Mono-Rinsing Apparatus by yilan zhao

KYOTO YILAN ZHAO

What do you and do not see? What do you and do not hear? What do you imagine? Walking in the city alone, what do I feel on the street......

What you want / Ask me for / Who you are / Iro / Can i see the paradise / why i see those people cry / All by my side / Expect me to survive / Get me a real life / Who has the pain / Who can explain / What is the real game / Who is the king / I say / Can i see the paradise / Why i see those people cry / Knock on my door / Sacrifice by my side / So many faces / All races separate / Can i realize my dream / In this misery IRO / Why are you afraid / You are in you’re home / No trouble / You’re IRO / Noise is insane / Sometimes too quiet / What do you think / It is a quality /How does it feel / It’s IRO / What you want / Ask me for / Who you are / Iro / Can i see the paradise / why i see those people cry / All by my side...../ What you want / Ask me for / Who you are / Iro / Can i see the paradise / why i see those people cry / All by my side / Expect me to survive / Get me a real life / Who has the pain / Who can explain / What is the real game / Who is the king / I say / Can i see the paradise / Why i see those people cry / Knock on my door / Sacrifice by my side / So many faces / All races separate / Can i realize my dream / In this misery IRO / Why are you afraid / You are in you’re home / No trouble / You’re IRO / Noise is insane / Sometimes too quiet / What do you think / It is a quality / How does it feel / It’s IRO / What you want / Ask me for / Who you are / Iro / Can i see the paradise / why i see those people cry / All by my side...../ What you want / Ask me for / Who you are / Iro / Can i see the paradise / why i see those people cry / All by my side / Expect me to survive / Get me a real life / Who has the pain / Who can explain / What is the real game / Who is the king / I say / Can i see the paradise / Why i see those people cry / Knock on my door / Sacrifice by my side / So many faces / All races separate / Can i realize my dream / In this misery IRO / Why are you afraid / You are in you’re home / No trouble / You’re / Noise is insane / Sometimes too quiet / What do you think / It is a quality /How does it feel / It’s / What you want / Ask me for / Who you are / Iro / Can i see the paradise / why i see those people cry / All by my side...../ What you want / Ask me for / Who you are / Iro / Can i see the paradise / why i see those people cry / All by my side / Expect me to survive / Get me a real life / Who has the pain / Who can explain / What is the real game / Who is the king / I say / Can i see the paradise / Why i see those people cry / Knock on my door / Sacrifice by my side / So many faces / All races separate / Can i realize my dream / In this misery IRO / Why are you afraid / You are in you’re home / No trouble / You’re IRO / Noise is insane / Sometimes too quiet / What do you think / It is a quality /How does it feel / It’s IRO / What you want / Ask me for / Who you are / Iro / Can i see the paradise / why i see those people cry / All by my side...../ What you want / Ask me for / Who you are / Iro / Can i see the paradise / why i see those people cry / All by my side / Expect me to survive / Get me a real life / Who has the pain / Who can explain / What is the real game / Who is the king / I say / Can i see the paradise / Why i see those people cry / Knock on my door / Sacrifice by my side / So many faces / All races separate / Can i realize my dream / In this misery IRO / Why are you afraid / You are in you’re home / No trouble / You’re IRO / Noise is insane / Sometimes too quiet / What do you think / It is a qality /How does it feel / It’s IRO / What you want / Ask me for / Who you are / / Can i see the paradise / why i see those people cry / All by my side...../ What you want / Ask me for / Who you are / Iro / Can i see the paradise / why i see those people cry / All by my side / Expect me to survive / Get me a real life / Who has the pain / Who can explain / What is the real game / Who is the king / I say / Can i see the paradise / Why i see those people cry / Knock on my door / Sacrifice by my side / So many faces / All races separate / Can i realize my dream / In this misery IRO / Why are you afraid / You are in you’re home / No trouble / You’re IRO / Noise is insane / Sometimes too quiet / What do you think / It is a quality /How does it feel / It’s IRO / What you want / Ask me for / Who you are / Iro / Can i see the paradise / why i see those people cry / All by my side.....

IRO

/ T / E RE L ST FEA EL / T / / Y UE / HO T L / E I NG BL UI T LO / TAX / Q AL H / W / L RRO TY ONE ASP SS / A E P N / T IO / NA EM E S ST PPIN T / O A U U EM AND DED / BL ISG E / H D ISL OW EL / / BIK CR RU ETE AR C / GAR / TE CI VER LO

PRODUCED BY AN AUTODESK STUDENT VERSION

What is life? He used to ask. Walking on the street he is watching thousands of faces but insensitive. He feels nothing, though thousands of people passing though him. Colors surround him, the lights, the faces, the emotions. Threading through the narrow lane way, he arrived the place they called home. Noise is far away; he can only hear the wife’s even breathing. SHH… The light pass through the room. ‘Now everything is mine.’ He looks at the screen and heaves a great sign of relief…. He is tired to extricate himself from the cage, but at least he can catch the spot of light every time he is threading through the alley. Which is the true color in his life.

What happens in the wall? It is the world where I am living. Crowed subway, briefcases, ties, alcohol, ramen, wife, kids... I tried to escape. I tried to hide myself. I can not breath anymore. My life is full of rules and I was losing myself. I wonder whether I can break away the cage. And now I am standing in the lane-way with the bright sunlight.

