会う空間を設計した。私のプロジェクトでは「音」という観点からフォリーを作成し人が音に出会う都市を設計する。

Sound Installation

Sound Folly 6

Sound Folly 7

これらの研究を元にして音の都市をデザインする。音は経験

上：Fontana Mix のノーテーション (John Cage): 音の偶然性から作られた音楽。作曲者が音楽を作るのではなく、演奏者がこのノーテーションから曲を組み立てていく。この偶然性の音楽は都市の音空間に非常に似ている。

Sound Folly 3

Sound Folly 2

I will design a city of sound based on this research. Experiences and situations can be interpreted through sound, and by designing a city from the acoustic point of view, I aim to build a city in which people can pick up the smallest details in everyday life through sound. In the same way that John Cage proposed "The music of chance" and that Bernard Tschumi aimed to build a "City of chance", I aim to make a city where we meet sound by chance just by walking through the city. Additionally, by making the city walkable with audio cues, it will become an extremely accessible city for the blind. Specifically, I will develop Sound Folly and Sound Elements which will control the sounds in the city. These tools will not only increase the variety of sounds in the city but also reduce harmful noise and adjust it to create a cozy urban environment.

Sound Folly 9

Sound Folly 1

Sound Folly 8

Sound Folly 4

Sound Folly 5

Sound Folly: Based on the notation I have made, I will analyze the positioning and relationship of the urban sounds and pick up notable and problematic places. This is a reference to Bernard Tschumi's folly concept used in his design of the La Villette Park, which was "A folly to induce people to get in touch with activities by chance", while the Sound Folly is "A folly to induce people to get in touch with sounds by chance". In addition, this folly will help people to travel through the city without depending on sight.

Sound Installation: Architectural features that improve the acoustic environment. While the Sound Folly is dependent on location, Sound Elements take on the role of conditioning the acoustic environment regardless of location. In this way, it is versatile and has the ability to improve the acoustic environment of the whole city. Moreover, by applying the design to the whole city, it can be a whole new design approach which incorporates architectural features for the blind, allowing us to advance towards a better urban design for everyone.

サウンドフォリー：作成したノーテーションを元に都市の音の配置や関係を分析して特徴的な場所や問題のある場所をピックアップした。これは Bernard Tschumi のラビレット公園のフォリーを参考にしているが、チュミは「人が偶然的にアクティビティに出会うのを誘発するフォリー」に対して、このサウンドフォリーは「人が偶然的に音に出会うことを誘発するフォリー」となっている。また、このフォリーによって、都市を視覚に頼らずに歩くことができるようになる。

サウンドインスタレーション：音空間を向上させるための建築的要素である。サウンドフォリーが敷地に依存するのに対して、サウンドエレメンツは敷地に関係なく音環境を整理する役割を果たす。これにより汎用性を持ち、都市の音環境を全体的に向上させることができる。また都市全体的にデザインを適用することで視覚障害者のための建築的要素としても新たなデザインアプローチとなり、全員にとって豊かな都市の設計に近づくことができる。

Audio Townscape l 25

Case Study Amplify tiny sounds

Reflect Sounds LE CYLINDRE SONORE

Denge sound mirrors

This space that is sandwiched between two large

This sound mirror from the UK uses a massive

circular walls amplifies the echos from within to produce

parabola-shaped piece of concrete to reflect even small

new sounds (Architectuul.com, 2019).

sounds (Partridge, 2019).

円形の大きな二つの壁に挟まれた空間は、その内側で

イギリスのサウンドミラー、パラボラ型の巨大なコン

音を増幅させ新たな響きを生み出す。

クリートは小さな音まで反射する。

Fig. 18, Denge sound mirrors, Source: Partridge, H. (2019). 10 buildings with extraordinary

Fig. 15, Bernhard Leitner, Source: Architectuul.com. (2019). Le Cylindre Sonore. [online]

acoustics. [online] The Spaces. Available at: https://thespaces.com/10-buildings-with-

Available at: http://architectuul.com/architecture/le-cylindre-sonore [Accessed 28 Aug. 2019].

extraordinary-acoustics/ [Accessed 28 Aug. 2019].

Sound Architecture 5

Denge sound mirrors

This installation turns the wind into sounds. When the

This dome-shaped sound house uses the height of its

wind blows, a metal rod planted in the ground vibrates

roof to create a new echo chamber (Partridge, 2019).

and makes sounds (Ronaldvandermeijs.nl, 2019). 風を音にするインスタレーション。風がふくと地面に

ドーム型のサウンドハウス。屋根高さによって様々な

植えられた金属の棒が揺れてぶつかりあうことで音を

エコー空間を生み出す。

奏でる。 Fig. 16 Sound Architecture 04: Ronaldvandermeijs.nl. (2019). Ronald van der Meijs. [online]

Fig. 19, Denge sound mirrors, Source: Partridge, H. (2019). 10 buildings with extraordinary

Available at: https://www.ronaldvandermeijs.nl/filter/steel-pins#.XWdrjJP0nKk [Accessed 29

acoustics. [online] The Spaces. Available at: https://thespaces.com/10-buildings-with-

Aug. 2019].

extraordinary-acoustics/ [Accessed 28 Aug. 2019].

Forest megaphones

Water Mirror

This object amplifies small sounds. Its polyhedral cone

Sounds of a waterfall are projected a vaulted roof

shape serves the purpose of amplifying nature's small

between two collums and this can reflect the sound over

sounds (Partridge, 2019).

the human (Soundartarchive.net, 2019).

小さな音を増幅させるベンチ。多面錐型のベンチは自然の小さな音を増幅させる役割を果たす

二つの柱にかけられた滝の音を反射させるボールド型

Fig. 17, Forest megaphones, Source: Partridge, H. (2019). 10 buildings with extraordinary

Fig. 20 Water Mirror, Source: Soundartarchive.net. (2019). Details of Works. [online]

acoustics. [online] The Spaces. Available at: https://thespaces.com/10-buildings-with-

Available at: https://soundartarchive.net/WORKS-details.php?recordID=1207 [Accessed 28

extraordinary-acoustics/ [Accessed 28 Aug. 2019].

Aug. 2019].

の屋根。

Absorb Sounds

Make Sounds Chantier Créatif de Prévention Partagée

Waterfall 2019

This is a silent installation in an urban space. The

This piece of art involves an artificially-constructed

porous space inside a container absorbs sound to

waterfall. The waterfall that suddenly appears in the

create a quiet place (CARLSON, 2011).

city produces a new urban experience (Uk.news.yahoo. com, 2019).

都市空間に作られた沈黙のインスタレーション。コンテナの中に作られた多孔質の空間が音を吸収して静かな場所を生み出す

人工的に作られた滝のアート作品。街中に突如作られた滝は都市での新たな音空間を生み出す。 Fig. 24, Waterfall 2019, Source: Dex, R. (2019). Olafur Eliasson builds 36ft waterfall outside

Fig. 21, Chantier Créatif de Prévention Partagée, Source: CARLSON, D. (2011). Space,

Tate Modern for new exhibition. [online] MSN. Available at: https://www.msn.com/en-gb/news/

light, sound and drugs. [online] David Report. Available at: http://davidreport.com/201104/

other/olafur-eliasson-builds-36ft-waterfall-outside-tate-modern-for-new-exhibition/ar-AAE4zjD

space-light-sound-drugs/ [Accessed 28 Aug. 2019].

[Accessed 29 Aug. 2019].

acoustic curtain fabrics

Parc de la Villette

This sound curtain has folds that are suitable for

Bernard Tschumi's folly induces incidental actions by

absorbing sound. This is a curtain for absorbing sound,

people through its architecture that has no features and

rather than blocking light (Showroom, 2019).

produces new sounds (mogsam, 2019).

カーテンの折り目は音を吸収するのには適している。

Bernard Tschumi のフォリー。彼のフォリーは機能を

このカーテンは光を遮るのではなく音を吸収するためのカーテンである。

持たない建築を介して人の偶然的な行為を誘発して新たな音を生み出す。 Fig. 25, Parc de la Villette, Source: Migayrou, F. and Tschumi, B. (2014). Bernard Tschumi.

Fig. 22, acoustic curtain fabrics, Source: Showroom, V. (2019). transparent, acoustic

Paris: Centre Georges Pompidou.

curtain fabrics. [online] Vescom.com. Available at: https://www.vescom.com/en/transparentacoustic-curtain-fabrics [Accessed 28 Aug. 2019].

The Danish Music Museum This sound house uses timber louvres that have been shifted to lighten noise. In addition, this is suitable for the music played from instalments. (Partridge, 2019). 木材の棒材を用いたルーバーを使ったサウンドハウス。この手法は位置をズラしたルーバーによってノイズを軽減しつつ、管楽器など特定の音を響かせるのに適し

エジプトの雨を集める建築。これは雨を集めるための建築だが、雨の日には水が流れる独特の音空間を生み

ている。

出す。

Fig23, The Danish Music Museum, Source: Partridge, H. (2019). 10 buildings with

Fig. 26, Rain Harvesting Architecture, Source, Munro, J. (2019). Rain Harvesting

extraordinary acoustics. [online] The Spaces. Available at: https://thespaces.com/10-

Architecture Waterbank. [online] TrendHunter.com. Available at: https://www.trendhunter.com/

buildings-with-extraordinary-acoustics/ [Accessed 28 Aug. 2019].

trends/waterbank [Accessed 28 Aug. 2019].

Upon designing Audio Town, not only is there a need to make sounds, there is also a need to control the sounds in the city. Through this study, I examine select examples of architecture and installations in four categories: methods of amplifying, reflecting, absorbing, and making sound.

26 l Audio Townscape

Rain Harvesting Architecture This piece of architecture in Egypt collects rain. Although its purpose is to collect rain, it produces a unique sound space of water flowing on rainy days.

街を音からデザインしていくにあたって、どのように街の音をコントロールするのかをケーススタディした。なぜなら、街の音をデザインする時に重要視しなければならないことは、音を単に作るのではなく、音をコントロールする必要があるためである。例えば、人に街に存在する小さな鳥の声に気づいてもらうために、その音を大きくすると同時に、ノイズを軽減することで街の音環境を改善していくひつようがある。ゆに、このセクションでは音を Amplify, Reﬂect, Absorb, Create の４つのカテゴリーに分けてリサーチした。

Sound Folly and Sound Elements in Town Sound Elements of Audio Townscape

Contextural

Sound

P l a c e

o f

S o u n d

S e r i a l

S o u n d

Sound Folly

The relationship between Sound Elements and Sound Folly

各音の要素とサウンドフォリーの関係性

I pick up the sound elements from Audio Townscape and combine

Audio Townscape のリサーチによってピックアップされた都市の音の要

into the Sound Folies.

素を組み合わせてサウンドフォリーを作成する。

Audio Townscape l 27

Sound Folly 1

Current Sound Situation Most people can identify the location of the fountain sound in the Peace Garden as it is a sound rooted there. Also, it becomes lively during the holidays as this square becomes the center of the city with voices from children playing at the fountain and many people enjoying a picnic. However, the sound does not reach the road behind the square, while the reverberation of sounds from the outdoor equipment gives the impression of a dark road. Suggested Sound Folly This folly will create a sound space by echoing the Peace Garden's sound. At the same time, a slit-shaped opening is provided on this folly which also acts to connect the back road and the sound. The sound of the fountain interferes and echoes inside of the circular concrete piece and gives birth to a characteristic sound space on the road. This big round wall acts to augment the echo of the fountain sound and voice of children in the square space and the sounds which are rooted in the area will travel across the square. 28 l Audio Townscape

10 m

現状の音の状況 Peace Garden の噴水の音はほとんどの人が場所を特定することができ、土地に根付いた音である。また都市の中心となる広場であるため、休日には噴水で遊ぶ子供の声や、ピクニックを楽しむ多くの人の声で賑わう。しかし、広場の裏にある道には音が届かず、室外機の音が響き渡り暗い道のような印象を与えている。

提案するサウンドフォリーこのフォリーは Peace garden の音を反響させて音空間をつくる。また、同時に、 Peace garden と裏の道を音と共にをつなぐ役割も果たす。このフォリーにはスリット状の開口部が設けられており、円形のコンクリートは内側で音が噴水の音が干渉、反響して道には特徴的な音空間を生み出す。この大きな円形の壁は広場空間に噴水や子供の声をより反響させる役割もはたしており、土地に根付いた音が広場を覆う。

Sound Folly 2

Current Sound Situation Three people with visual impairment specified the place based on the sounds of Sheffield church. Therefore, it is one of the Contextural Sounds rooted in that area. It is sort of a music for people with visual impairment and an extremely emotional sound in the city. However, there is a big road in front of the church, and bus and car noise hinders church sounds. These noises cause people with visual impairment to lose their sense of direction. On the other hand, although the church sounds are one of the sounds which creates a sequence, there is a big road between Fargate, the center of city, and the church, and the continuous sounds of the church are separated. Suggested Sound Folly Noise from the road is reduced by building a timber wall with this sound folly. At the same time, this wall generates space to hear the church sounds. When people walk from Fargate, the church sounds become bigger as people get closer to the church, and the timber walls would be set up along the road and sidewalk to connect the sound continuously. Also, by making a tram station, people can enjoy the church sounds with this wall while they are waiting for a tram.

10m

現状の音の状況シェフィールドの教会の音は 3 人の視覚障害者が音から場所を特定した。故に、一つの Contextual Sound であり土地に根付いている音である。視覚障害者にとって一つの音楽でもあり、都市において非常に感情的な音である。しかし、教会の前には大きな道路が通っており、バスや自動車の騒音が教会の音を妨げている。これらの音は視覚障害者にとって方向感覚を失わせる原因にもなっている。一方、教会の音は一つのシークエンスを生み出す音であるにもかかわらず、都市の中心部の Fargate と教会の間には大きな道路があり、教会の Serial Sound が分断されている。提案するサウンドフォリーこの Sound Folie では Timber の壁を作り道路からの騒音を軽減する。また、この壁は教会の音を聞くスペースを生み出す。Fargate から歩いてきた時、教会に近くに連れて教会の音が大きくなり、音が連続的につながるよう道路と歩道にも timeber の壁を設けている。また、この壁はトラムの駅を作ることでトラムを待ちながら教会の音を楽しむことができる。

Audio Townscape l 29

Sound Folly 3

15 m

10 m

The current state of the sound

The sound of footsteps echo in narrow alleys, and someone visually impaired can tell the size of that space from that echo. For that reason, the sound of footsteps plays an important role in creating space in this location. For example, when

going from a large space into a narrow path, there are cases when experiencing

an area will feel like an interior space. Also, by changing the material of the walls of the buildings these echos are between, it produces a unique sound area. Proposed Foley sounds

Foley sounds to amplify the sound of footsteps by walking along a narrow path. A space without corners between the floor and walls reverberate and amplify

the sound of footsteps that resound in the wooden space under the ﬂoor. These

footsteps reveal a person's gender and traits, and this changes depending on

現状の音の状況 Fargate は都市の中心部であるため、買い物を楽しむ人々やレストランのテラスでランチを食べている人の声で賑わっている。この Fargate に面したビルとビルの間の細い路地空間にはいると途端に音がなくなる。このコントラストによって人は物寂しい印象をうける。しかし、時間が経つにつれてビル同士にわずかに反響する音に気がつき都市の音を客観的に楽しむことができる場所となっている。提案するサウンドフォリー都市の音を一歩引いた所から楽しむ Sound Folly をつくる。裏路地に作られたパラボラ形状の壁は都市の音を反射させる巨大な音の鏡の役割を果たし、道の行き止

things such as the time of day and the weather. Also, these are echos from

まりに設置された椅子に都市の音を集める。人は建物の

footsteps that are characteristic of this town. The sounds of these footsteps are

聞こえる街の音を楽しむことができる。都市に

brick walls that are commonly seen in Sheﬃeld, and they become the sound of

an important factor for the visually impaired to tell what an area is like, and these Foleys also play the role of something used as a guide.