PRODUCED BY AN AUTODESK STUDENT VERSION

WHO YOU ARE

B PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

GET ME A REAL LIFE PRODUCED BY AN AUTODESK STUDENT VERSION YILAN ZHAO 19_IRO

100

LIFE IN THE WALL

200

400

800

PRODUCED BY AN AUTODESK STUDENT VERSION

Shinya shokudō

Midnight Diner

深夜食堂

Michiru Kuriyama

05Aug, Monday Evening

the master

In this small 12-seat Izakaya, Meshiya is run by ‘the master’. In the whole movie, everyone calls him ‘the master’. We do not know his name, where he comes from, why the scar is on his face. To me, the master is a part of this Izakaya. He is watching the people around. People are different between day and night. The darkness of night disrobes the camouflage in the working. Their lives start from 12am. The office ladies, the retired men, the salaryman, the yakuza and prostitutes. Everyone is equal in this little bar. Different people tell their unique life. The master is a listener he sees and hears stories happened on his customizers The mid night dinner located besides the lane-way in a traditional 2-level house. The upper is his living space. The ground floor is the Izakaya. The separate privacy is. The movie is really helpful to let me start to know the small corner of the mellscal lt.

SHADOWS

In Praise of Shadows by Junâ&#x20AC;&#x2122;ichiro Tanizaki In temple architecture the main room stands at a considerable distance from the garden; so dilute is the light there that no matter what the season, on fair days or cloudy, morning, midday, or evening, the pale, white glow scarcely varies. And the shadows at the interstices of the ribs seem strangely immobile, as if dust collected in the corners had become a part of the paper itself. I blink in uncertainty at this dreamlike luminescence, feeling as though some misty film were blunting my vision. The light from the pale white paper, powerless to disper the heavy darkness of the alcove, is instead repelled by the darkness, creating a world of confusion where dark and light are indistinguishable. Have not you yourselves sensed a difference in the light that suffuses such a room, a rare tranquility not found in ordinary light? Have you never felt a sort of fear in the face of the ageless, a fear that in that room you might lose all consciousness of the passage of time, that untold years might pass and upon emerging you should find you have grown old and gray.

â&#x20AC;&#x153;I hide in the darkness. The shadow pulls me away from the world. I finally can be isolated from everything, even the time. It is too quiet here, I start to be disturbed, even this place lets me run away from the reality. But clock is still ticking, never stop. In hindsight, the sadness is back to me, indeed it never leave me.â&#x20AC;?

re I e t e . e u , ; e s e m f l ra t s r m n n f ? v y i r h o n i s o s a f. l t o th y mo th th fil no ha da ow qu ne de lig el fe pa d s ta se at im an m ro gh d r t d n y k i r t s u i h f e a o t g l a y th its An An ar in ga ri ist ne yo y tr e th el lig ro tr to gh wh , m r a . e d s r v m e s. g r er a p s t e m mi ies ing ha vy ind th nd er an fe iou ap ina so pa rie ei e s ty ha ar me r f a t n a r t c t d r u m a t e va ili th va ep so he st or ar ,a ns ld ea in or ilu rk yo th lt ro ma y m s , e y e qu ly o u th f d h m l t r c fe in da es ce th of y, om ho ee ce ug ld ha no tu ind ce l of so e o d d s s r t t r el o er o f c ar n r ; u a t r e al rt un ev th ag nt d ta ar sc ite ou ar he en lo pa sc ha ibs sp u s y e h i c w e t pa d fo h ul se f di un as ow a er r n rc e at th ow ar uc ea a lo ng o ho ed a r h yo i l o o h g g s t i m gl , l s e t g me of ve ft ht lin us eg u co ss le ab ys es th he er ss e, ite f o t e g e e co r t o i e ce e l n b Ha y e mp da us em mi be tim wh ht rl es fa wh id d ge om co te r ff , f g n e c i i u s , d a i r e e, e o w ing l of ha su fa le In yo of st on ha al nc th e up ef po he s t a r c e c t a r d , e on th in ep rs om ep sc nd rl th an ne er nt of e i a t th r p ne t n, th ro n s wo ge pa ce co g, or mi he ss di so gh g, i a a t u at a sa e e e l nin ec el th ef nin as at th tp bl hit e ing p e h h ve a th k g w t t t i in gh ev ws er in ea er re in ml in le mi d d r i a a e do e d e r em s ,o ,c re ct ns ? te th ha nc ep n ea ar s e ay y d o s f o l s a ec re th ye dd is up ol ac ll ne gr of fe m d h c mi k f t l t o t d co di ar t g, to st fr a d sa or an a d a n st t s d du an y nin a du tu he gh ed an i if t a at or s int lt if st s d th el ta en ,m by s fe m h , s ol ,a is o e er r dy ds ,a .T ed im ile es ro ve nc te l n t v ou b an ile l u o l ne cl ilu st pe ain of ob isi se in d u e v m r e r or mm yo a so ou ag d he ink my e y yi s t ys l a e el av te as da ing ou I b s re p H t y u ng ir ins ct t? un he ra ot fa s e t or h n bl st ,i on hit lig of ve c ve re em y s n, Ha ar co we se ar es so e n al e. l sn ea di e ibs bl mp or iou th es ha er te sc in th n th of I uis n at nd co of y? ing u a wh s o ll ist gr ice er tf ea d ind tt st no os an er ma d tl ity o nt ol ei tn th ha at et s ow ad