30 l Audio Townscape

間から路地に入り、しば

らく静かな路地を歩いた後にこの椅子を見つける。そこでは静けさの中で、遠くにれる人々の喧騒はフォリーによっ

てやわからく解かれて、客観的に都市の音を鑑賞する空間を生み出す。

Sound Folly 4

The current state of the sound

going from a large space into a narrow path, there are cases when experiencing an area will feel like an interior space. Also, by changing the material of the walls of the buildings these echos are between, it produces a unique sound area. Proposed Folly sounds

Foley sounds to amplify the sound of footsteps by walking along a narrow path. A space without corners between the floor and walls reverberate and amplify

the sound of footsteps that resound in the wooden space under the ﬂoor. These

footsteps reveal a person's gender and traits, and this changes depending on

10 m

現状の音の状況路地裏の細い道は足音が反響し、その反響音によって視覚障害者は空間の大きさを把握する。故に、足音がこの場所では空間を生み出すために重要な役割を果たしている。例えば、大きな空間から細い道に入った時には、空間を感じることで内部空間のように感じる場合もある。また、これらの反響音は挟まれている建物の壁の素材で変化し、独特の音空間を生み出す。提案するサウンドフォリー細い道を歩くことで足音を増幅させるサウンドフォリー。床と壁の間に角のない空間が木造の床下空間に響いた足音を反響させ増幅させる。この足音は人の性別や

things such as the time of day and the weather. Also, these are echos from

特徴を表すものとなり、時間帯や天候で変化する。また、これはシェフィールドで

footsteps that are characteristic of this town. The sounds of these footsteps are

これらの足音は視覚障害者にとって空間把握をするために重要な要素であり、この

brick walls that are commonly seen in Sheﬃeld, and they become the sound of

an important factor for the visually impaired to tell what an area is like, and these Foleys also play the role of something used as a guide.

おおく見られるレンガ作りの壁の反響音であり、この街における特有の足音となる。フォリーは一つの導びく設備の役割も果たす。

Audio Townscape l 31

1070 1070

1070

5000

2225

120

925

5000

925

1070

925

600

Sound Folly 5

5000

The current state of the sound

現状の音の状況

The center of Fargate is crowded with people, producing a space filled with various

Fargate の中心部は多くの人で賑わっており、様々な音で

sounds. Particularly with anything that moves around such as at an amusement park

に移動式の遊園地やストリートミュージシャンなど時期や時間によって音空間が変

or street musicians, this is an area where the sound space easily changes depending

れる空間である。特

on the time of day. However, at the same time, because there are so many sounds

化し易い場所である。しかし、同時に音が多すぎ、それらの音が建物に反響しすぎ

echoing off of buildings, this is also a location that causes confusion for the visually

てしまうため視覚障害者にとっては混乱を招く原因となる場所でもある。また、こ

impaired. This is also an area with trees and plants, and on weekdays when there

こには植栽があり、人が少ない平日には鳥の声や風の音を楽しむこともできる場所

are not that many people, it is possible to enjoy the birds chirping and the sound of the wind.

である。

Proposed Foley sounds

提案するサウンドフォリー

Moving Foleys that produce natural sounds in the center of the city. By using plant

都市の中心部に自然の音を生み出す移動式のフォリー。植物パネルと人口軽量土

panels and artificial light weight soil, it is possible to move structures to match the seasons or events. By making nature that is temporary, the sounds that come

壌を利用し、季節やイベントに合わせて建築を移動させることが可能。仮設の自然

through those pipes produce natural sounds overhead, so anyone going into town

をつくりそこに音の抜ける管を通し、頭上から自然の音が聞こえるようにすること

will encounter the sounds of nature such as chirping birds and rustling leaves. A

で、街行く人々が自然と鳥の声や葉の擦れる音に出会う。大きな自然の下ではマー

large market can be opened up below a large natural space, which also creates new

ケットなどを開くこともでき新たな都市の音を生み出す要素にもなる。

city sounds.

32 l Audio Townscape

Sound Folly 6

15 m

10 m

The current state of the sound

現状の音の状況

Unique sounds reverberate at the entrance of Orchard Square, a shopping mall in

Orchard Square という街の中心部に面したショッピングモールの入り口は、独特

the center of town, and this could be called a sound space rooted in a single area.

な音の響きをもっており、一つの土地に根付いた音空間と言える。この音の響きは

The echos of those sounds are produced from the sounds coming from the speakers

スピーカーから流れる音が天井に反射することで生み出されるものであるが、意識

reflecting off the ceiling, but it is hard to notice variations that go unnoticed. However, because the change in these sounds is obvious on rainy days, that roof will become

していないとこのような変化に気がつくことは難しい。しかし、雨の日にはこの音

an even stronger icon for the city.

の変化が顕著になるため、この屋根は都市においてより強いアイコンとなる。

Proposed Folly sounds

提案するサウンドフォリー

Foleys that create a space with various sounds by changing the height of the roof.

屋根の高さを変えて様々な音響空間を作るフォリー。人が歩くと足音や会話など

The sounds are given distinct traits by the change in echos from the sounds of

の反響が変わることで音の特徴を与えている。また、今壁に取り付けられているス

people walking and conversations. Also, position the speakers currently on the walls to under the floor, and install them on the sides to reflect the sound. Doing that will

ピーカーを床下に配置し、音の反射版を側面に設置する。それによって、さらに音

make it easier for the sound to reflect off the ceiling, and it will be possible to tell how

が天井に反射しやすくなり、天井の高さを音から認識できるようにする。また、グ

high the ceiling is from the sound. Also, by adjusting the height of the roof so that it

ラデーションのように屋根の高さを調整することで、連続的に音が変化する道とす

tapers, it will produce a path where sounds continuously change.

る。

Audio Townscape l 33

Sound Folly 7

10 m

The current state of the sound

現状の音の状況

For an open space that spreads out when looking over it, there are not enough

視覚では開けて見えるオープンスペースは音空間としては空間を把握できるほど

sounds produced to be able to tell what the area is like as a sound space, so it feels

の音が存在していないため、すごく狭く感じる。しかし、都市のオープンスペース

very confined. However, this open space in the city has various sound sources such as the voices of children, running water, and gliding skateboards, but those sounds mix together to produce noise. And on rainy days, the traits of the sounds completely

では子供の声、水の音、スケートボードの滑るの音など様々な音源は存在しているが、それらは混ざって聞こえるのでノイズとなってしまう。雨の日もまた音に特徴

disappear, causing a loss in orientation.

が全くないため方向を見失ってしまう。

Proposed Folly sounds

提案するサウンドフォリー

The two Foleys built around the fountain have different functions, and these Foley

噴水の周りに作られた二つのフォリーは異なる機能を持ち、この Sound Folly は

sounds serve to differentiate types of sounds. Looking from the front, the right hand side mainly has things for children such as slides and an area to splash around,

音の種類を区別する役割を果たす。おもてから見て右側は主に滑り台と水遊び場を

and on the left hand side, there are slopes for skateboarding, basketball hoops,

備えた子供向けのものであり、左側はスケートボードができる坂や、バスケットボー

and benches. Artificial waterfalls are constructed in these places, and an artificial

ルのリング、ベンチなどがある。これらには人口的な滝が作られており、それぞれ

waterfall is produced in one hour intervals in each area. Also, the roof will be a shape

1 時間置きに人口的に水を組み上げて滝を作る。また、屋根は雨を集める形となっ

that collects rain, which will produce another sound of a natural waterfall on rainy

ていて、雨の日には自然な滝を作りそれも一つの音となる。オープンスペースの音

days. By adjusting the sounds in the open space, it will make it possible to sense the area.

34 l Audio Townscape

を整理することで、空間を感じられるようにする。

Sound Folly 8

Current Sound Situation

現状の音の状況

Although there is a big road in front of Sheffield station which creates noise, there

シェフィールド駅の前には大きな道路があり、騒音の原因となってい

is a wall object with water flowing down it which reduces noise. However, there is

るが、水の流れる壁のオブジェがあり、それが騒音を軽減している。し

nothing to absorb noise on the opposite side of the road and the square and the

かし、道路を挟んで向かい側には音を吸収するものがなく、広場と道路

road are connected, therefore, hearing the sound of the voices of children playing

がつながっているため、子供の遊び声と騒音が同時に聞こえて奇妙な印

and noise are delivered simultaneously which gives a strange impression. Also, this

象を与えている。また、この場所は駅前であり、多くの人が忙しく行き

location is in front of a station and is a space where many people busily come and

来する空間であもある。

go.

提案するサウンドフォリー Suggested Sound Folly

カーテンの折り目が騒音を吸収するという性質を利用して、広場と道

Utilizing the characteristics of a curtain crease which absorbs noise, we create a folly

路を仕切るフォリーを作成する。内側では子供たちの遊び声が響く。こ

which divides the square and the road. Voices of children playing echo inside. Many

の場所は多くの人が行き来する場所でもあり、そういった人々が子供の

people busily come and go at this location, so the road would be placed across the

遊び声に出会うように広場を横ぎるように道を配置する。また、ここで

square so that those people walking can hear the voices of children playing. Also, a

はストリートピアノが設置してあり、音楽を日常的に楽しむことが可能

street piano is put here which makes it possible to enjoy music daily.

である。

Audio Townscape l 35

Sound Folly 9

10 m

Current Sound Situation

現状の音の状況

It is an open space surrounded by buildings. With a giant tree, plants and an

ビルに囲まれたオープンスペースであり、中央には巨大な木と植木、

object with water ﬂowing at the center, people can enjoy the nature in this space.

水の流れるオブジェがあり、自然を楽しむことのできる空間である。し

However, birds chirping and the sounds of water are so slight that it is diﬃcult

かし、鳥の声や水の音は微かにしかしなく、意識しないとそういった音

for people to notice such sounds. Also, although there is an entrance for Winter

に気がつくことは難しい。また、ここは Winter garden という植物園

Garden, which is a botanical garden, from a sound perspective the automatic

のエントランスであも、音という観点からは自動扉に気がつかないため

door goes unnoticed which makes it like an extension of Winter Garden.

Winter Garden の延長のような空間である。

Suggested Sound Folly

提案するサウンドフォリー

I create a sound folly which increases nature sounds such as birds chirping. It

鳥のさえずりなど、自然の音を増幅させるフォリーを作る。植物園を

is made to be able to hear birds chirping when people are visiting the botanical

訪れた人や、買い物に訪れた人々がこのベンチに座ったとき、鳥の声が

garden or for those shopping who take a seat on this bench. Also, this suppresses

聞こえるようになっている。また、これらはビルの反響音を抑える役割

building reverberation and functions as a device to make a quiet city.

も果たし、静かな都市を作る装置でもある。

36 l Audio Townscape

Sound Installation

Sound Lights: These street lights produce a new acoustic space for pedestrians while reducing the noise of traffic. As a result, streets can be sensed both visually and aurally, making them easier for the visually impaired to recognize them. サウンドライト : 道路の騒音を軽減しつつ、歩道側に新たな音響空間を生み出すサウンドライトこれによって街頭は視覚だけでなく聴覚でも感じられるものとなり、視覚障害者にとっても認識しやすいものとなる

Sound Line: On rainy days, waterways in the city are a source of sound. Utilizing this concept, I will create artificial waterways in places where puddles frequently form in the city and places where water flows on rainy days to produce new sound spaces. サウンドライン : 都市において雨の日の水路は一つの音源である。この水路を利用して、都市の水たまりのできやすい箇所や、雨の日に水が流れる場所に人口的な水路を作り新たなサウンドスペースを作り出す。

Sound Bench: Benches in cities are used by people for resting, conversing, and various other actions. This bench was designed to listen to the sounds of the city. This bench is specialized for listening to sounds, as the parabola-shaped backrest collects the sounds of the city. サウンドベンチ : 都市においてベンチは人々が休憩したり、会話をしたり様々な行為に使われている。このベンチを

都市の音を聞くものとしてデザインした。パラボラ型の背もたれは都市の音を集めて音を聞くのに特化したベンチである。

Grass Bench: This bench has a large backrest filled with soil and can be planted with flowers. I plan to place this bench between the road and the park. This grass and soil absorb the noise from the road and reflect the sound in the park. This can indicate the presence of the bench from the change in sound, even for visually impaired people who are not usually aware of the bench.

Tactile Line made of grass: The edge of the ﬂoor material is important elements for visually impaired people to grasp the space. Also, Sound in white cane and footsteps are important. This is installations that can guide visually impaired people with grass, which also improves the environment of the city.

草のベンチ：このベンチは大きな背もたれに土が入っており草花を植えることが可能である。道路と公園の間などにこのベンチを置くことを計画する。この草や土が道路からの雑音を吸収し、公園の中の音を反射する。これは普段ベンチの存在に気がつきにくい視覚障害者にとっても、音の変化からベンチの存在を示すことのできる。

草で作られた誘導ブロック：視覚障害者にとって床の素材のエッヂは空間把握をするために重要な要素である。また白の音や足音などの変化も重要である。これは草によって視覚障害者を誘導することができるインスタレーションであり、街の環境の改善にもつながる。

Sound Installation: Architectural features that improve the

サウンドインスタレーション：音空間を向上させるための建築的

location, Sound Installation take on the role of conditioning

ウンドインスタレーションは敷地に関係なく音環境を整理する役

it is versatile and has the ability to improve the acoustic

向上させることができる。また都市全体的にデザインを適用する

to the whole city, it can be a whole new design approach which

プローチとなり、全員にとって豊かな都市の設計に近づくことが

acoustic environment. While the Sound Folly is dependent on

要素である。サウンドフォリーが敷地に依存するのに対して、サ

the acoustic environment regardless of location. In this way,

割を果たす。これにより汎用性を持ち、都市の音環境を全体的に

environment of the whole city. Moreover, by applying the design

ことで視覚障害者のための建築的要素としても新たなデザインア

incorporates architectural features for the blind, allowing us to

できる。

advance towards a better urban design for everyone.

Audio Townscape l 37

38 l Audio Townscape

Audio Drawing in Audio Townscape

This work simultaneously represents something based on urban design principles that derive from the perspective of the Audio Townscape, as well as a novel drawing in the architecture domain that depicts space as it is imagined from sounds. At the same time, this is a work that can be understood by the visually impaired and has immense social value in addition to its architectural value.

'Audio Town' を実際に体験してもらうため、音楽作品を作成した。これは音を頼りに 'Audio Town' を歩いている音の作品であり、建築家が一枚の絵から都市を想像するように、これらの音を聞いて実際に都市の音を想像することで都市を感じることができる。また、同時にこれは音から都市を歩くという一つのトレーニングにもなり、視覚的な都市空間との違いに気づくことができる。加えて、これは視覚障害者にとっても理解できる表現方法であり、協力してもらった方々に案を説明する事に役立てることができた。

This has an audio works, Please listen to the linked audio file. https://youtu.be/9YUbQ8XP-xY

Conclusion

研究、設計結果

This thesis investigated ‘How is the space in a town constructed from sound?’ with my theory ‘Audio Townscape’ being one of the outcomes of this question. Compared to Townscape by Gordon Cullen, Audio Townscape is based on more experiences and conditions in the town. I understood from this investigation, that blind and sight-impaired people can realise tiny changes of sound space in town, which can create emotional feelings. Therefore, ‘Audio Townscape’ could present an urban experience, conditions, activities, culture, as well as other issues in terms of sound.

このプロジェクトは ' どのように都市空間は音から構成されるか ?' というリサーチ

Based on this theory, I designed an Audio Town in Sheffield as a design proposal. This designed ‘Audio Town’ help people accidentally meet the sound and people can construct the space from these sounds and acoustics in town. As every building and place, and every condition has different sounds and acoustics, Audio town can be one of the ‘chance’ music environments created by John Cage. In other words, since this Audio Town could be a town that people can walk through from an auditory sensation instead of visual sense, Audio Town could be an accessible city, which helps the blind and sight-impaired walk in town and connect with the sound and acoustic space.