In temple architecture the main room stands at a considerable distance from the garden; so dilute is the light there that no matter what

the season, on fair days or cloudy, morning, midday, or evening, the pale, white glow scarcely varies. And the shadows at the inter-

stices of the ribs seem strangely immobile, as if dust collected in the corners had become a part of the paper itself. I blink in uncer-

tainty at this dreamlike luminescence, feeling as though some misty film were blunting my vision. The light from the pale white paper,

powerless to disper the heavy darkness of the alcove, is instead repelled by the darkness, creating a world of confusion where dark and light are indistinguishable. Have not you yourselves sensed a difference in the light that suffuses such a room, a rare tranquility not found in ordinary light? Have you never felt a sort of fear in the face of the ageless, a fear that in that room you might lose all consciousness of the passage of time, that untold years might pass and upon emerging you should find you have grown old and gray? In temple architecture the main room stands at a considerable distance from the garden; so dilute is the light there that

no matter what the season, on fair days or cloudy, morning, midday, or evening, the pale, white glow scarcely varies. And the shad-

ows at the interstices of the ribs seem strangely immobile, as if dust collected in the corners had become a part of the paper itself. I

blink in uncertainty at this dreamlike luminescence, feeling as though some misty film were blunting my vision. The light from the pale

the

alcove,

heavy

dark-

where

dark

and

face of the ageless, a fear that in that room you

light there that no matter what the season, on fair days or cloudy, morning, midday,

ple architecture the main room stands at a considerable distance from

pass and upon emerging you should find you have grown old

all consciousness of the passage of time, that untold might

the

light? Have you never felt a sort of fear

a rare tranquility not found in ordi-

in the light that suffuses such a

yourselves sensed a differ-

are indistinguishable. Have

sion

creating a world of

the

in-

pelled

powerless

from

blunting

though

l i k e

blink

b e -

as if

stic-

g l o w

days

so dilute is

architecture the

told years might pass and

the

disper

white paper, powerless to disper the heavy darkness of the alcove, is instead repelled by the darkness, creating a world of confusion

where dark and light are indistinguishable. Have not you yourselves sensed a difference in the light that suffuses such a room, a

blink in uncertainty at this dreamlike luminescence, feeling as though some misty film were blunting my vision. The light from the

of confusion where dark and light are indistinguishable. Have not you yourselves sensed a difference in the light that suffus-

pale white paper, powerless to disper the heavy darkness of the alcove, is instead repelled by the darkness, creating a world

fear that in that room you might lose all consciousness of the passage of time, that un-

es such a room, a rare tranquility not found in ordinary light? Have you never felt a sort of fear in the face of the ageless, a

main room stands at a considerable distance from the garden;

upon emerging you should find you have grown old and gray? In temple

scarcely varies. And the shadows at the inter-

cloudy, morning, midday, or evening, the pale, white

the light there that no matter what the season, on fair

dust collected in the corners had

es of the ribs seem strangely immobile,

in uncertainty at this dream-

come a part of the paper itself. I

my vision. The light

some misty film were

luminescence, feeling as

te m

pale white paper,

the re-

of stead

ness

darkness,

not you

l i g h t

confu-

p le

it n ev er le ave s m e. indeed

礼陰讃翳

though some misty film were blunting my vision. The light from the pale white paper, powerless to disper the heavy darkness of the

collected in the corners had become a part of the paper itself. I blink in uncertainty at this dreamlike luminescence, feeling as

or evening, the pale, white glow scarcely varies. And the shadows at the interstices of the ribs seem strangely immobile, as if dust

the garden; so dilute is the

and gray? In tem-

years

might lose

n a r y

room,

e n c e

t, in nan gus ze n-ji au

It is too quiet here, I start to be disturbed, even this place lets me run away from the reality.

rld .

南禅寺景图

me s is back to

sad n es ,t he

still ticking, neve rs k is to c lo tc Bu

m fr o pulls me away

sh ado w

ig ds In hin

I hide in the darkness.

In the darkness, I see lights up, I see wind blowing trees branches, I see people pass by. This is a photo of entry sequence in a Melbourne residential building. The corridor is narrow and dark. It has to be light up by some colorful LED tubes. When I was passing through this entry. I saw the bright street view. Suddenly, there was an special feeling up to my mind. The book â&#x20AC;&#x2DC;In Praises of Shadowsâ&#x20AC;&#x2122; reminds me how important the shadow is in architecture. The definition of beauty and wellbeing of architecture should not depend on the brightness. The beauty of the shadow

The Eyes of The Skin In the Renaissance period, the aspiration of creating volume has been practice on the painting skill. Chiaroscuro, a combination of Italian words of light and dark, intends to give the two-dimensional figures a sense of volume by the effect of light falling on the solidity of form carefully shows the shadows around. Through the value gradation of color and the distribution of bright and shaded shapes, the figures in the painting are presenting in three-dimensional illusions to achieve a dramatic effect that the sense can be vividly portrayed. The art of Chiaroscuro should also be a skill for architects1. The contrast of shadow and light primarily identifies the volume and the gradation of shadowâ&#x20AC;&#x2122;s color annotates the depth of space.

ZEN GARDen Geometry theory is hiding in the rock of zen garden. The position builds the relation between rocks and the view direction from human.