クエスチョンを 'Audio Townscape' という一つの解法を元に研究してきた。Gordon Cullen の Townscape に比べて、'Audio Townscape' は都市経験や天候などの状況に影響されることがわかった。また、視覚障害者は感情を生み出す都市の些細な音の変化や、重大な事故に繋がる危険性がある小さな問題点に気がつくことがわかっ

た。つまり、'Audio Townscape' は経験、状況、行為、時間帯によって変化する豊かな都市空間を提供してくれるだけでなく、都市の騒音問題や交通事故など音に関する都市問題を解決する一つの方法だとわかった。

'Audio Townscape' を元にしてデザインした 'Audio Town' は人が偶然に都市の音に

出会う街となっており、人々が一つの「音楽」を楽しむように歩ける都市空間となっている。すべての場所や建物、天候、時間は異なる音の性質をもっており、この都

市での「音楽」は John Cage の 'Chance Music' のような現代的な音楽作品でもある。また、'Audio Town' は視覚の代わりに聴覚を頼りに都市空間を歩けるデザインでもあり、この街は視覚障害者にとっても利用しやすい都市である。

このプロジェクトは、都市の音や音響空間は都市経験や些細な状況を感じ取るため

に重要な要素であり、すべての街のドラマは音に結びついている、ということを表

This thesis showed sound and acoustics are one of the factors to emphasise the experience in town, and the space, based on sound and acoustics, is immediately changed in terms of the condition. This is a completely different town from that made from the visual sense and thus could be a more emotional town. In this respect, the thesis findings could challenge the discipline of modern architecture and set a new paradigm in the architectural field.

している。これは視覚的な都市とは全く異なる価値示しており、'Audio Town' はより感情的で豊かな都市空間の提案である。この点において、視覚的なデザインが蔓延する現代建築を批評することができ、音から都市を設計していくことが革新的な設計プロセスになるかもしれない。

Audio Townscape l 39

02. Archive of Ayrton Senna da Silva PROJECT TYPE Memorial hall DATE November 2016 LOCATION Suzuka Japan DURATION 4 month PROGRAM Archive

This archive for Ayrton Senna de Silva has been designed to recreate the way he drove. Ayrton Senna de Silva was one of the greatest Formula One (F1) drivers. Perhaps, he may be the most famous throughout F1 history. He drove faster than the ideal drive time calculated by a computer. It is also said that his driving was the closest to a natural form of driving. Based on how Senna’s drove, I designed this building, incorporating algorithmic architecture and nature. In order to interpolate Senna’s drive, the design utilizes the existing world lap record he established in 1989 at Suzuka Racing Circuit in a modern algorithm.

伝説の F １ドライバーであるアイルトンセナのアーカイブ。アイ

ルトンセナは F1 界においてもっとも有名なドライバーの一人で

あり、彼の走りは当時のコンピュータの理想値を上回っていた。また、彼のドライビングは有機的な走り方と言われており、近年彼の走りは F1 業界の枠を超えて研究されている。このプロジェ

クトではセナの走行データを元にグラスホッパーを使って、実際

に歩きながらセナの走りを体感できる空間を設計する。セナの 1989 年の鈴鹿の予選の走行データを分解して建築の要素として

再構成していき、アーカイブを設計していく。それにより人がこの建築を歩くことでセナの走りを感じられる空間を目指す。

40 l Archive of Ayrton Senna da Silva

Archive of Ayrton Senna da Silva l 41

The existing world lap record in 1989 at Suzuka

Ayrton Senna was a racing driver who has been called a legend of the world of Formula One. In Japan, as well, he is hugely popular, having once brought about an F1 craze in the country. I am designing an archive at which visitors can experience first-hand the driving of Senna and the motion of the McLaren Honda MP4/5 he drove. The archive will be located at the Suzuka Circuit, of which Honda is the main sponsor. These are the telemetry data that Ayrton Senna actually drive in Suzuka circuit in 1989. This data has speed, throttle, point of an accelerator, gravity, and line of sight.

42 l Archive of Ayrton Senna da Silva

これは伝説と呼ばれるアイルトンセナが 1989 年に実際に鈴鹿サーキットを McLaren Honda MP4/5 で走った時のテレメトリーデータである。この時の走行データはコンピュータの理論値を超えており、セナの走りは有機的であると言われる元になった記録である。元のデータには実際の速度、エンジン開度が記録されており、これを元にセナの身体にかかる重力、アクセルを踏んだ位置、視線などを計算して、エクセルのデータへと改良した。それによって、セナの走行を数値として扱えるようになる。

The process of construction of archive

CONVERTION

X 0.02

VELOCITY : 320 km

VELOCITY : 4 km

SPAN : 6630m

SPAN : 120 m

TIME : 1'38'041

The characteristics of Senna's driving will be sampled, and reconstructed as the archive's circulation plan. The space will be composed of the main elements that Senna himself actually experienced: the speed of the vehicle, the speed of the engine's revolutions, the centrifugal force, his control of the accelerator, his line of sight, and the sounds. First, the Senna data is split into 2353 segments* and converted to numerical values for each element. Next, these numerical values are shaped into architecture with the use of Grasshopper and Processing. The vehicle's speed and the centrifugal force are reconstructed as the dimensions of the room; the engine revolution speed as the distortion of the room; the accelerator control as the footing on which visitors will actually walk; and Senna's lines of sight as the design of the windows.

セナの特徴のデータを解体し、グラスホッパーを利用して再構築するこ

*2353 segments = Senna's actual lap time of 98.041 seconds / Frame rate of 24 frames/second, which humans are able to perceive as video.

レーム ) という数値でセナの走行データを分割した値

とでアーカイブを設計する。このアーカイブではセナ自身が感じた空間を体験することのできる空間を目指す。この建築は実際のスピード、重力、アクセルポイント、視線、音、エンジン開度などを組み合わせることで空間を構成させる。まず、セナのデータを 2353 分割 * してデータを複数のセナの走りの要素に分割する。これらのデータを元に、Processing と Grasshopper を使って人の歩行スケールで再構成していく。速度とセナの感じた G は空間の大きさを構成し、アクセル開度は空間の捩れを、視線はボイドを、アクセルポイントは足場をそれぞれ構成していく。

*2353 分割 = 映画などの映像作品で使われるフレーム数（１秒間に 24 フ

Archive of Ayrton Senna da Silva l 43

SPEED >> SPACE

GRAVITY >> BODY

Speed

Space Gravity

Senna’s speed determines the size of the space. As the actual speed driven by Senna increases, the spaces are enlarged. As his speed decreases, the spaces become smaller. The changes of speed are realized as warped panels. The speed data dictates the space.

The occupiable area is dictated by the gravitational forces (g-forces) Senna experienced. Senna used to tilt himself to fight against g-forces on him. This building has transparent spaces created by wire mesh, which represent g-forces. Depending on the g-forces he felt, the occupiable areas change. Thus your body will naturally tilt and feel the g-forces Senna felt. G-force data controls the occupiable area.

セナのスピードは空間の大きさを決定する。セナの走った実際の速度が上昇すれば空間は狭まり、セナが減速すれば空間が大きくなる。外壁のパネルによって空間が定義されて、スピードを感じる要素になる。

空間の捩れをセナの感じた G の大きさと向きから考える。セナは首を傾けることで G に対抗していたが、同じようにここでは体を傾かせる空間をつくることで G を再現する。彼が G を感じた場所は空間が捩れる。それによって体験者は身体は傾かせなければならない。

44 l Archive of Ayrton Senna da Silva

ACCELERATOR >> FOOTSTEPS

SIGHT >> VOID

Accelerator

Sight

Architectural Elements

The stepping-stones recreate Senna’s pedal work, which is a distinct characteristic of his. Senna used to press the acceleration pedal five times per second when turning a corner. He was able to turn a corner faster than other drivers did. The layout of the stepping-stones is designed to dictate the speed, direction, and the step size. Senna’s acceleration pedal data dictates your steps.

View corridors are based on Senna’s visual line as he pressed the brake pedal before turning a corner. You will be able to look outside from where Senna pressed the brake pedal. Senna’s visual line data determines a view corridor.

セナのアクセルを踏んだ場所は足場の段差となり、体験者はそこで必ずステップを踏む。セナはアクセルを小刻みに踏むのが特徴であり、それによってエンジンの回転数を落とすことなく曲がることを実現した。この足場でも実際に足を踏み直さなければならないため、セナのアクセル使いを体験できる。

セナの視線から内部空間と外部空間にボイドをつくる。コーナーを曲がる時には視線がもっとも大切である。このセナの視線を外が見えるボイドを設置することで再現させる。

Archive of Ayrton Senna da Silva l 45

46 l Archive of Ayrton Senna da Silva

Archive of Ayrton Senna da Silva l 47

The planned production site for this archive was the main entrance of Suzuka Circuit. As a result, many people can experience Senna's running, and at the same time, it functions as an advertising tower for Honda, the engine manufacturer of the F1 machine on which Senna was riding.

このアーカイブの制作予定地は鈴鹿サーキットの正面玄関とした。これにより多くの人にセナの走りを体験してもらうと同時に、セナの乗っていた F1 マシンのエンジンメーカーであるホンダの広告塔としても機能する。

48 l Archive of Ayrton Senna da Silva

The space has a double structure, the panel on the outer wall creates the size of the space, and the wires twist the space. The walking platform is made of glass, and only the edge portion made from the Sena's accelerator point can be recognized.

空間は２重の構造になっており、外壁のパネルは空間の大きさを、内側のワイヤーは身体空間を作っている。また、人の歩く足場はガラスでできており、セナのアクセルポイントから作られるエッジの部分のみ認識できる。

Archive of Ayrton Senna da Silva l 49

50 l Archive of Ayrton Senna da Silva

2353 分割したアーカイブの内部空間のシークエンス

Archive of Ayrton Senna da Silva l 51

03. 茶家 PROJECT TYPE one's residence DATE November 2015 LOCATION Tokyo DURATION 2 month PROGRAM Housing

Planning an individual’s home based on the tea room, the teaceremony which is a part of Japanese culture. In this case, “tea room” refers to a facility built for use in a Japanese-style tea ceremony, and provides a location in which the host (homeowner or proprietor) can invite guests, present tea and extend their hospitality. The tea room is built as a sort of stage specially made for the act of drinking tea, and it represents one element of Japanese architecture. The tea room is a space specially designed for a certain activity. By combining the philosophy behind the tea room with various elements of daily life, a striking proposal for a modern home can be offered.

個人の住宅を「茶室」のコンセプトから設計する。茶室を「お茶

を飲むという行為を演出するための装置」として読み解き、この

住宅では日常的な行為と「茶室」の考え方を組み合わせることで、住宅が日常生活のあらゆる行為を演出する空間演出装置として働く。この住宅は中央の十字形の壁と、８つの個性の異なった部屋から構成され、各部屋は日常を演出し、意識の中で連続的な記憶

へと変化する。また、それらの部屋は十字形の壁によって支えら

れることによって、それぞれ４つ性格の異なる庭に面しながら、内側に部屋同士の関係性をもつことができる。加えて、この十字の壁は、構造的に各空間を支えながら、排水などのの役割も担っており、意匠、構造、設備が一体となったデザインとなる。

52 l 茶家

TEAROOM

HOUSING

茶家 l 53

T his house have eight tea rooms.

Hallways that wind through the house.

I nserting walls that form a cross shap

Doors and windows encircle the home.

A space that deals with light,

The various tea rooms are completely

to bring the tea rooms together. As a

These function as ways to connect

material, line of sight and other

separate, but remain connected by

result, this forms a structurally rational

the home to its surroundings. Cutting

architectural concerns in way that

hallways. The hallways offer an

shape and allows for four different types

the scene with borrowed elements

allows day-to-day sentiments to

approach to each tea room, working

of gardens to be kept, while still tying

from each tea room and hallway

be experienced to their fullest.

as a sequence that heightens the

each room together into a single home.

allows for a gentle way to tie together

performative effects of the tea room.

この住宅は 8 つの茶室と生活機能を組み合わせた部屋から構成される。茶室の特徴である「行為を演出する空間」と読み取り、光や音、素材、動線などの建築的要素を使って生活機能（リビング、客室、風呂、寝室など ) を演出する部屋を 8 つ設計した。

54 l 茶家

the home with the surrounding city.

8つの部屋は連続性をもった廊

それらの空間は十字型の壁によっ

この住宅は敷地を最大限に目的のもと

生活を通して意識の中でそれ

るだけでなく各部屋を４つの個

なく建具により街と接続される。こ

下によって接続される。1 日の

ぞれのイメージが一体となる

て支えらる。この壁は構造体とな

性の異なる庭に面することを可能とすると同時に、隣り合う部

屋同士を繋げる要素でにもなる。

コートハウスとなっているが、塀ではれにより、部分的に視線が通る、歩行者からは見えないが、内側から街

を観察できるなどのつながりを生む。

Receipt x small kitchen in a tearoom

My room x Tearoom GL=-300

Washroom GL-500

GL-500 洗面カウンター人口大理石

Garden for drying clothes

Waiting

GL-0

GL-500

排水用溝

水勾配

mountain maple 水勾配

GL-1000

Entrance x Tearoom

tall stewartia

GL-1000

GL-300

Bottle gourd

水勾配

Morning Glory cloud pachysandra Zelkova

Drawingroom x Tearoom

LIvingroom x tearoom

GL-500

Dogwood

GL+500

Dogwood Dogwood GL-1000

GL+250 Zelkova GL+0

mountain maple pachysandra

Dogwood Zelkova wax treea sumac

pachysandra

Dogwood

pachysandra

GL plan Scale 1:100

GL+2500

Dressing room

Bath room X Tearoom Bed room X Tearoom GL+2100

Dining room X Tearoom GL+3200

GL +3500 plan Scale 1:100

茶家 l 55

Livingroom x Tearoom A living room is permeated by nature.The room can be completely opened up on two sides and is surrounded by 'Thueien', allowing nature to enter the sealed off area in winter.Only 1/3 of the buried stones are visible. The remaining 2/3 are concealed by the ground. This more greatly emphasizes the size and shape of the stones. 自然を受容するリビング。2 つの全面開口できる扉に加え、「土縁」によって自然が家の中まで侵入してくる構成になっている。置かれた岩の 3 分の 2 は土に埋められており、人は露わになった岩から、地中の空間まで想像する。

Garden x Tearoom The garden of this building acts as a processional space for each room that leads to the golden tearoom. The stepping-stones determine your step size. You will experience different scenery in the garden as you are led to the golden tearoom, as each room has a vista of its s u r r o u n d i n g n a tu r a l s c e n e r y. 各部屋に面した個性の異なる庭は金の茶室へ導く動線としても使われる。飛び石により人の身体や視線を指定し、自然を最大限感じることのできる動線となっている。

56 l 茶家

Myroom x Tearoom A space just for drinking afternoon tea.In the evening, gold leaf adhered to one of the walls draws in light from western horizon and shines. This light reflects off of the bright red tatami floor, adding to the radiance and illuminating tea poured into glass cups. The room further heightens the stunning beauty of natural light and allows nature to show through. 紅茶を飲むためだけに設計された部屋。普段は全く光が入らないのだが、夕刻時の太陽だけ受容する。壁一面に貼られた金が光を吸収して輝き出し、その光は緋色の床と混ざり合って金色に輝きだす。その光は人の意識の中で建築を透かし自然を一体となる。

Drawingroom x Tearoom The guest room was built approximately 500 mm lower than the surrounding ground level.This makes it so that when people sit, their eyes are drawn to the base of trees and flowers in the garden.Rather than walls, The inside of the house is separated from its surroundings by shoji (paper sliding doors) with openings at the bottom. 街の地面の高さより 500mm 低くつくられた客間。人が座ることで庭の花や木々の足元に視線が集中するようになっている。家と街の間の塀の代わりに建てられた障子の足元に開口があり、風景の借景として街の足元が見える。上部はガラス窓の内側に貼られた障子によって自然の動きがシルエットとして映る。

茶家 l 57

Dinningroom x Tearoom A dining room that looks down over the surrounding area. Leaning back against a protruding railing, one can enjoy a glass of sake while gazing out over the park. When friends gather, large doors can be opened, drawing the surroundings inside the house.