KAKUREGA

PRODUCED BY AN AUTODESK STUDENT VERSION

Japanese mapames

KAKUREGA NAGIDO (massage salon) LOCATION: SHOP HOUSE #1 CONCEPTUAL SENSE: NOCTURNAL CITY The shop/house is located in Kakurega, Kyoto, next to the project site boundary. The main facade and entry is facing to the lane-way like other houses in this area. The house holder is a single mother who living with her 16-year-old daughter. They are the only staffs in the massage salon. The Nagido normally opens between 6 pm to 2 am every night.

03/July/2019 Wednesday Sunny

Today is the third day since I dropped off. I was sitting up stairs balcony for the whole day. Mum kept complain the broken eave which has been keeping leaking for a month. I know she is sorry for me that she can not afford the study fees. But this is my choice, I do not regret at all. All I miss, is the boy who used to sitting next to me in the class. He always go the garden next to the midnight diner. He told me it is his secrete spot that he never told to anyone. Normally, he will say hi to me before he going to the garden. Today, he passed me while I was sweeping the floor. I was so nervous that I don’t know what to say. I looked at him, the light of sunset pouring on his body. He was smelling to me. “ Hey, how is everything?” he asked me. “ I am alright.” He was staring at me and wanted to say something. “I should go to the garden.” “Oh, OK. Have a good time.” I don’t know when I can see him again. I hope tomorrow can come quickly. And I can say hello to him again.

2960

350032

4290

A’

LOOR PLAN

ROOF PLAN

SANGAWARA - BUKI STYLE ROOF TILE

IST FLOOR - MASSAGE SALON TIMBER PANEL CLADDING

GROUND FLOOR - RECEPTION AND PRIVATE LIVING AREA

ELEVATION

ION

SLIPPERS SHELF

ENTRANCE

AXONOMETRIC

6865

5000

2700 なぎどう

300

SECTION AA’

PRODUCED BY AN AUTODESK STUDENT VERSION

BACK YARD

Traditional Japanese house entry sequance has the sliding doors. 4 facades are the wood panel with the explosure pattern.

24/FEB 2019 NIGHT RECORDING

六時

6: 00 pm I met the boy.

八時

8: 00 pm I hanged the curtain.

十時

10: 00 pm A man finished his massage.

十二時

12: 00 am A man was drunk and lying on the bench.

äş&#x152; ć&#x2122;&#x201A;

2: 00 am chief came over and gave us some meal.

四時

4: 00 am mum picked up everything.

KODOKUSHI CLEANER W H O I S C L O SEST TO THE LONELY DEATH

孤独死清掃員

“ Hello, this is Todo Cleaning Service.” “Yes.” “Yes.” “OK, it is a lonely death case. And you need us to come immediately.”

Todo Cleaning TeamA leader

MIYU KOJIMA 24 years old / DEATH CLEANER Bonded in Kyoto. She has been a lonely death cleaner over two years. She is the only woman and the youngest employee in the team.

“My mother asked me again to quit the job. She believes I can get cursed, haunted. She doesn’t understand I choose this job because of my father’s sudden death. I never have opportunity to help my father after he died. I couldn’t do

08: 30 am DRIVING TO THE SITE

anything for him…..”

Miyu Kojima, who is 24. She has been a lonely death cleaner over two years. She is the only woman and the youngest employee in the team. Her family still cannot

understand and accept her job.

Caretaker: “ This is the apartment but let’s talk to the neighbour first.”

10:00 am TALKING TO NEIGHBORS

Neighbour: “The smell is not strong recently. I can’t believe he died. I’m just a neighbour so I can’t help or do anything for him. The housing company should heave helped him. ”

Caretaker: “We take care of everybody equally. Everybody gets the same service. He can’t out treated specially. ”

e deceased’s home,

10:30 am PRAY BEFORE Entering

g the death. They will Some people believe

l be cursed.

This lonely death body has been not notes more then one and a half month. The body fluids have seeped into the floor. Flies buzz around a cooker filled with rice. There was a putrid smell emanating from the apartment…

This lonely death body has been not notes more then one and a half month. The body fluids have

11:30 am CLEANING THE FLOOR

seeped into the floor. Flies buzz around a cooker filled with rice. There was a putrid smell emanating from the apartment…

11:32 am MIYU VOMITED OUTSIDE

“I find a stack postcards which seem like have been untouched for years. It says, ‘Please contact me.’ He was the kind of person who

does not contact people, I guess.”

02:55 pm FINISHED

16/08/2019 Friday Cloudy

This morning I drove my teammates to the site. This probably the worst I ever seen in 2 years. No water, no gas, no electricity. How possible a human being can live in this space for 5 years. I have used to the working environment, but this time I vomited like the first time I enter a site. When he was alive, he even did not live properly. Maybe, death is actually good for him. But had he ever miss the world. No one contact him, no one realize he died. He finally left the world without leaving anything. I tried to contact his elder-brother, he refused to come and collect his staff. I felt hopeless that no one care about him even he is dead. How can he lived like that? I worried one day I may become him that no one care about me anymore. And I will leave the world quietly.

Unfortunately, the relatives refu

Miyu decides to start the last pra

have already cleaned. Putting so

burning incense, she prays again

the dream is over.

The lonely death cleaners ab

getting to know the life of d

the people to mourn on the

Hi HIROTSUGU MASUDA, Please contact me as soon as possible!