街を見下ろすダイニング。張り出した手すりに腰掛けて、公園を眺望しながらお酒を飲める。また友人たちが集まったときはおおきな扉を開けて、街を家の中に引き込むことが出来る。

Entrance x Tearoom Gently tying together a sense of time that flows through the surrounding city and one’s own home. As you move through the area, countless openings get progressively smaller, and there are fewer variati o n s i n light. Time gradually comes to a halt. Finally, you enter a large open space-an expansive area. I n t h e c e n t e r, t h e o n l y t h i n g moving is the reflection of the sky on water poured into a glass. 無数に空いた開口が次第に小さくなっていき、光の変化が少なくなっていく。時間が徐々に止まっていく。やがて、巨大な吹き抜け空間に出る。巨大なエントランス。そこの中心に置かれたグラスの水に映る空のみが動く空間。

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Bathroom x Tearoom A large dark bathroom that makes use of the human eye’s natural response to darkness. When a human being enters a dark space, it takes approximately 40 minutes for their eyes to adjust, allowing them to discern the area. This space comes to life amid recollections of the day during a 40-minute bath. As 40 minutes elapse, the person’s spatial recognition gets stronger, finally revealing the size of the space they had been in. 暗順応を利用した暗黒の巨大風呂。人は暗黒の空間に入ると、目が空間を認識するのに約 40 分かかる。40 分間の風呂に入りながら一日を回想し記憶の中で空間が生まれていく。 40 分経ったとき人は空間認識能力が高まっている。そのとき、今までいた場所の空間の大きさに気づく。

Bedroom x Tearoom A room specially made for waking up. Morning light is reflected off of one-way mirrors at the bottom of open areas, drawing light into the house. Subtle irregularities in the one-way mirrors produce uneven light, like sunbeams passing through trees. This light strikes the inverted arched ceiling and pours down over the people inside. This space produces a sense of waking up in a forest. 朝のの光を開口部の下部についたハーフミラーで反射させて家の中へ光を取り込む寝室。ハーフミラーの微妙な凹凸によって光は木漏れ日のようにむらのある光となり、逆アーチ状の天井ひあたり、人の身体に降り注ぐ。森の中のような目覚めを演出する空間である。窓は人がベットに寝た時に外の桜が見えるように横長の形状となっている。

茶家 l 59

Cross-shaped walls and Design: Each room is integrated because of the crossshaped walls in the center. Each room has a different garden because these walls divide the site into four parts. The relationship between each of the rooms is also guaranteed because the internal walls actively connect each of the adjoining rooms. It is also possible to go around to each of the rooms via the hallways, so it is converted into a single construction in the memories of your daily life.

十字の壁と意匠：中央に配置された十字の壁によって各部屋はまとめられる。この壁は敷地を４つに分けているため、各部屋が異なった庭を持つことができる。また、内側には壁によって隣り合う部屋同士を能動的に繋ぐことができるため、各部屋の関係性も担保される。また、各部屋は廊下によって連続的に巡ることができ、生活の記憶の中で一つの建築に昇華していく。

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Cross-shaped walls and its construction: The cross-shaped walls guarantee that all the forces are in a horizontal direction, so it is possible to go with very delicate things for the structures removed from the other parts. Also, by lowering the height of the walls that go from the center to the exterior, it will be a shape that restrains surface buckling, so it is a logical shape that consolidates the design with its construction.

十字の壁と構造：十字の壁に水平力を全て担保させることで、その他の部分の構造体を限りなく華奢なものすることができる。また、中心から外側に向かって壁の高さを低くすることで、面外方向の座屈を抑える形になっており、意匠デザインと構造が一体となっている合理的な形態といえる。

茶家 l 61

Air, Thermal and Waterworks in Cross-shaped walls: In addition to the design and construction, the residence is also supported by its accommodations. Since waterproofing and insulation normally surrounds a construction, it is difficult to design each room to be a completely different space. However, because these crossshaped walls have insulating and drainage functions, it is possible to divide up the center of the walls and think about each room's accommodations. In this way, each of the rooms has a different environment, and it has faithfully been designed with the concept of a tea house.

十字の壁と設備：これは意匠や構造だけではなく、設備面でも住宅を支えている。通常は防水や断熱は建築を囲むように配置するため、部屋ごと設備を変える事は計画し難い。しかし、この十字の壁に断熱、及び、排水の機能を持たせることで、この壁を中心に分割して各部屋が別々の設備を持つことができる。これによってすべての部屋は異なる環境を獲得し、茶室というコンセプトに忠実に設計していくことを実現する。

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茶家 l 63

04. Internet City @ shibuya

PROJECT TYPE Urban Architecture DATE July 2014 LOCATION shibuya Tokyo DURATION 3 month PROGRAM housing,share-house,library office,shop,sports gym AWARD TOKYO CITY UNIVERSITY Chiaki Arai Dsign award In the era of Web 3.0 — where you can find the information you are looking for just like that, where people communicate through a virtual world — a new society is being constructed. This project is a proposal for urban architecture born from the semilattice structure of the internet. In the contemporary city, the living room has become but a corridor one must pass through on the way to one's own bedroom. It is from inside this private room that people connect to the internet and step into the outside world. As a result of this, face to face communication is becoming superficial. So, would it be possible to trigger modern communication in real space by designing an urban space where rooms are connected in a network like the internet? We propose a city where, as when surfing the internet, it is possible to participate in a community as soon as one feels the impulse and to link to various other communities from there.

WEB3.0 と言われる時代、欲しい情報はすぐに手にはいり、人はバーチャルの世界でコミュニケーションをして、新たな社会を創り出す。このプロジェクトはインターネットのセミラティス構造から作る都市型建築の提案である。従来の都市型住宅はリビングの奥に個室空間があり、リビングは個室へ向かうための廊下と化して、個室空間で人はインターネットを繋いで閉じこもる。これによって現実でのコミュニケーションは軽薄となってしまっている。そこで、インターネットのように部屋同士がネットワーク状につながっていく都市空間を設計することで、現実空間でも現代的なコミュニケーションを誘発できるのではないか？インターネットでネットサーフィンをしているように、コミュニティに参加したい時にすぐに参加可能で、そこから様々なコミュニティへリンクしていく都市を提案する。

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Internet City @ Shibuya l 65

TREE

SEMILATTICE

It becomes possible in this world that you can meet various people in a virtual world because of the development of a variety of applications and Internet services. The opportunities in which you have a communication in the virtual world increase more than those in the real world. I aim at a new city by planning a city from the structure of this virtual world, SEMILATTICE, to create the new social community.

The planned location for this project is Shibuya, where subculture is readily accepted. Various

現在、様々なアプリケーションや、インターネットサービスが発達して、仮想世界で様々な人と出会うことが可能になった。統計では現実世界コミュニケションよりむしろ仮想世界上で SNS を利用している時間の方が多いと示している。このプロジェクトではインターネット構造であるセミラティス構造から都市を設計することで新たなコミュニティをデザインする。

このプロジェクトの計画地は、サブカルチャーな住み方が受け入れられやすい渋谷である。渋谷

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communities exist in Shibuya, and we propose a city that adopts elements of the cultures of those communities.

には様々なコミュニティが存在しており、それらの文化を取り入れながら都市を提案する。

At the same time, by incorporating city facilities such as creches, offices and gyms into

We make a lattice form by networking the relations between a private room and a living room, and then define

the network, the line between private and public is blurred and the project becomes

it again. You can possibly select a plurality of communities from the step of a private room, and link the private

urban housing that fits into a society of ubiquitous computing. Various activities are

room to a living room infinitely.

connected like internet links and encourage participation in new communities. 同時に託児所やオフィス、スポーツジムなどの都市機能の一部もネットワー

個室とリビングの関係をインターネットの構造であるラティス型に再定義する。個室の段階から、

クにくみこむことで、プライベートとパブリックの定義を曖昧にし、ユビ

複数のコミュニティを選択することを可能とし、個室、リビングが無限にリンクしていく

キタス社会に即した都市型住宅となる。様々なアクティビティはインターネットのリンクのようにつながっていき、新たなコミュニティへの参加を促す。

Internet City @ Shibuya l 67

GL-2000 PLAN

Ground Floor Plan

GL+7000 PLAN

GL+11500 PLAN

P : Private room L : Living room

GL+15500 PLAN

GL+19500 PLAN

P : Private room L : Living room

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Internet City @ Shibuya l 69

Living room × Private room Up until now, private housing design has centered on the living space and has been structured so that each bedroom is entered from the living space. Each bedroom is a dead end where one can shut oneself away. The proposed form of housing design redefines how living space is used by centering on the bedroom and arranging private residences in a network. These houses come in a variety of different sizes and can be inhabited by a variety of families and individuals. Those different communities will link together.

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従来の専用住宅はリビングからアプローチして、各個室へ入る。各個室は行き止まりであり、部屋に閉じこもりがちである。そこで、この住宅ではネットワーク状に住宅を配置し、各個室からアプローチすることで、リビングの使われ方を再定義する。これらの住宅は大きさや空間が全くことなる住宅となり、様々な家族形態や利用者を住まわせることが可能となる。また、それらのコミュニティ同士がリンクしていく。

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Subculture share×Private room This is a network of rooms belonging to subcultures. This housing, in contrast to regular occupied housing, can belong to a community. For example, a family's living space can also belong to another community. This housing will be a community space for a large number of subcultures. It will be a living space that feels like an internet chat. This space will also be used as a place to pass through, and will become a point of connection for new communities.

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サブカルチャーの部屋のネットワーク。この住宅では占有住宅とは異なるコミュニティに属すことが可能で、家族のリビングの他にもう一つ別のコミュニティと持つことが可能。これは大量のサブカルチャーのコミュニティ空間であり、インターネットでチャットをするような感覚のリビング空間である。この空間は動線としても利用され、新たなコミュニティの結束点にもなる。

Internet City @ Shibuya l 73

Residential Networks The terrace will be a space that connects the individual residences. Furthermore, the terrace space will be connected to every residence and to the grand floor. It will also function as an evacuation route. テラスは各住宅と住宅をつなぐ空間となる。また、テラス空間はすべての住宅に接続してグランドフロアまでつながっており、避難動線としても機能する。

74 l Internet City @ Shibuya

Subculture Networks City facilities and main walkways will be primarily constructed in the space of eight large tubes. This will be a space where various activities are interlinked; a space that brings the community together visually and empirically. 都市機能やメイン動線は主に 8 つの巨大なチューブ状の空間に作られる。これは様々なアクティビティが錯綜するひとつながりの空間であり、視覚的、経験的にコミュニティをつないでいく。

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05.LOGISTICS CITY

PROJECT TYPE Future city DATE March 2015 LOCATION Heiwajima Tokyo DURATION 6 month PROGRAM Convenience store,Warehouse, AWARD TOKYOCITY UNIVERSITY Diploma Award PUBLICATIONS KINDAIKENCHIKU DIPLOMA PROJECT 2015

Where will we live tomorrow? This is a project that considers the future of cities in Japan that has placed an importance on convenience in recent years. This plan is for a new city that is thoroughly convenient in a brownfield (Heiwajima) that supports the distribution of convenience stores, and this will improve the relationship between people and things, people with other people, and people and the city. Current convenience stores that do not have a warehouse instead receive shipments several times a day by trucks coming from a large warehouse district to maintain the convenience of these stores. I have designed a large bordered convenience store that uses the area above the roads in the warehouse district. The large convenience store that combines the functions of a convenience store and a city will create an unknown space that entangles people and things, city functions, and personal relationships. This will offer the ultimate form of convenience by quickly obtaining what you need when you need it. The warehouse can be managed even without people. How would people live if they lived here? I have designed a single scenario for the future with the aim of getting to the heart of current city problems from a critical point of view similar to Super Studio and Archizoom. However, this city is different from that era, and it contains the terrifying aspect that this cannot be called completely fiction. 明日、私たちはどこに住むのか？近年、利便性が重視された日本において未来の都市を考える計画。コンビニエンスストアの物流を支えているブラウンフィールド ( 平和島 ) に、徹底した利便性を獲得する新たな都市を提案して人と物、人と人、人と都市の関係を更新する。現在のコンビニは店舗に倉庫を持たない代わりに巨大な倉庫街からトラックを１日に何往復もさせてコンビニの利便性を保っている。この倉庫街に、道路の上空を利用したボーダー状の巨大コンビニを設計する。コンビニと都市機能が一体となった巨大コンビニは、人や物、都市機能や人間関係までもが錯綜する未知なる空間を創り、必要な時に必要な物がすぐに手に入る究極の利便性を得る。人がいなくても管理される倉庫。ここに人が住むとするならばどう住むのか？スーパースタジオや、Archizoom のように批評的な視点から現在の都市問題に切り込むことを目的として、未来の一つのシナリオを設計した。しかし、この街は、あの時代とは異なり、完全なフィクションとは言い切れない怖さを含む。

76 l Logistics City

Logistics City l 77

Logistics System 2015 In Tokyo, the convenience stores do not have the store to keep products, instead, these collect from a big warehouse island, most of them are now a brownfield, by trucks which ply between store and warehouse many times per day. Therefore these warehouse islands have many kinds of products and facilities.

現在の日本においてコンビニエンスストアは生活に欠かせないものとなり、東京を埋め尽くしている。コンビニエンスストアの基本は倉庫を最小限に抑えてその代わりに大型倉庫から 1 日に複数回トラックで運搬することで在庫を管理しており、独特なロジスティクスシステムによって経営している。

78 l Logistics City

Shinagawa Station

Oi Wharf

HEIWAZIMA Showajima Junction

Tokyo International Airport

Map of Covenience Store People wanted convenience which resulted in convenience stores opening up all over Tokyo. In the 23 wards of Tokyo there are convenience stores within 460 meters of each other. And what is supporting all these convenience stores are towns clustered with huge warehouses called warehouse towns. And one of them is Heiwajima.