Atsoku

This evening 8pm, the phone rings. â&#x20AC;&#x153;oh, not again!â&#x20AC;? He is hesitating to pick up the phone.

Todo Cleaning boss

MONO - RINSING APPARATUS: RESTORING THE KODOKUSHI CLEANER THROUGH GARMENT CHANGE

WHAT THEY NEED, WHAT IT PROVIDES, WHAT I TRANSFORM TO.

PRODUCED PRODUCEDBY BYAN ANAUTODESK AUTODESKSTUDENT STUDENTVERSION VERSION

MY CLOTHES This job makes cleaners more sensitive on the odor. “I can always smell the putrefaction on my cloth, on my hair. The washing powder and shampoo can no longer mask the smell. Sometimes, I even don’t know whether the odor is real or just stacking in my memory.”

SUPERSTITION Because the death cleaner always deal with death. Most of Japanese believe it is ominous. Lots of cleaners’ families still can’t accept their job. “My mother asked me again to quit the job. She believes I can get cursed, haunted.”

Kodokushi (lonely death) cleaners behave as essential roles in Japan. They are the people who directly face the death in tragic condition. Death has the same end to all, but they read thousands stories of deceased. The smell of death brands on their body but also their mental. The job begins with misery and end up with desolation. Where can they release the sorrow they carried for those lonely deceased?

N ODOR LAUNDRETTE - CLOTHES SCENTING KYOTO DEATH CLEANER 2pm - 11pm 12 MAX YILAN ZHAO

C L E AN S I N G S E Q U E N C E courtyard

TRIVIAL - PR

IMA

d / DEATH CLEANER Kyoto. She has been a lonely death cleaner ears. She is the only woman and the mployee in the team.

o describe the smell of death. It makes your nd make the strongest stomach churn. It is ugh to creep through a gas mask design to

changing room

r you’re breathing.”

laundrette

GU MASUDA

d / DEATH CLEANER Tokyo. He has been a lonely death cleaner years. He is the team leader of ToDo ervices company.

s pretty hard to describe, but once you’ve you’ll never forget it and you’ll always t. After finished one case, I always to clean mmediately. But I can always smell the smell

tion on my clothes and my hair.”

entry sequence throw salt over other

shower corridor

THES

akes cleaners more sensitive on the odor.

ays smell the putrefaction on my cloth, on he washing powder and shampoo can no sk the smell. Sometimes, I even don’t know

40 m2 x open

e odor is real or just stacking in my memory.” 20 m2 x 4m

TION

he death cleaner always deal with death.

panese believe it is ominous. Lots of cleaners’

l can’t accept their job.

er asked me again to quit the job. She

can get cursed, haunted.”

60 m2 x 4m

y sequence

10 m2 GF

anging room

20 m2 BA

30 m2 x 6m

ndrette

60 m2 BA

rtyard

40 m2 GF

wer corridor

30 m2 BA

hing pool

30 m2 BA

ense storage room

40 m2 1F

ulation

ESSENTIAL - PU

120 m2 1F

85 m2 435 m2

PRODUCED BY AN AUTODESK STUDENT VERSION

nting room

10 m2 x 6m

scenting room courtyard

TRIVIAL - PRIVATE

bathing pool

incense storage room

PRODUCED BY AN AUTODESK STUDENT VERSION

shower corridor

40 m2 x open

30 m2 x 6m

40 m2 x 6m

30 m2 x 6m

ESSENTIAL - PUBLIC

120 m2 x 6m

PRODUCED

30 8 30 2

The project is cleaner only started from 2:30 PM to 8:30 PM.

PRODUCED BY AN AUTODESK STUDENT VERSION

odor of incense

odor of tea

sound of ventilation

touch of salt

touch of timber

touch of cloth

touch of concrete

timber strip facade

If the five senses feels the cleanness. Can they appreciate the purity?

PRODUCED BY AN AUTODESK STUDENT VERSION

sound of chat

PRODUCED BY AN AUTODESK STUDENT VERSION

ATMOSPHERE - CASE STUDY PRODUCED PRODUCED BY AN AUTODESK BY AN AUTODESK STUDENT STUDENT VERSIONVERSION

1. VALDFIERRO PARK by Hector Fernandez and Manuel Fernandez Ramirez.

LEAVE AN ODOR

Concrete wall entry, block the view and

LE A L EVA E VAENAO NDOODRO R

provide privacy.

pre-cast concrete panel

pre-cast concrete pre-castpanel concrete panel

2. KOSHINO HOUSE by Tadao Ando. ATMOSPHERE - CASE STUDY

S k y l i g1 h i dP AeRsK bt yhHee c tl oi g s zi d . VtA Lp D FrIo E Rv RO r Fh e rtn ainn de a ne d. Concrete Manuel Fernandez Ramirez. A T M O SA PH TM E ROES P- HCEA R SE E- SCT U AD SE Y STUDY

C onn d c r e ft el o wo a l lr e n o cn k tt h e ew h a na d rpm roo v i dne y o f wall a pt rrye, bsl e t hv i e privacy. 1. VALD 1 .F IVE A RR LD OF IPEARRRKO bPyA H RK e cbt yo rHFeecr tnoar nFdeer zn aanndde z a n d

a n u eM aenruneal nFdeer zn aRnadmei zr eRz a s hM a d o2l .Fw t .y. mT ai r de az .o K O SaH n I Nd O HlOi g U Sh E b

Ando. C o n c r eCt o e nw ca r el lt ee nwt a r yl l, e b nl ot rcyk, tbhl e o cvki et w h ea vnide w p ra o nv d idp erovide Skylight provides the light inside. Concrete wall and privacp y .r i v a c y . floor present the harmony of shadow and light. 2. KOS2 H .I NKO O SHHOI N UO S E HbOy UTSaEdbayo TAanddaoo. A n d o . 3. ORIBE TEAHOUSE by Kengo Kuma.

p y lriogvhi td p e sr otvhi e d el isg thht ei nl isgi dh et . i nCs oi dnec.r eCt o w ca r el lt ea nwda l l a n d 3 .S k yOl i gRhSSItkl B yd eKi e geuno o pEp i nTgEtA i mH b eO r sU t r iS p sE f ab ca n t rn od ce K l i gu h tm i na s i d. e

f l o o r pfrleosoer npt r tehsee nhta tr h meo n h ya romf osnhya d oo f w s ha a nddo w l i gahnt d . light. and provide privacy at same time. Natural materials like wood and stone create more comfortable sense 3 . O R I B3E. O T ERAI H B EO U T ES A E HbOy UKSeE nbgyo KKeunmgao . K u m a . while waiting to scent the cloth. S l o p p i nS g lop t ip mi b ng e r t si m t rb i pesr fsat c r ia pd s ef ai c na t rdoed ui ncter ol d i guhct ei nl isgi dh et i n s i d e a n d p ra o nv d idp e rp o rvi ivdaec p y ra i vt ascaymaet tsi a mm e .e Nt iamt u e r. aNl amt a u rt a e lr i m a las t e r i a l s l i k e w ol iokde a wnodo d sto an ne d c s tr o en ae t ec m r eoar tee cm oo mr feo rct o am b lfeo rsteanbsl e s e n s e while w wahiitl ien gw a t oi t isncge n t ot tshcee nctl ot thhe. c l o t h .

time. Natural materials like wood and

stone create more comfortable sense while waiting to dry the garment.

skylight

timber panel cladding

skylight

timber panel timber panel cladding cladding timber strip facade

timber striptimber facade strip facade

PRODUCED PRODUCED BY AN AUTODESK BY AN AUTODESK STUDENT STUDENT VERSIONVERSION

PRODUCED PRODUCED BY AN AUTODESK BY AN AUTODESK STUDENT STUDENT VERSION VERSION

light inside and provide privacy at same

PRODUCED BY AN AUTODESK STUDENT VERSION

Slopping timber strips facade introduce

The fluid circulation regard to the sequence of cleansing.

context topography regard, the single pitch roof transforms the level changes. Cluster of programs stacked with each other.

Influenced by Tadao Andoâ&#x20AC;&#x2122;s idea of light, water, and concrete. What the human scale on the architecture? How people use the architecture? Standing, sitting, lying down... The water pattern reflected to the concrete wall which applies extra layer on the exposure material. The heat comes from bottom, warmed up the cold feet immediately. The warm soft environment calm down the emotion.

Cerebration of the void. Introducing the courtyard as the central gathering open area distributes the sequence into linear â&#x20AC;&#x2DC;ribbonâ&#x20AC;&#x2122; surrounding. The return circulation is introduced by the central void.

0.5

A’

SECTION AA’

PRODUCED BY AN AUTODESK STUDENT VERSION

FIRST FLOOR PLAN

1 +0.0

A’

0.5

GROUND FLOOR PLAN

8900 mm

3700 mm

PRODUCED BY AN AUTODESK STUDENT VERSION 7200 mm

0.0

SECTION BB’

PRODUCED BY AN AUTODESK STUDENT VERSION

AUTODESK STUDENT VERSION

PRODUCED BY PRODUCED BY

0.5

ODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION

MID SEMESTER

ESQUISSE

6. scenting room

5. laundrette

4. courtyard

3. bathing

2. changing room

1. entry sequence

PRODUCED BY AN AUTODESK STUDENT VERSION

YILAN ZHAO

45 m2 +3.5

40 m2 +5.0

36 m2 +0.0

35 m2 +1.5

28 m2 +0.0

PRODUCED BY AN AUTODESK STUDENT VERSION

叁

零

贰

0.5

FIRST FLOOR PLAN

PRODUCED BY AN AUTODESK STUDENT VERSION

A’

PRODUCED BY AN AUTODESK STUDENT VERSION

SECTION AA’

PRODUCED BY AN AUTODESK STUDENT VERSION

TO KYOTO

PRODUCED BY AN AUTODESK STUDENT VERSION

+1.5

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSI

PRODUCED BY AN AUTODESK STUDENT VERSION

TOUCH - TATAMI

PRODUCED BY AN BY AUTODESK STUDENT VERSION PRODUCED AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

SHINRIN - SCENE OF CROWN

YANE - SCENE OF ROOFS

HEARING - COMMUNICATION

SMELL - SCENT

HEARING - VENTILATION

1:10 @A1

DETAIL SECTION

ATMOSPHERIC DRAWING

PRODUCED BY AN AUTODESK STUDENT VERSION

叁

SIGHT - SCENES

PRODUCED BY AN AUTODESK STUDENT VERSION

“I’m thinking about my father. If he was not dead, he is the same age as the deceased in the case I did today.”