Heiwajima is a man-made island perfectly

located easily accessible by land, sea and air. Within 10 kilometers there is Ooifutou accessible by sea, the Tokyo International Airport accessible by air, Shinagawa station where various railway lines connect and Showajima Junction of the Metropolitan Expressway located next door. Although this place is conveniently located at the center of Tokyo population density is low and not many people live here but there is a high concentration of logistics. 東京 23 区内は 460M 以内に必ずコンビニエンスストアが存在している。それらのコンビニエンスストアを支えているのは倉庫街とよばれる巨大な倉庫が集中している街である。その倉庫街のひとつが平和島である。平和島は、10km 圏内に海からのアクセスの大井埠頭、空のアクセスの東京国際空港、各地からの鉄道が集中するの品川駅、首都高速道路の昭和島ジャンクションが隣接していて陸、海、空を網羅しており、東京の中心的で利便性が高い場所にある。しかし、この場所は、人口密度が低く、人があまり住んでいない。このプロジェクトはこの場所に利便性に特化した都市を設計することが目的である。

Logistics City l 79

TIONS

CONFEC

ARE

APP

SERVICE

GAS

STAT

ION

TINNED FOOD

INSTANT NOODLES

PROCESSED FOOD

GASCHEMICAL

SIGHTSEEING BUS

FIELD

GASCHEMICAL

FOODSTUFFS

E OFFIC T

COPY CENTER

OPTICAL FIBER METAL

BEER

TEXTBOOK

ARCHIVES APPAREL

FOODSTUFFS

BEERDVD

POST OFFICE

UTILINTY DESK

CONSUMER ELECTR ONICS

CONFECTIONS LUMBER

LUMBER FIELD CONFECTIONS

ARCHIVES MAP

OPTICAL FIBER

REL FIELD APPA GAS STATION

APPAREL

DVD

TINNED FOOD

LARGE MACHINERY

ERECTRICITY

DRAWING

TINNED FOOD TEXTBOOK

FIELD LUMBER

PARKING

TEXTBOOK METAL

HOME DELIVERY

CONFECTIONS

DVDCD

A BO

AGRICULTUREFARMING APPAREL

HOTEL

REFRIGERATOR

ICITY DVD ERECTR LUMBER

SCHOOLROOM

REFRIGERATOR

SCHOOLROOM

REFRIGERATOR

DVD

FOODSTUFFS

REFRIGERATOR

FROZEN FOOD

REFRIGERATOR

DVD

DRAWING

TEXTBOOK FURNITURE

DVD APPAREL

RESTAURANT

GARMENT

DENTIST BARVER

FOODSTUFFS

EXHIBITION HOLL

FIELD TEXTBOOK SUNDRIES

OFFICE

FIELD DVD

GAS TATION

PARKING

AGRICULTUREFARMING FURNITURE

DVD FIELD DRAWING

DVD

SUPERMARKET

FOODSTUFFS B

NURSING

TEXTBOOK

APPAREL

FROZEN FO D

PLIBALL GA

METAL

CONFECTIONS MISCELLANEEOUS GOODS

DVD

OPTICAL FIBER

DVD

SUNDRIES

MIS

CELLAN HOT SPRING EEOUS GOODS

POO

SERVICE

ARCHIVES LUMBER

CHEMICAL INDUSTRY METAL

COPY CENTER

ERECTRICITY

ELECTRIC CIRCUIT

SWEETS

TRUCK

LIGHT BULB

OPTICAL FIBER

HOME DELIVERY

GAS STATION

LARGE MACHINERY

ERECTRICITY

CONSUMER ERECTRONICS

PARKING

FIELD

BEER

ERECTRICITY

METAL

SAKE CIDER JUICE

OFFICE

PARKING

DVD

GARMENT

SUBSTATION

LUMBER

HOME DELIVERY

GAS STATION

HOUSING

TRUCK

AIR CLEANER

PARKING

TRUCK

DVDCONFECTIONS

MAP

CEMENT

CONSUMER ERECTRONICS

GAS STATION

OFFICE

FIELD

BEER

ING

RECYCL

OPTICAL FIBER

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RECYCL

XAIL TA ET

FIDER NATURAL

FIELD

LARGE MACHINERY

MACHINERY TEXTBOOK LARGE TINNED FOOD LUMBER

GAS

STA

TIO

LUMBER DVD

Warehouse Island

Heiwajima is the largest logistics warehouse town in Japan.

Almost all the buildings in Heiwajima are

warehouses and unknown to all. It is a logistics town with bits and pieces of a city existing in site.

平和島は日本最大の物流倉庫街であり、コンビニの在庫を支えている場所でもある。平和島は建物のほとんどが倉庫であり、表には出ないが、都市の断片が集積した物流都市である。現在この島にはあまり人が住んでいない。住宅、都市機能倉庫

80 l Logistics City

Logistics City ロジスティクシステム

新ロジスティックシステム

Almost no one lives on the island even though all of the item and facility exist there such as medical, food, toy, books, gathered, etc. Also, the space over the roads are not used and these roads are connected to every warehouse. In this project, I will create the super convenience city over the roads and try to change the society and relationship between human and products in the future. 人は住んでいないにもかかわらず、平和島は食品、薬品、玩具、本、都市インフラなどの都市の断片が集積している。この島に新たなロジスティクスシステムを基本とした利便性都市を計画する。新たなロジスティクスシステムとは平和島の道路の上空を利用して倉庫に寄生したコンビニを軸に線状都都市を創り、そこに住宅街を創ることで物流の究極的な合理化を測ることである。これによりトラックで運搬するのではなくコンビニと倉庫が直結することで、より幅広いサービスを提供でき、徹底された利便性を手に入れる都市空間となる。

Logistics City l 81

Linear City Living off Warehouses

On top of a road which is not being used effectively we can plan a mammoth linear city. This is a border shape city where 30,000 people will live which makes it the most densely populated city in Japan.

道路の上空に作られた線状都市には 30000 人もの人が住むことができる。これは倉庫のように整理された線状の都市であり合理的な生活環境となる。

82 l Logistics City

Covenience Storeeoff harehouses This huge linear city will release the fragments of the city hidden by warehouses and live off a huge convenience store. This convenience store will have all the facilities necessary for a man to live from the time he is born till the time he dies. The huge linear convenience store made from warehouses. and Convenience stores will be sandwiched between homes. On one side will be the smallest of private rental space and on the other side spreads a family rental space. If you open a door it will lead to the convenience store. 巨大線状都市は倉庫に隠された都市の断片を解放し、巨大なコンビニエンスストアによって支えられる。このコンビニエンスストアは人が生まれてから死に至るまで、必要な機能が全て

い、それらのプログラムは各寝室から直結で接続せれる。

Logistics City l 83

Living Room

Convenience Store

Private Room

Three Part of Convenience Town This city is mainly divided into living and convenience store spaces, as well as private rooms. Living spaces make available various communities, and convenience stores offer various city functions as a commodity. Private rooms are made from the same module and they can be used in any room.

この都市は主にリビングとコンビニ空間、そして個室に分かれている。リビングは様々なコミュニティを提供しており、コンビニは様々な都市機能を商品として提供する。個室空間は同じモジュールから作られており、どこの部屋を使っても構わない。

84 l Logistics City

Futuristic Convenience Store Controlled by Full Automation.

People and goods will be controlled and stored by full automation. There is nothing you cannot find at this convenience store and everything will be delivered in an instant.

コンビニ空間は全自動コンベアで人も物も管理される。究極的に便利な都市空間は多種多様な人や物が集中することで、新たな社会環境を生み出す。この巨大なコンビニは寝室とリビング空間を横断しており、家族も選択できるようになる。これは血縁関係の家族ではなく、自ら自由に家族を選択できるような都市空間となり、究極的には家族的なコミュニティもコンビニで手に入れられる都市空間となる。

Logistics City l 85

Stand-Alone Room Only a computer is installed in the bedroom, and anyone can use any of the private rooms. This is born out of the concept of a minimum amount of possessions that are shared to the maximum degree, and the concept of individualism is also controlled by convenience stores.

寝室にはパソコンだけが設置しており、人はどこの個室を利用することもできる。これは最小の占有と最大の共有という概念から作れており、個人という概念もコンビニに管理される。

86 l Logistics City

Convenience Family Living spaces mainly provide for rental families, and they can be rented at any time I like to any family I like. This community becomes a single business model, and also a model for a new ubiquitous society. Human society and families will be automatically controlled.

リビングは主にレンタル家族を提供しており、好きな家族を好きな時にレンタルすることができる。このコミュニティは一つのビジネスモデルにもなり、新たなユビキタス社会のモデルとなる。人の社会や家族も全自動管理される。

Logistics City l 87

88 l Logistics City

MODELS

These are models created to demonstrate this proposal. These models are more than 3 meters tall, and they serve to show the huge size and complexity of this city.

この提案を示すために作成した模型である。この模型は全長 3m 以上もありこの街の巨大さと複雑さを示すために役立てた。

Logistics City l 89

06. BIO PARK ARCHITECTURE PROJECT TYPE Buiding DATE November 2013 DURATION 4 month PROGRAM Office Buiding AWARD TOKYO CITY UNIVERSITY Yasuyuki Unemori Dsign award

Shibuya is a large city in Japan. We no longer can feel nature there in the forest of skyscrapers. Miyashita Park is the only place where we can feel nature in the middle of Shibuya. However, how such urban parks should be is currently in discussion in Japan. Parks are fenced and high buildings line the front of parks. Renewing how the buildings in front of Miyashita Park look creates a new relationship between urban parks and architecture.

渋谷に環境の広告塔になるオフィスビルを設計するプロジェクト。現在の渋谷はあまり自然を感じることができず、宮下公園はビルやフェンスに囲まれ、孤立した自然をなってしまった。しかし、この公園は近年再び再開発され話題となっている。このプロジェクトは宮下公園に面するビルをデザインすることで渋谷と公園の環境を変える事を目的とした。ビルの周りを覆う緑化は宮下公園の自然を街へ延長させるだけでなく、ビルから宮市や公園の環境を改善していく役割も担う。

90 l BIO PARK ARCHITECTURE

Heat-island effect in world

Among other cities in the world, Tokyo often suffers from the heat-island effect, which is a serious urban problem. Against this problem, I want to renew the relationship between urban parks and big-city architecture and propose architecture like a large plant.

地球温暖化を始め様々な環境問題が話題となっている中、東京でも重大な問題となっている。この問題に対して、このプロジェクトでは環境と都市公園、その周りの建物の関係性を更新するため、環境と一体となった建築を設計した。

BIO PARK ARCHITECTURE l 91

Park Covers the Facade

Green Void

Shibuya

The park is extended to the city just like the park covers the facades of buildings. I thus unify the park and the facades to achieve tenants’ brand image improvement and long-life architecture.

Green voids connecting the city and the park are provided in buildings. It shifts consciousness from the city to the park.

宮下公園の自然を、建物外壁を通り都市まで拡張することで街と公園を環境的に繋ぐ。

建築に緑のボイドを通す事で都市と公園を視覚的に繋ぎ公園の存在を街へ主張する。

92 l BIO PARK ARCHITECTURE

MIYASHITA PARK

Seasonal Window

Shibuya

Reuse Water

The buildings have a large seasonal window. In spring, pieces of cherry blossom flutter down from 28 meters above the ground. Peoples’ consciousness is gradually changed by this experience that they do not usually have in the large city.

The buildings reuse water in a rooftop pool as irrigation water for plants. The used water is filtered for reuse.

この建築の都市側には大きな季節の窓が存在する。春には地上 28 メートルのこの窓からは桜の花びらが都市に降り注ぐ。これによって人々の環境への意識が少しずつ変わってくる。

屋上にあるプールの排水は重力を使って植物の潅水装置として再利用する。

BIO PARK ARCHITECTURE l 93

The buildings’ floors have an outside corridor. Therefore, people can feel plants from anywhere. Besides, a space for enormous equipment and a space with a large planter are planned for every three layers. Plants are arranged and extended from this layer having the enormous planter. 自然を最大限に感じられるように、この建築は外廊下の構成になっている。三層ごとに建築と一体となった大きなプランターが存在しており、そのプランターが建築の自然を支える。

Ground Floor Plan

First Floor Plan

Second Floor Plan

shop shop

shop cafe

shop

Third Floor Plan

office

Sixth Floor Plan

restaurante

garden

locker room

Ninth Floor Plan

Fifth Floor Plan

Fourth Floor Plan

office

Seventh Floor Plan

sports gym

Eighth Floor Plan

sports gym

Tenth Floor Plan

locker room pool

94 l BIO PARK ARCHITECTURE

PLAN

The buildings’ flow lines all go through the outside corridors. Therefore, office workers, people working out in the gym, and even shoppers always feel nature that they hardly feel in urban areas. Besides, exposure of the buildings to direct sunlight is avoided for prevention of high heat of the buildings. この建築は全てが外廊下の構成となっているため、オフィスで働く人、買い物に来た人などが自然と触れ合うことができる。

BIO PARK ARCHITECTURE l 95

DETAIL

01 02 03

04 05 06 07 08

11 b c

12 d

01 -Artificial Lightweight Soil

07- Obsidian Pearlite

a- Fence-combined Planter

02 -Alternate Filling

08- Spacer

b- Naturaly Watering

03 -Population Irrigation Pipe

09- Fence Mesh

04 -Holding Anchor for Plans'root

10- Fence-Combined Planter

c- Hydroculture Planter

05 -Liquid ‐ Applied Membrane

11- Hydroculture Planter

d- Lightweight soil Planter

Waterproofing 06-Wire Mesh D-13

96 l BIO PARK ARCHITECTURE

12- Lightweight Soil Planter 13- Naturaly Watering Vegetation Device

Vegetation Device

Garden

The garden is large seasonal window. In spring, pieces of cherry blossom flutter down from 28 meters above the ground. 建物の内部に設置された庭には季節を感じることのできる植物を中心に植える。渋谷の空に季節を感じる窓ができる。

A planter combined with an external wall fence. The fence structure houses soil in bags. The planter grows mainly vines, so that they grow over the fence. The fence is extended into the inside of a building so that plants penetrate the inside of the building.

Fence-combined Planter

このプランターは建物を囲んでいるフェンスと一体となっており、様々な蔓科の植物を植えることが可能。これによって、植物が建物全体を取り囲むまで成長していき、次第には宮下公園にまで侵食していく。 Wire mesh structure Lightweight Soil Naturaly Watering Vegetation Device

Using hydroculture for growing plants without soil, this planter makes it possible to efficiently grow various plants.

Hydroculture Planter

水耕栽培用プランターは、普段渋谷では見られないような植物を栽培することが可能。渋谷で植物園のように様々な自然に触れ合うことができる。 Water gauge

Expanded-clay

A planter that can contain sufficient soil having a thickness of 70 cm. This planter is provided for every three layers and can grow both grass plants and woody plants. This planter allows vines to permanently grow in the sufficient soil.

Lightweight Soil Planter

このプランターは 70cm の植物の成長に十分な軽量土壌をいれることが可能。このプランターは３層ごとに設置されており、草花と共に低木もうえることができる。これによって、植物を永続的に育てることができる。

Naturaly Watering Vegetation Device Lightweight Soil Styrofoam -made

Drain Valve

BIO PARK ARCHITECTURE l 97

07. Iroha-Gram PROJECT TYPE language Analysis and Essay DATE November 2018 DURATION 1 month

This is a programming work made from the thesis, "How are spaces from literature organized?" In this thesis, I thought about the relationship between literature and architecture through considering the spacial nature of Finnegans Wake. According to Jennifer Bloomer, in the novel Finnegans Wake written by James Joyce, language expressions from all over the world are inlaid in the text, and spaces are said to be constructed from the complex combination of those languages inside the reader's consciousness. Accordingly, in regard to English and Japanese, I created a program to visualize the differences in consciousness when someone is reading a text, and considered why inlaying languages from all over the world is one main cause for the organization of spaces from literature. This software combines character strings with progression values that organize the text from characters, and configures character track lines. With English, the progression value is combined with the 26 character string "ABCDEFGHIJKLMNOPQRSTUVWXYZ" to conceptualize the text two dimensionally. On the other hand, with Japanese, it is organized from both the vowels "a i u e o" and the consonants "a ka sa ta na", and by combining those with the progression value, the conceptualized track lines become three dimensional. In short, this software converts language concepts into spaces, and I have attempted to critique literature as spaces by means of that. 「文学から空間はどう構成されるか？」という論文中で作られたプログラミングの作品。この論文では Finnegans Wake の持つ空間性の考察を通して、文学と建築の関係について考えた。Jennifer Bloomer によると、 James Joyce によって書かれた小説 Finnegans Wake は、文中に世界各地の言語表現が散りばめられており、それらの言語が読者の意識の中で複雑に組み合わさることで空間を構築させているといわれる。そこで、英語と日本語において、人が文を読む時の意識の違いを可視化させるプログラムを作成して、なぜ世界各地の言語を散りばめることが、文学から空間を構成する一つの要因になるのかを考察した。このソフトは文字列と、文字から文を構成する進行数を組み合わせて、文字の軌跡線を構成する。英語においては、「ABCDEFGHIJKLMNOPQRSTUVWXYZ」という 26 文字の文字列に進行数を組み合わせて、2 次元的に文を把握している。一方、日本語では、「あいうえお」という母音と「あかさたな」という子音の二つから構成されており、そこに進行数を組み合わせることで把握の軌跡線は 3 次元となる。要するにこのソフトは言語把握を空間に変換するソフトであり、それによって文学を空間として批評することに挑戦している。

98 l Iroha-Gram

Iroha-Gram l 99

1. Introduction

2.2 One-Way Street

thi

co 1

The field of domestic architecture is traditionally separate from outside disciplines, but

One-Way Street was published in 1992. This text also has a non-linear structure and

arc

recently there have been discussions about escaping from traditional architectural

random style; thus, it seems similar to Finnegans Wake. It is composed of many prose

theory. In this essay, Critical Spatial Theory is defined as the theory of construction of

passages which are not related to each other. In this text, Benjamin merely reflects on

tog

space, not only in the architectural field but also in outside disciplines, and it will critique

his life, including objects, dreams, memories and emotions in the city.

these spaces in order to develop architecture. In addition, in this way, the spatial theory

space in the objects in the street. Additionally, these images change depending on

can work as an interdisciplinary theory. Although critical spatial theory includes a vast

Benjamin’s position. Therefore, this text seems also very complex. In addition, this

amount of topics, this essay will focus on the relationship between text and space,

writing does not have narration, nor any images in the text to tell the story.