“What are you thinking, Miyu?”

SIGHT - SCENES

零

PRODUCED BY AN AUTODESK STUDENT VERSION

贰

PRODUCED BY AN AUTODESK STUDENT VERSION KARESANSUI - SCENE OF ZEN GARDEN

PRODUCED BY AN BY AUTODESK STUDENT VERSION PRODUCED AN AUTODESK STUDENT VERSION

Y AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

Service engine supplies all the energy required from the ‘Apparatus’ including power of lighting, heating, water source.

Laundrette lab supplies professional washing machines and washing sink. Open space encourages communications.

Central Restoration room celebrates the transformation of cleaners between the job and their life.

Surrounding cloister accentuate the central of garment area. The affiliation of the fragments contribute the moving sequence.

Salting ceremony, the beginning of the journey. ‘Baptism’ launches the own life back and releases the sorrow.

PRODUCED BY AN AUTODESK STUD

PRODUCED BY AN AUTODESK STUDENT VERSION

WASH-AWAY THE SORROW

PRODUCED BY AN AUTODESK STUDENT VERSION

can get cu rsed a nd

hau

nt ed

PRODUCED BY AN AUTODESK STUDENT VERSION

Th ey

HEAT CONVECTION OF ALLEVIATION

PRODUCED BY AN AUTODESK STUDENT VERSION

EXCLUSIVE FRAGRANCE ON GARMENT

PRODUCED BY AN AUTODESK STUDENT VERSION 0

0.5

DIRT

DIRT - BASE INDICATOR

NEUTRAL

PURITY

PU FI

RI ON

CA TI

式

化

浄

ex o m

s lve

Salting is no t t he

1 is rc

e f or o u r c la

N SI O R VE T EN D U ST K ES D TO U A N A Y B ED C U D O PR PRODUCED BY AN AUTODESK STUDENT VERSION

M O N O - R I N S I N G

A PPARATUS

The Mono - Rinsing Apparatus is a remedial architecture. Kodokushi (lonely death) cleaners behave as essential roles in Japan. They are the people who directly face the death in tragic condition. Death has the same end to all,

PRODUCED BY AN AUTODESK STUDENT VERSION

e fic Of xi Ta

but they read thousands stories of deceased. The smell of death brands on their body but also their mental. The BYWhere AN AUTODESK STUDENT VERSION job begins with misery and end up withPRODUCED desolation. can they release the sorrow they carried for those lonely deceased? The Mono-Rinsing Apparatus is their headquarters to dispose of the dirt, the smell of putrefaction, the sorrow. The garment as the carrier of all is the appliance to refresh cleaners themselves while changing and cleansing it. With the help of objective carrier, the project assists to restore the cleaners from the sorrow back to their life. PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

Ta x

PRODUCED BY AN AUTODESK STUDENT VERSION

AL TU RI ON TI CA FI RI PU

Th ey

as M o id ag

ay w ne la

PRODUCED BY AN AUTODESK STUDENT VERSION

O PR

U D

ED C

N A

U A

D TO

can get cu rsed a nd

K ES

hau

nt ed

0.5

浄

化

式

Salting is no t t he

ex o

1:7

PRODUCED BY AN AUTODESK STUDENT VERSION

N O SI R VE T EN

U ST

式 2 STATUS 4

布 PULL THE ROPE

グンジンレク STATUS 4

s lve

f or o ur ce la

PRODUCED BY AN AUTODESK STUDENT VERSION

is rc

PRODUCED BY AN AUTODESK STUDENT VERSION

Interaction sequences

PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY PRODUCED AN AUTODESK BY ANSTUDENT AUTODESK VERSION STUDEN

PRODUCED BY PRODUCED AN AUTODESK BY ANSTUDENT AUTODESK VERSION STUDEN PRODUCED BY AN AUTODESK STUDEN

PRODUCED BY AN AUTODESK STUDEN

B 6

A 4 5 4

2 1

GROUND

SECTION

CROSS

SECTION

DS 01

CROSS CROSS

Y AN AUTODESK STUDENT VERSION

CROSS

Y AN AUTODESK STUDENT VERSION PRODUCED Y AN AUTODESK BY ANSTUDENT AUTODESK VERSION STUDENT VERSION

PRODUCED PRODUCED PRODUCED BYPRODUCED AN BY AUTODESK BYAN ANAUTODESK BY AUTODESK AN STUDENT AUTODESK STUDENT STUDENT VERSION STUDENT VERSION VERSION VERSION

PRODUCED Y AN AUTODESK BY ANSTUDENT AUTODESK VERSION STUDENT VERSION

PRODUCED PRODUCED BY AN BY AUTODESK AN AUTODESK STUDENT STUDENT VERSION VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK PRODUCED BY AN AUTODESK STUDENT VERSION STUDENT VERSION

OPEN HOURS :

0.5

DIRT 0.5

DIRT - BASE INDICATOR

to cleanse after the work. It is a transformation from the work back to normal life. Serviceday engine supplies

all the energy required from the ‘Apparatus’ including power of lighting, heating, water source. Service engine supplies all the energy required from the ‘Apparatus’ including power of lighting, heating, water source.

PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION

Laundrette lab supplies professional washing machines and washing sink. Open space encourages communications.