He feels the

Fin

rather than on the theories of feminists and the actual space of power. This is because, although the architectural field is generally isolated, research on the relationship 3

between architecture and writing has been conducted in the last 30 years. In addition,

3. Examination based on Three theoretical texts

3.2

Bloomer states that this can critique the Enlightenment architectural theory, and the theory of constructing the text is a parallel theory to creating architecture; moreover, that 4

the construction of text can develop the theory of space. Therefore, the research

In 11

3.1 Architecture and the Text

question in this essay is: How is space constructed from texts and writing? In addition,

this question could establish a theory to create space in the text, and this theory could

Bloomer shows in her writing Architecture and the Text that the interpretation of

be linked to different fields through the idea of the construction of space in the text.

Finnegans Wake is often used a spatial metaphor, as this text seems to use a

construction of objects and materials rather than narration to tell the story. Bloomer

‘st

This essay will consider two texts as architectural works: Finnegans Wake by James

states that the text in Finnegans Wake is written for ‘How does it work?’, not ‘What does

the

Joyce (1939), and One-Way Street by Walter Benjamin (1992). They are chosen

it mean?’.

However, the text deals with the construction of consciousness, and this

because Bloomer said that Finnegans Wake shows the construction of space, and she

explains the meaning of the text. Therefore, ‘How does it work?’ can eventually explain

foc

examines this text using spatial metaphors. Also, Walter Benjamin’s theory is often used

‘What does it mean?’ in Finnegans Wake,

and meaning in Finnegans Wake exists in

to consider the space in Finnegans Wake, and his work One-Way Street seems similar

the process layer. In addition, Bloomer also writes that the text is three-dimensional, for

sto

in style to Finnegans Wake. This essay will also use three theoretical texts. First,

the following two reasons. First, Bloomer states in Finnegans Wake that ‘It oscillating

Architecture and the Text by Jennifer Bloomer (1993) shows the spatiality in Finnegans

between writing and drawing, operating in the space between’. The reader should,

Wake and the relationship between space and text. Second, Looking in: The Art of

therefore, imagine and explore the space between the text and graphics, to construct

Fin

Viewing by Mieke Bal (2001) considers visuality in literature, in order to examine the

the meaning. Second, Finnegans Wake provides us with a new system of writing which

sto

vision of these works. Finally, Site-Writing: She is Walking About in a Town Which She

is beyond the grammatical and general syntax system, as the characteristic of

Does Not Know, written by Jane Rendell in 2015, presents architectural criticism based

Finnegans Wake is that the text is composed of various world languages. Different

on an interdisciplinary sense which is site-based. Through examining and discussing

words that have the same meaning could be the same language, but it may not be the

sim

these works with reference to three theoretical texts, this essay will consider the theory

same language used to construct space. Bloomer also mentions that ‘the language of

Fin

of the critical construction of space in text, and how this influences the architectural field.

Finnegans Wake is always oscillating and transforming’.

2. Two Architectural works

On the other hand, although

this text does not have a direct relationship to One-Way Street, the latter text is similar in

pre

that it also has a random order, and the texts explore real space and Benjamin’s dreams.

The reader should construct the space and meaning from the whole random prose. Regarding this point, this text can also be seen as a spatial metaphor. This random

prose creates layers of meaning in this text; thus, the text can construct the spacial

images and storyline. In other words, as Benjamin blurs real space and dreams, this text

may be oscillating between reality and his dreams to construct space. Therefore, we can

pre

‘Finnegans Wake’ is ‘quasi-three-dimensional text’. This text looks extremely complex

say that One-Way Street is also a three-dimensional text. In addition, Bloomer often

the

to read because Joyce uses and mixes various world languages with the original

uses the theories of Benjamin to analyse Finnegans Wake. She states that Finnegans

rhetorical language. In addition, it also uses ‘stream of consciousness’ as one of the

Wake can be seen as allegorical architecture, as the reader should follow the

2.1 Finnegans Wake

Finnegans Wake was completed by James Joyce in 1939. Bloomer writes that 6

narrative methods to tell the story. The consciousness of the reader is constantly

construction process, and meaning is constructed from the layer of process. According

changing. According to Julia Kristeva, the action of reading a book may be linked to the

to Bloomer, this allegorical architecture could be a critique of Western architecture and

actions of picking up a book, taking the book, or writing a book.

Enlightenment Western architectural theory.

In the conclusion in part, this text examines specifically and in-depth Finnegans and

Samuel Lelièvre and Yvon Inizan, ‘Presentation Of ’Architecture And Narrativity’’, Études Ricoeuriennes / Ricoeur Studies, 7.2 (2017), 17-19 <https://doi.org/10.5195/errs.2016.381>.

2 3 4

Jane Rendell, Art To Architecture (London: I.B. Tauris, 2006), 191-193.

James Joyce, Finnegans Wake (New York: Viking Press, 1939).

Jennifer Bloomer, Architecture And The Text: The (S)Crypts Of Joyce And Piranesi (New Haven: Yale University Press, 1993), p.12.

Alexandra Milostivaya and Irina Makhova, "Achieving Communicative Equivalence:

Space-Time Text Organization Peculiarities In Stream Of Consciousness Novels Of James Joyce In German And Russian Translations", Rupkatha Journal On Interdisciplinary Studies In Humanities, 9.1 (Russia, 2017), 36-45 <https://doi.org/10.21659/rupkatha.v9n1.05>.

or Benjamin’s life layer, can construct the space which overlays this meaning layer. In

Jane Rendell, Art To Architecture (London: I.B. Tauris, 2006), 191-193.

Jennifer Bloomer, Architecture And The Text: The (S)Crypts Of Joyce And Piranesi (New Haven: Yale University Press, 1993), 3-23.

One-Way Street. Bloomer claimed the process for the construction of a meaning layer,

Jennifer Bloomer, Architecture And The Text: The (S)Crypts Of Joyce And Piranesi

(New Haven: Yale University Press, 1993), 3-23.

100 l Iroha-Gram

Walter Benjamin, One-Way Street And Other Writings (London: Verso, 1992).

Mike Hiegemann, "Waiting For The Turnover Of Time: Reading The Narrative

Strategy Of Awakening In Walter Benjamin'sone-Way Street", The Germanic Review: Literature, Culture, Theory, 87.3 (2012), 242-260 <https://doi.org/10.1080/00168890.2012.707025>.

Jennifer Bloomer, Architecture And The Text: The (S)Crypts Of Joyce And Piranesi (New Haven: Yale University Press, 1993), 3-23.

Jennifer Bloomer, Architecture And The Text: The (S)Crypts Of Joyce And Piranesi (New Haven: Yale University Press, 1993), p.16.

Jennifer Bloomer, Architecture And The Text: The (S)Crypts Of Joyce And Piranesi (New Haven: Yale University Press, 1993), 3-23.

12 13 14

this point, the construction of meaning could be parallel with the process of architectural

3.3 Site-Writing: She is Walking About in a Town Which She Does Not Know

construction; this layer in Finnegan’s Wake and One-Way Street could be an allegorical

architecture which can examine the Symbolism and general architectural theory. In

In Site-Writing, Jane Rendell mentions that when a writer makes some criticism of art,

addition, in Finnegan’s Wake, there are variational world languages which mixed

their criticism depends on their individual position. Thus, criticism depends on ‘situated

together and deconstructed each other, and this is one of the elements that identifies

knowledge’ and ‘standpoint theory’.

Finnegans Wake as a three- dimensional text.

properly narrate our life story by ourselves.

Cavarero argues in this writing that we can not 24

Also, Rendell suggests that we can make

different criticisms of art and architecture if we gained other perspectives and could

make a reassessment. In this book, she tests this theory of site-writing in her work ‘SHE 25

IS WALKING ABOUT IN A TOWN WHICH SHE DOES NOT KNOW’.

She uses this

narrative to critique artworks through her imagination, by tracing her eyes on a map and 26

pictures of a site which she does not know. 3.2 Looking in: The Art of Viewing

Considering Rendell’s spatial theory, the critical space in Finnegans Wake might In this writing, Mieke Bal mentions the relationship between narratology and the ‘visual’ 16

actually vary according to the position of the reader. As previously described, for

He used a narrative term ‘Focalization’, which is a concept developed

example, the space constructed from the text might be different between an English

in narrative theory to explain how a story is told. Focalization means the relationship

speaker and other language speakers. Additionally, through this exploration of

to make a story.

between the character’s point of view in telling the story,

and the outside perspective

combining many languages, the critical space can be constructed from Finnegans Wake.

of simply telling the story, such as by a narrator. A particular style of focalization is

As for One-Way Street, imagination in Jane Rendell’s sense could be utilised to

‘stream of consciousness’.

However, this requires more than the two points of view at

construct the space. This is because the reader can probably imagine the space which

the same time to construct the story. For instance, in Mieke’s sense, ‘A says that B sees

the author describes. Furthermore, the writing style in One-Way Street does not use

what C is doing’.

focalization could be ‘Memory’, which has a relationship to space and time.

Memory is

space which she does not know by tracing some pictures and maps, whereas in One-

one of the narrative acts used to consolidate a story, and an audience can follow the

Way Street, a reader can construct the space from Benjamin’s specific text. Additionally,

story through the memories that have been constructed. However, ‘memory’ is usually

Benjamin did not analyse his own life; he merely described it. This may be a social and

In this style, perspective cannot be isolated. A different style of 20

overworked to tell the story, if a key memory is mentioned several times in text.

pictures or graphs, which may facilitate creating the space. Jane Rendell imagines a

practical strategy, because the reader can respond to his life and construct the space in their own sense. Imagination and thinking about a dual site, such as between space and

Finnegans Wake abundantly uses ‘stream of consciousness’ to construct the space and

dreams, and between Benjamin’s life and our life, could be a method of reading One-

story; therefore, in this text, there is always more than a two-point perspective. The story

Way Street as critical spatial practice.

of this text is mixed in the reader to grasp what the story means, and this process could

be linked to the architectural process of constructing space. One-Way Street also has a

In conclusion in part, in comparison with the other two texts, this text can examine these

similar style to ‘stream of consciousness’; however, the difference from the style of

works with wider perspective such as the criticism field and more social and political

Finnegans Wake could be that Benjamin uses only his perspective, while Finnegans

perspectives. Space which Finnegans Wake has could depend on the position of the

Wake has many mixed perspectives. Additionally, the text in both texts is always a

reader because of the various language difference. As for One-Way Street, the reader

presence, not flowing back to tell the story. Accordingly, ‘memory’ is not overworked,

should follow Benjamin’s life, which is one of the social and political ways. Also, the key

and a reader can probably construct the space in their own imagination.

to reading for both texts could be the imagination of the space.

ms.

In the conclusion in this part, this text shows a more common and Broad method to

analyse the text and space than Architecture and Text. Although there are some

methods to tell the story, Neither text has a view of narration, and text seems always a

presence in the story. A reader should imagine and construct the story and space from

the fragmented elements.

Jane Rendell, ‘Site-Writing: She is Walking About in a Town Which She Does Not

Know’, in Lesley McFadden and Matthew Barrac (eds), Home Cultures, 4/2 (July 2007),

177–199.

23 15

Jane Rendell, ‘Site-Writing: She is Walking About in a Town Which She Does Not

Mieke Bal, Looking in: The Art of Viewing, (Amsterdam; G and B Arts International, 2001), 41–48.

Know’, in Lesley McFadden and Matthew Barrac (eds), Home Cultures, 4/2 (July 2007),

Mieke Bal, Looking in: The Art of Viewing, (Amsterdam; G and B Arts International, 2001), p.42.

Mieke Bal, Looking in: The Art of Viewing, (Amsterdam; G and B Arts International, 2001), p.43.

Town Which She Does Not Know’, in Lesley McFadden and Matthew Barrac (eds),

Mieke Bal, Looking in: The Art of Viewing, (Amsterdam; G and B Arts International, 2001), p.46.

16 17 18 19

Mieke Bal, Looking in: The Art of Viewing, (Amsterdam; G and B Arts International, 2001), p.46.

Mieke Bal, Looking in: The Art of Viewing, (Amsterdam; G and B Arts International, 2001), p.47.

Mieke Bal, Looking in: The Art of Viewing, (Amsterdam; G and B Arts International, 2001), p.48.

p.177. Cavarero, Adriana, quated in Jane Rendell, ‘Site-Writing: She is Walking About in a

Home Cultures, 4/2 (July 2007), p.183. Jane Rendell, ‘Site-Writing: She is Walking About in a Town Which She Does Not

Know’, in Lesley McFadden and Matthew Barrac (eds), Home Cultures, 4/2 (July 2007), 177–199.

Jane Rendell, ‘Site-Writing: She is Walking About in a Town Which She Does Not

Know’, in Lesley McFadden and Matthew Barrac (eds), Home Cultures, 4/2 (July 2007), 177–199.

1 Iroha-Gram l 101

4 Conclusion

5. Bibliography

Considering the views above, the text in Finnegans Wake provides the objects and

Alexandra Milostivaya and Irina Makhova, "Achieving Communicative Equivalence:

materials, and it accumulates them into a layered style which can construct the space.

Space-Time Text Organization Peculiarities In Stream Of Consciousness Novels Of

In addition, this text can be seen as three-dimensional, as includes various languages,

James Joyce In German And Russian Translations", Rupkatha Journal On

and it uses stream of consciousness from various perspectives. This could be a method

Interdisciplinary

of constructing space from the text. On the other hand, One-Way Street constructs

<https://doi.org/10.21659/rupkatha.v9n1.05>.

Studies

Humanities,

9.1

(Russia,

2017),

36-45

space through the reader’s imagination of Benjamin’s life. This is because One-Way Street does not show an illustration of the space: Benjamin just wrote about his life. In

James Joyce, Finnegans Wake (New York: Viking Press, 1939).

addition, both texts do not provide a direct meaning: they provide the present elements, which can form the meaning and process layer. Therefore, this process can create the

Jane Rendell, ‘Site-Writing: She is Walking About in a Town Which She Does Not Know’,

space and allegorical architecture which can critique a symbolic architecture.

in Lesley McFadden and Matthew Barrac (eds), Home Cultures, 4/2 (July 2007), 177– 199.

This essay has explored how to construct space from a text; in this way, the space constructed from other discipline could develop the architectural traditional field. That is

Jane Rendell, Art To Architecture (London: I.B. Tauris, 2006), p. 191-193.

because this space can critique the traditional theory which is probably one of the critical spatial theory. In addition, This definisition may be directly linked to the interdisciplinarity

Jennifer Bloomer, Architecture And The Text: The (S)Crypts Of Joyce And Piranesi

or this space could have the power of the space from the actual building's power. This

(New Haven: Yale University Press, 1993), 3-23.

essay just focuses on spatial construction from texts. To deeply understand this spatial theory, we should probably try to research the spatial construction from other disciplines

Mieke Bal, Looking in: The Art of Viewing, (Amsterdam; G and B Arts International,

such as art, music and cinema.

2001), pp. 41–48. Mike Hiegemann, "Waiting For The Turnover Of Time: Reading The Narrative Strategy Of Awakening In Walter Benjamin's one-Way Street", The Germanic Review: Literature,

6. Manifesto

Culture, Theory, 87 (2012), 242-260 <https://doi.org/10.1080/00168890.2012.707025>. Samuel Lelièvre and Yvon Inizan, ‘Presentation Of ’Architecture And Narrativity’’, Études

According to my definition, Critical Spatial Theory is the theory of considering and

Ricoeuriennes

Ricoeur

Studies,

7.2

(2017),

<https://doi.org/10.5195/errs.2016.381>.

constructing space with various disciplines; it can develop today’s architectural theory through interdisciplinary criticism. In other words, in critical spatial theory, space which is constructed with various perspectives has a different quality from that which is constructed within the domestic architectural field. This essay has proposed the idea of how to construct space from texts. I explored space from two texts: Finnegans Wake and One-Way Street. One of the witting methods used to construct space from texts is to create texts which raise the question “How does it work?” rather than “What does it mean?”. I consider that this means when we read the book as a spatial practice, we should probably focus on the process of constructing the text. I explored space by focusing on the process in Benjamin’s text, and I could imagine the space from reading One-Way Street. However, although I could feel a sense of the space in Finnegans Wake, I could not understand exactly why the fragmented language in Finnegans Wake constructs the space. Accordingly, I tried to create a computer program to show the process of spatial construction using a different language. In Finnegans Wake, there is a huge variety of world languages, including English and Japanese; this is one of the elements used to construct space from this text. I drew two pictures to compare the spatial construction, showing the line of a locus to construct the space in Japanese and English. The point of this program is not to form meaning and space; instead, it shows the form of the process of constructing the text and space. This is completely different from the process of constructing text in English and Japanese. In my opinion, every world language might have a different method of constructing text. Therefore, this could be one of the reasons why Joyce included world languages in Finnegans Wake, and the oscillation between drawing and writing can construct the space. Considering the views above, my manifesto is that when we read some texts as architectural works, we construct different spaces by reading them in various languages. For example, when comparing how we read Finnegans Wake in English and Japanese, the image of space will be completely different. This allows us to critique the space through self-examination of the process used to construct the space in different languages. This might be linked to the practice in Site-Writing, and interdisciplinarity. In my manifesto, I would like to suggest that when we read a book, we should consider the construction of process and space. Also, we can obtain different spaces if we read a work in several languages, and we can construct critical space through considering space in different between languages.

102 l Iroha-Gram

Walter Benjamin, One-Way Street And Other Writings (London: Verso, 1992).

17-19

Word Construction 言語の空間性を表したコンピューターグラフィック

English A computer program to show the process of spatial construction in English and Japanese. English is composed of 26 characters of the alphabet, in a line style (ABCDEFGHIJ…..). Then, if I provide an additional dimension to compose the text which can construct meaning or space, the line of locus will appear as a two-dimensional line.

英語は 26 文字のアルファベットで構成されており、それらは直線的に表されている。そこに、文字につながりを与え、意味を持たせるため次元を一つ増やすと 2 次元の線空間となる。

Japanese

The Japanese language is composed of 51 characters, originally based on a two-dimensional table. That is because there are vowels (e.g. あ (a), い (i), う (u), え (e), お (o)) and consonants ( か (ka), き (ki), く (ku), け (ke), こ (ko), さ（sa), し（si)...). As all of the Japanese consonants are connected to Japanese vowels, therefore, Japanese characters are usually shown in the table style. If I add an additional dimension with the line of the locus, similarly to the English program, then the line of the locus will be three-dimensional.

日本語は 51 文字のひらがなから構成されており、２次元の表によって表される。これは子音と母音にはもともと強いつながりがあり、すべての文字が 2 つ以上の音を持っている。もし、ここに言葉にするための次元を増やすと 3 次元になり空間となる。これは明確に英語の言語空間とは異なるものであり、日本語特有の空間性を示しているのではないか。

Iroha-Gram l 103

08. BOOKSHELF FOR STANDING BOOKS PROJECT TYPE Furniture DATE November 2017 DURATION 1 month PROGRAM Bookshelf

This bookshelf is for the book which stands still when you take the books. Generally, books tumble when you take next to the book, you have to again stand all of the books which were tumbled and lay. This bookshelf has flat bars on the floor to stand the book and this bar can rotate and uplight when you take the book. Accordingly, books do not tilt due to the uplight bar and when you return the book, this bar return on the floor. 本をとっても隣の本が倒れない本棚。この本棚はシンプルなラーメン構造に薄いフラットバーを載せ、そこに 100 分の 1 勾配という微妙な傾斜をつけることで、本の倒れる向きを一定にした。そして、フラットバーを回転式にすることで、本を取ると自然にフラットバーが起き上がるようにし、倒れ始める隣の本の重さによって固定されることで、本が倒れるのを防ぐことができる。本棚自体の構造はステンレスの全ネジで構成されており、角ワッシャーにナットを使って三方向から締め上げることで、溶接などを一切使わず剛接合を実現させた。また、本のストッパーとなるフラットバーの蝶番には、ナットと板の間に銀ろう溶接を施し使い強度を保っている。

104 l BOOKSHELF FOR STANDING BOOKS

350 100

350

本勾配 = 1/100

100

800

100

160

BOOKSHELF FOR STANDING BOOKS l 105

When you take the books, flat bars can stand up. This can support the next books as flat bars have a strong structure in rolling of the outer surface.

本を取ると自然とフラットバーが起き上がる仕組みとなっている。これはフラットバーの面外方向への強度によって隣の本を支えることができるため、隣あう本が倒れるのを防いでいる。

106 l BOOKSHELF FOR STANDING BOOKS

This bookshelf is made from simple construction and minimal style. Multiple all-screws are used for the beam and columns as timber and, in the joints, the bolts tighten these components from three-way to fix and make it rigid joint.

この本棚はシンプルなラーメン構造で構成されている。各部材には全ネジが使用され接合部をワッシャーとナットで３方向から挟み込むことで剛接合を実現している。

BOOKSHELF FOR STANDING BOOKS l 107

09. Butterfly Glass PROJECT TYPE Glass Objects November 2018 DURATION 1 month PROGRAM Glass Blocks

A butterfly flapping its wings, a jellyfish floating with the waves, a bird fluttering in the wind. Living things are always living while responding to their environments. I propose organic glass that responds to an environment similar to these living things. When a force of nature or people is applied to this glass, it sways like a living thing and creates a new environment. Glass up to now does not change as a result of external forces from nature or people so it has a cold impression, but this glass responds to nature and people, and its shape slowly changes. The technique involves taking glass tiles or glass beads similar to glass blocks and piling them up with some gaps while using cylindrical spacers and rope wire. This causes the glass to be flexible in the areas around the "play" created from the gaps between the glass beads. The glass sways because of these "play" spaces, and lights and shadows are emanated from a uniform grid, giving it a variety of appearances.

空に羽ばたく蝶、波に漂うクラゲ、風に舞う鳥。生き物たちは常に環境に呼応しながら生きている。このような生物たちのように環境に呼応する有機的なガラスの提案。このガラスは、人や自然の力が加わると、まるで生き物のようにゆらゆらと揺れだして新たな環境をつくる。従来のガラスは、人間や自然などの外部の力に対して変化する事はないため冷たい印象をもっているが、このガラスは人間や自然の力に反応して、形態を緩やかに変化できる。手法として、ガラスタイルやガラスブロックのようなガラスのピースを、円筒状のスペーサーとロープワイヤーを使用し間をあけながら積み上げていくことで、このガラスはガラスのピース同士の間に生まれた「あそび」の範囲内で可動となる。この「あそび」の空間により、ガラスがゆらゆらと揺れだし光や影は均等なグリットから解放され豊かな表情をみせる。

108 l Butterfly Glass

Glass Blocks

Butter Fly

109 l Butterfly Glass

生き物のようなガラス

関節の様なあそびの空間をもつガラス

従来のガラスは、人間や自然などの外部の力に対して変化する

ガラスタイルやガラスブロックのようなガラスのピースを、円筒状のスペーサーとロー

ゆらゆら

事はなく冷たい印象をもっている。生き物のようなガラスとは

プワイヤーを使用し

等なグリ

人間や自然の力に反応して、形態や色を緩やかに変化できるも

ピース同士の間に生まれたあそびの範囲内で可動となる。

間をあけながら積み上げていくことで、このガラスはガラスの

みせる。

のと考えた。また、ガラス自体も環境の一部となり、人間の行動や自然を変化させるものとなる。

ワイヤーロープ

円筒型スペーサー

シリコン製ガスケット

あそび : t = 5

差し筋

Butterfly Glass l 110

光と影の検討

エッジの色による力の可視化

建築、都市空間への使用

らと揺れることにより光や影は均

ガラスは一見、透明に見えるが、エッジの部分はガラスの成分

有機的なガラスは従来のガラスの冷たく硬いというイメージを

リットから解放され豊かな表情を

によって色がついて見える。力が加わりガラスが動いた時にエッ

払拭し、ガラス建築に新たな価値を与える。オフィスビルのガ

。

ジの見える角度も変化する為、色や見え方が変化してガラスに

ラス群は巨大な生物のように動き出す。小さな環境の変化に呼

かかっている力が可視化される。

応するガラスは、いつか大きな環境を作り出す。

111 l Butterfly Glass

10. The Ingle Way PROJECT TYPE Goroup Project DATE November 2018 DURATION 1 month PROGRAM Designing City

Wincobank is a group project with the goal of designing part of a suburb. This town had its own independent community, but the construction of a large shopping mall in the next town over caused the volume of traffic on their streets to increase dramatically, leading to a great many automotive accidents, and the slow loss of the town's independent culture as residents began to prefer the shopping mall over local businesses. The Client is the gym started by Brendan Ingle, a boxing manager responsible for training several world champions, and the goal of the project is to resolve the problems caused by the road leading from Wincobank to the shopping mall, and to preserve the gym and the history Ingle built as part of this one town's heritage, going forward into the future. After researching the local community of Wincobank residents and discussing what we learn amongst the group, we hoped to build a town and local community that would stand the test of time, by comprehensively designing around the principles of traffic safety, local culture, and the preservation of heritage.

WIncobank という郊外都市の一部を設計するグループプロジェクト。この街は独自のコミュニティを持っていたが、隣町に巨大ショッピングモールが建設されたことにより、街の道路は交通量が大幅に増え、事故が多発し、さらに地元の人々も地元の商店よりショッピングモールを利用するため独自の文化が失われつつある。クライアントはボクシングの世界チャンピオンを育てた有名な監督 Brendan Ingle のジムであり、 Wincobank からショッピングモールまで続く道の課題を解決しつつ、このボクシングジムと彼のつくりあげた歴史を一つの街の遺産として未来に継承していくことがこのプロジェクトの目的である。Wincobank に住んでいる人の地域コミュニティを調査し、グループでの議論を通して、交通安全、街の文化、遺産の継承など総合的に都市を設計していくことで、未来において強い地域コミュニティを持つ都市をつくる。

112 l The Ingle Way

The Ingle Way l 113

Stakeholders This project was a group project I participated in while at graduate school. The client was a gym run by Brendan Ingle, a famous coach who trained world boxing champions. The aim of the project was to enliven the community in the town of Wincobank, where the gym is located, and to design a road that joins it with the shopping mall in the neighboring town. The capital for the project came from funds from the gym and the local community.

クライアントはボクシングの世界チャンピオンを育てた有名な監督 Brendan Ingle のジムである。目的としてはこのジムが位置する Wincobank という街のコミュニティの活性化とともに、隣街にあるショッピングモールとの結束する道をデザインすることである。また、このプロジェクト資金は、地域とこのジムの基金が使用される。

Blendan Ingle Once he retired from boxing himself,

彼が自分でボクシングをやめた後、Blendan

Brendan went onto training. Placing an

Ingle はトレーニングに重きを置く。攻撃性と

emphasis on footwork and defence as

同様にフットワークとディフェンスに重点を

much as aggression, Brendan began to

置いて、ブレンダンは自分のスタイルのフッ

choreograph his own style of footwork; The

トワークを振り付け始めた。「イングルウェ

Ingle Way - combining both an Orthodox

イ」- 同じ戦略で正統派とサウスポーの両方

and Southpaw stance in the same strategy.

のスタンスを組み合わせる。この戦略により、

With this strategy, Brendan s ﬁghters relied

ブレンダンの戦闘機は防御のためにフット

on their footwork and reﬂexes for defence,

ワークと反射神経に依存し、攻撃活動のため

leaving the hands free for oﬀensive activity.

に手を自由にした。コーチとして彼の時間の

During his time as a coach, Brendan trained

間に、ブレンダンは 4 の世界チャンピオン、6

4 World Champions, 6 European Champions,

ヨーロッパチャンピオン、15 人の英国チャン

15 British Champions, and 6 Commonwealth

ピオン、そして 6 人のコモンウェルスチャン

Champions - including Herol Bomber

ピオンを訓練し - Herol「ボンバー」グラハム、

Graham, Ryan Rhodes, Johnny Nelson,

ライアンローズ、ジョニーネルソン、「王子ナ

Prince Naseem Hamed, Junior Witter, and

ジーム・ハメド、ジュニアウィッター、とケ

Kell Brook.

ルを育てた。

The Ingle Gym The Ingle Gym, also known as St

Ingle Gym は、セントトーマスボーイズアン

Thomas Boys and Girl Club, is located

ドガールクラブとしても知られ、セントトー

in St Thomas church hall, directly

マス教会のホールにあり、教会の向かいにあ

across the street from the church. The

ります。ジムは、地元の牧師が Blendan を訪

gym first started there when a local

ねて、地元の若者が路上で戦うのを防ぐため

vicar approached Brendan to carry out

に経営を始めました。現在、ブレンダンの子

community work in order to keep the local

供 2 人が経営しています。

youths from ﬁghting on the street, and is currently run by two of Brendan s sons; Dominic and John.

114 l The Ingle Way

Site

Wincobank in UK

Wincobank is located to the North East of Sheffield city centre, situated on a hill overlooking Meadowhall shopping centre. Whilst technically being a borough of Sheffield, Wincobank has a close knit community more reminiscent of a small village. Having previously been the site of an Iron Age hill fort, Wincobank became the main area of residence for families working in the Hadfield Steel Works at the base of the Valley where Meadowhall shopping centre now resides. Often overlooked by Sheffield City Council, the people of Wincobank feel marginalised and left behind, with many locals questioning why people would come to live in Wincobank.

Wincobank は、シェフィールド市内中心部の北東にあり、ショッピングセンターを見下ろす丘の上にある。この街はシェフィールドの自治区である一方、Wincobank には小さな村を連想させる緊密なコミュニティが存在する。以前は鉄器産業の砦であった WIncobank は、ハドフィールド製鉄所で働く家族の主要な居住地域だったが、近年ショッピングセンターが建設された。また、この街はシェフィールド市議会から見落とされて、多くの地元の人々は Wincobank は疎外されて置き去りにされていると感じており、なぜ人々が Wincobank に住むようになるのか疑問に思っている。

The Ingle Way l 115

Timeline

1 ST CLIENT MEETING

2 ST CLIENT MEETING

COFFEE MORNING

Week 1: The team met with the primary clients, Bridget and

Week 2: At the second client meeting, Andy and Bridget

Week3: The coffee morning was The Ingle Way’s first event

Andy at the Ingle Gym. After talking about Brendan Ingle and

invited Alan and Anne from Wincobank Village Hall. As well

with the community and provided the first insight into the local

his impact on both the boxing community and Wincobank,

as showing the client some precedents to gauge the types

perception of Wincobank. Due to the age group at the coffee

they gave the team a walking tour of the key routes between

of designs the Live Project team should pursue, the route

morning being mostly elderly members of the community, the

Wincobank and Meadowhall, highlighting key issues on the

between Wincobank and Meadowhall was discussed, and

ideas were predominantly centred on safety and accessibility

route, as well as discussing their aspirations for the project.

how it would be perceived differently for different age groups.

between Wincobank and Meadowhall.

In order to engage with people of all ages, the team arranged to attend different events at the village hall. Week 1: チームは、Ingle Gym の主要クライアントである

Week 2: 2 回目のクライアント会議で、ウィンコバンクビレッ

Week 3: コーヒーモーニングは、Wincobank のコミュニティ

Bridget と Andy に会う。Blendan Ingle とボクシングコミュ

ジホールからアランとアンを招待した。Project チームが追

センターでの最初のイベントであり、Wincobank の地元の

ニティと Wincobank の両方への影響について話し合った後、

求すべきデザインのタイプを測定するための前例をクライア

認識に関する最初の意見交換会となった。コーヒーモーニン

チームに Wincobank と Meadowhall 間の主要なルートの

ントに示すとともに、Wincobank と Meadowhall の間のルー

グに参加した住民の年齢層が高齢者であったため、アイデア

ウォーキングツアーを開催してもらい、ルート上の重要な問

トについて議論し、年齢層ごとにそれがどのように認識され

は主に Wincobank とショッピングモールの間の安全性とア

題を抜き出し、プロジェクトに対する彼らの抱負について議

るかを説明し、あらゆる年齢の人々と交流するために、チー

クセシビリティに集中していた。

論をした。

ムは役場でのさまざまなイベントに参加するよう手配した。

116 l The Ingle Way

DESIGN CHARETTE

Week4: The Live Project team took part in an internal design charette and review, using photos, plans and aerial views to convey ideas for installations or themes that they’d had for areas along the route. This allowed the team to showcase what they’d gained from the brief and initial client meetings, and how to turn those ideas into a cohesive design. From this review, the team paired off into groups to work up ideas for each ‘Node’, and develop their ideas for the route.

Week 4: ライブプロジェクトチームは、写真、計画、航空写真を使用して、ルート沿いのエリアにあったインスタレーションやテーマのアイデアを伝えた。これにより、チームは、クライアントとの簡単な会議や最初の会議で得たものと、それらのアイデアをまとめる機会となった。また私が提案したデザインアイデアから、主要な方向性を決定して、チームはグループに分かれて細かいアイデアを作成していった。

Making Proposals

WALK THE WAY

With the guiding vision we decided on as a team, we split up to work on the designs we'd be individually responsible for. The work required the team to all create in the same style, so work began after a making a broad overall decision on on colors and placements. By sharing our design progress with the team daily, we were able to design a unified town.

Week6: The event was an excellent opportunity to test some of the designs out for the route. The team created prototypes for furniture and exercise markings, which were set up on the Trans Pennine trail for the community to test, whilst some of the drawings and renders of each node were also exhibited along the route in order to encourage people to engage with the site. The event was particularly useful as a variety of different age groups attended, attracting the attention of casual users of the the route as well as the members of the Wincobank community who attended the sponsored walk.

Week 5: チームで決めた方向性を元に、各自に分かれて自らの

Week 6: このイベントは、いくつかのデザインをルートで実験する絶好の機会であった。チームは、テスト用アイデアを緑道に設置したり運動用マーキングのプロトタイプを作成した。また、各ノードの図面とレンダリングの一部は、人々に紹介した。このイベントは、この道を普段から使う人々やスポンサーウォークに参加した Wincobank コミュニティのメンバーの注目を集め、さまざまな年齢層が参加したため、多大な意見を集めるのに役に立てることができた。

担当したデザインを作成した。この作業ではテイストをチーム全体で

える必要があったため、大枠の色や配置を決めた後に。

デザインを毎朝共有するという方法でチーム全体で一つの都市を設計していった。

The Ingle Way l 117

Research In addition to research using photographs, we participated in boxing classes and children's communities to obtain various opinions in order to research the city from various perspectives. These activities have always been devised to involve many citizens in conjunction with SNS, and as a major event, this activity itself became a movement that led to local activity.

街を多角的にリサーチするために、写真を利用した調査の他に、ボクシング教室や子供たちのコミュニティに実際に参加して様々な意見をもらった。これらの活動は常に SNS と連動させて多くの市民の人々を巻き込む工夫をおり、大きなイベントとしててこの活動自体が地域活性につながる運動となった。

Brendan Ingle's Heritage: Brendan left behind many things, things that represent his both his boxing and the way he lived his life. In particular, he left behind his gym. Within its walls, his knowledge of boxing remains as a tradition to this day.

Boxing Class: Through taking a boxing class, I was able to get first hand experience boxing, and to study footwork that Brendan himself devised. In particular, I saw that the lines drawn on the floor of the gym played an important role in his unique style of footwork.

Blendan Ingle の遺産：Blendan Ingle は多くの遺産を残し、それらは彼のボクシングや生き様を示した物であった。特に彼の残した。ボクシングの心得は今でもこのジムの伝統として残っている。

ボクシング教室：実際にボクシングを体験して Blendan Ingle の考案したのステップを学んだ。特にこのジムの床面に書かれた線は彼の独特のステップには重要な役割を果たしていることがわかった。

SELF DISCIPLINE

PRACTICE AND LEARN

RESPECT FOR OTHERS

“THE HARDEST DISCIPLINE IS SELF DISCIPLINE”

SELF RESPECT AND MODESTY

IMPROVE AND ACHIEVE

SELF CONFIDENCE

Blendan Ingle の世界チャンピオンになるための 6 つの心得

118 l The Ingle Way

彼の考案した素早く反応できるボクシングステップ

Mapping

When we had a meeting with local residents, we printed out a large map and mapped the opinions on the map by sticking sticky notes there. 地元の住民と打ち合わせをする際に、大きな地図を印刷してそこに付箋を貼っていくという形で幅広い意見をマッピングしていった。

Field Investigation: We walked around town and collected commentary from residents, hearing about the current state of Wincobank. Their future hopes for the town, among other things.

Youth Center Survey: We drew pictures together with the children depicting Wincobank in the future, and afterwards took a survey on what kind of sports facilities they'd like to have.

聞き込み調査：街を歩きながら地域住民に聞き込み調査を行い、街の現状や将来の願望などそ聞いた。

児童館でのアンケート：子供とともに将来の WIncobank について絵を書き、最後にどのようなスポーツをする場所が欲しいかアンケートをとった。

この街の住民が問題視している事柄

子供たちの求めているアトラクション施設

The Ingle Way l 119

Proposals

SELF DISCIPLINE

PRACTICE AND LEARN

RESPECT FOR OTHERS

“THE HARDEST DISCIPLINE IS SELF DISCIPLINE”

SELF RESPECT AND MODESTY

IMPROVE AND ACHIEVE

SELF CONFIDENCE

We identified key areas to focus our designs along the route, with each Node representing an area that the client group marked as a priority. The design ethos for each node evolved from Brendan Ingle s Six Principles. Each of these principles is related to a speciﬁc node in physical form on site and is used to direct the enhancement of image and our design output. E.G., the Improve and Achieve Principle is used to drive the design for the running track on the Trans Pennine Trail and the Self Conﬁdence principle inspires the stage area at the Square Ring node. The 6 Principles act as a guide for the community and this is clear as they engage with interventions along the route, and also means that The Ingle Way celebrates the values and teachings of Brendan Ingle, using his legacy to reinvigorate Wincobank and continue to connect the community as the area looks to the future.

120 l The Ingle Way

ルートに沿った設計に重要な場所をピックアップする。各「ノード」は、クライアントが優先度としてマークした領域を表し、各ノードの設計思想は、Blendan Ingle の 6 つの原則から発展させた。これらの原則はそれぞれ、実際の場所に関連しており、画像とデザインの向上のために使用される。たとえば、「Improve and Achieve」の原則は、緑道のランニングトラックのデザインを推進するために使用され、「Self Conﬁdence」の原則は、広場のステージエリアに使われる。6 つの原則はコミュニティのガイドとして機能し、これはルートに関係している。また、Ingle Way は Blendan Ingle の価値と教えを称賛し、彼の遺産を活用して Wincobank を復活させ、地域が未来を見据えるコミュニティをつくることを目指す。

Using Brendan Ingle s works, we increased the value of local routes, activities, and places. We engaged the problem of road safety by creating a safe route by organizing relationships between people and vehicles using lines that were drawn on the ﬂoor at Ingle Gym. In terms of activities, we took Brendan Ingle s training and created playground equipment and installations, thereby creating a mechanism where residents are able to interact with Brendan Ingle in a natural way.

Blendan Ingle の遺産を使って地域のルート、アクティビティ、場所の価値を高めていく。ルートでは交通安全という問題を Ingle Gym の床に描かれた線から人と車の関係を整理して安全なルートを作り出す。アクティビティでは Blendan Ingle のトレーニングから遊具やインスタレーションを作ることで住民が自然と Blendan Ingle と触れ合うことができる仕組みとなっ

Wincobank is dotted with many pieces of art, works, and local cultural

ている。また、この街にはアートや作品や地域の歴史的な遺産

heritage sites. Tying these elements up with the story of Brendan Ingle

が多く点在しておりそういった要素を Blendan Ingle の物語と

in the design would enable the local culture to survive. These elements are widely distributed on roads, greenways, and roads to the shopping center that are normally used by many people as traﬃc lines for their life activities. We created a project where we were able to design routes around the town, activities, and places in a synthesized way, based on the heritage of Brendan Ingle.

絡めながらデザインすることで、地域の文化の存続に繋げていく。これらの要素は普段多くの人が生活動線として使用する道や、緑道、ショッピングセンターまでの道に広く点在しており、 Blendan Ingle の遺産を基本として街のルート、アクティビティ、場所を総合的にデザインしていくことができる計画とした。

The Ingle Way l 121

Design Proposals

Based on the proposal decided at the design meeting in the group, it was divided individually and designed several places. This page introduces the design of the three places I was in charge of.

Backyard at Ingle Gym: A community center and church are located adjacent to the gym. They are places where local people come to enjoy moments of rest. An age-focused survey revealed the rate at which these were used by children and the elderly to be particularly high. The way that the elderly and children acted as separate communities that rarely interact with each other was problematic, however. I decided to conduct a questionnaire with children and elderly citizens and to design a park in the rear garden of Ingle Gym, complete with facilities for activities that each of these groups could enjoy. This was designed to create bonds in the community between the children who took boxing classes and other people like the elderly citizens who visited the community center.

122 l The Ingle Way

グループでのデザイン会議で決定した案を元に個別に分かれて複数の場所をデザインした。このページでは私が担当した 3 つの場所のデザインを紹介する。

Ingle Gym の裏庭：ジムと隣接する場所にコミュニティセンターと教会があり、地域に人々の集う憩いの場となっている。特に年齢調査からお年寄りと子供の利用率が非常に高いことがわかった。しかし、それぞれ別のコミュニティとなっており、あまり関わりがないことが問題となっていた。そこでお年寄りと子供からアンケートをとりそれぞれが楽しめるアクティビティ施設を備えた公園 Ingle Gym の裏庭に設計した。これによってボクシング教室の子供とコミュニティセンターを訪れたお年寄りなどの地域に結束が生まれる。

Brendan Ingle のボクシングステップ

ボクシングステップから創られた人を導く足場

夜間は足元を照らす照明となる

Brendan Ingle's Pocket Area: A site survey revealed the existence of a pocket area surrounded by houses that lay parallel to a busy road. The road was relatively safe and the environment was good. The location was not well known to residents, however, so I felt the need for a design that led residents to this road. I proposed a design idea that would combine the idea of Brendan Ingle’s boxing steps with the concept of stepping stones found in a Japanese garden. This would guide people to the town’s parks and heritage sites and would enable them to learn Brendan Ingle’s steps in a natural way as a part of their everyday life. Acting like an attraction, this would create interaction with the Brendan Ingle culture, while also guiding town residents to a safe road. The design was well received.

Intersection in front of the shopping center: The first place I designed was the intersection. One has to go through the intersection to get to the shopping center, so it also functions as a point that unifies Wincobank. However, located on a sloping road on which it is easy for a vehicle to gain speed, the intersection was also the site of fatal accidents. Consequently, I proposed a design positioning the sidewalk over to one side, creating a woonerf-like S-shaped curve, and using red lines from Brendan Ingle’s gym that drivers would notice. This design served to reduce the speed at which vehicles travel near the intersection and made it easy to detect the presence of pedestrians. It also made the planting of trees between the roadway and the sidewalk possible, thus creating an improved pedestrian environment.

Blendan Ingle のポケットエリア：：敷地調査では交通量の多い道路に平行するように住宅に囲まれたポケットエリアが存在し、その道は比較的安全であり環境も良いことがわかった。しかし、この場所はあまり住民に知られていなくこの道に誘導するデザインが必要と考えた。そこで私は Brendan Ingle のボクシングステップを、日本庭園の飛び石の考え方と組み合わせることで、人を街の遺産や公園に導きつつ、Brendan Ingle のステップを日常生活のなかで自然に学ぶ事ができるというアイデアを考案した。これは一つのアトラクションのようにして Blendan Ingle という文化に触れ合うことができ、さらに、住民を安全な道へと誘導するデザインとして高い評価をもらうことができた。

ショッピングセンター前の交差点：私がはじめにデザインしたのが交差点のデザインである。この交差点はショッピングセンターに行くために通る道であり、Wincobank との結束店でもあった。しかし、車道が下り坂でありスピードを出しやすい場所のため死亡事故が発生している場所でもあった。そのため、歩道を片側に寄せてボンエルフのような S 字カーブを設け、そこに Blendan Ingle の赤い線を配置することで注意を促すデザインを提案した。これにより交差点付近での車の速度を下げることができ歩行者の発見が容易になる。また車道と歩道の間に植栽を設けることも可能となり、歩行環境改善にも繋がる。

The Ingle Way l 123

WALK THE WAY The Live Project team acted as stewards for a sponsored walk which was organised by the lower

この Project チームは、下部の Wincobank Tenants が主催するスポンサー付きの散歩の管理を務

Wincobank Tenants And Residents Association for Children in Need. The event was an excellent

めた。これは、いくつかのデザインをテストする絶好の機会であった。チームで緑道に設置され

opportunity to test some of the designs out for the route. The team created prototypes for furniture

た家具と運動用マーキングのプロトタイプを作成し、各ノードの図面とイメージを紹介した。こ

and exercise markings, which were set up on the Trans Pennine trail for the community to test,

のイベントは、緑道のカジュアルユーザーやスポンサーウォークに参加した Wincobank コミュニ

whilst some of the drawings and renders of each node were also exhibited along the route in order

ティの注目を集め、さまざまな年齢層が参加し、幅広い意見を集めることができた。

to encourage people to engage with the site. The event was particularly useful as a variety of different age groups attended, attracting the attention of casual users of the Trans Pennine trail as well as the members of the Wincobank community who attended the sponsored walk.

124 l The Ingle Way

Outputs

The Ingle Way l 125

PerSONal DetailS Born in 1992, aichi,Japan

eDucatiON apr 2008 - mar 2011 apr 2011 - mar 2015 Sep 2018 - Presence

atuta HiGH ScHOOl tOKYO citY uNiverSitY uNiverSitY OF SHeFFielD ma arcHitectural DeSiGN

eXPerieNce 2018 2016 - 2017 2015

english Student at ONiverSitY OF SHeFFielD Student at NOriSaDa maeDa architecture school research Student at tOKYO citY uNiverSitY i help with research activities Workshop “Hello Wood 2015” made a full-size building based on discussions with people of different nationalities. Open Desk at SueP assisted with architectural productions Part-time with Kume Sekkei Part-time with Ntt FacilitieS

2015 2015 2015 2015

aWarDS apr 2015 July 2014 July 2013

tOKYO citY uNiverSitY Diploma Design award tOKYO citY uNiverSitY chiaki arai Design award tOKYO citY uNiverSitY Hiroyuki unemori Design award

PuBlicatiONS KiNDaiKeNcHiKu DiPlOma PrOJect 2015, by June 2015 architectural journal distributed throughout Japan by KiNDaiKeNcHiKu-SHa cO., ltD.

SKillS ・rhinoceros ・vectorworks ・adobe illustrator ・adobe Photoshop ・adobe inDesign ・adobe Premiere Pro ・Sketchup ・ciNema 4D ・Grasshopper ・Processing (JavaScript)