Central Restoration room celebrates the transformation of cleaners between the job and their life.

Central Restoration room celebrates the transformation of cleaners between the job and their life. Surrounding cloister accentuate the central of garment area. The affiliation of the fragments contribute the moving sequence. Surrounding cloister accentuate the central of garment area. The affiliation of the fragments contribute the moving sequence. Salting ceremony, the beginning of the journey. ‘Baptism’ launches the own life back and releases the sorrow. Salting ceremony, the beginning of the journey. ‘Baptism’ launches the own life back and releases the sorrow.

PRODUCED BY AN AUTODESK STUDENT VERSION 1. [入る] ENTRY SEQUENCE

4. [洗剤] POWDER SEQUENCE

2. [塩浴] SALTING ROOM

5. [更衣] RESTORATION ROOM

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY PRODUCED AN AUTODESK BY ANSTUDENT AUTODESK VERSION STUDE

CR O S S

S E C T I ON

BB BB

7. [中庭] GARMENT PATIO 8. [入浴] BODY WASH

9. [銭湯] BODY SOAK SENTO 7. [中庭] GARMENT PATIO

2. [塩浴] SALTING ROOM

5. [更衣] RESTORATION ROOM

8. [入浴] BODY WASH

3. [水蔵] WATER STORAGE

6. [洗濯] LAUNDRETTE

9. [銭湯] BODY SOAK SENTO

PRODUCED PRODUCED BY AN AUTODESK BY AN AUTODESK STUDENT STUDENT VERSION VERSION PRODUCED PRODUCED BY AN AUTODESK BY AN AUTODESK STUDENT STUDENT VERSION VERSION

S E C T I ON

10 MAX YILAN ZHAO

The working is extremity abomi4 condition of Death Cleaners 7 nable. The smell of putrefaction is strong enough to creep

PRODUCED BY AN AUTODESK STUDENT VERSION ODER

C R O S S

2pm - 11pm

through a gas mask design to PURITY keep theN air cleaner is breathNEUTRAL 4 7 ing. After one case finished, the smell of death is attaching to their clothes. Moreover, this oder is the one you will DIRT NEUTRAL PURITY N PRODUCED BY AN AUTODESK STUDENT VERSION never forget once you smell from the first time. DIRT - BASE INDICATOR This project intents to provide to only cleaners a place

U P P E R

DEATH CLEANER

Restoring the Kodokushi cleaner CAPACITY garment change through MIYU IN MASK Restoring the Kodokushi cleaner PROJECT ARCHITECT : through garment change

6. [洗濯] LAUNDRETTE 3. [水蔵] WATER STORAGE 4. [洗剤] POWDER SEQUENCE 1. [入る] ENTRY SEQUENCE

U P P E R

KYOTO

CLIENT :

PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION

LAUNDRETTE - CLOTHES SCENTING

LOCATION :

PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION

PROJECT :

PRODUCED BY AN AUTODESK STUDENT VERSION

MONO-RINSING MONO-RINSING APPARATUS APPARATUS

RODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

YRODUCED AN AUTODESK BY ANSTUDENT AUTODESK VERSION STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION

BY PRODUCED AN AUTODESK BY ANSTUDENT AUTODESK VERSION STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY PRODUCED AN AUTODESK BY ANSTUDENT AUTODESK VERSIO STU PRODUCED BY AN AUTODESK STUDENT VERSIO

STATUS 3

16:53 : T ama no ha da ro

ap (so

or tu ne

Terracade TN Watermark wall cladding

02 : NANOX Lau 16 : nd r

nt rge ete yd

PRODUCED BY AN AUTODESK STUDENT VERSION

STATUS 2

360 times ac

PRODUCED BY AN AUTODESK STUDENT VERSION

Polished oak locker and 90mm bench

Polished PRODUCED BY AN AUTODESK STUDENT VERSION

STATUS 2

EXCLUSIVE FRAGRANCE ON GARMENT

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION 00

15:23 0.5

15:36 1.0

17:03 2.0

05/June/2019 Miyu schedule

MONO-RINSING

APPARATU S

DS 01

: Blood - c ont ain foa m ,b

he : ‘Hi mu m, just finis

36 15 :

ill b kw

or w

:2 3

Ev er

Hydronic floor heating

Be home in 100 mins[mm]

PRODUCED BY AN AUTODESK STUDENT VERSION

ESK STUDENT VERSION

14:36

e hom

e so o n’ STATUS 1

HEAT CONVECTION OF ALLEVIATION

PRODUCED BY AN AUTODESK STUDENT VERSION

concrete floor

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTOD

DESK STUDENT VERSION

Alpine Glass Mosaic [20mm *20mm*4mm]

PRODUCED BY AN AUTODESK STUDENT VERSION

ado (bath salt) i no Y , Go Tab p),

PRODUCED BY AN AUTODESK STUDENT VERSION

STATUS 3

Customized Gakibi ALC block panel 875mm * 875mm

WASH-AWAY THE SORROW

PRODUCED BY AN AUTODESK STUDENT VERSION

Naturally colored [oiled] wood Hangbird with white ropery, using pulley system. Length: 3500 mm

ST W ASH 90 C T E M P

00 SP

min

ccess

GRIDLOCK translucent [Mist soften] glass block [210mm * 218mm*95] frosted glass pattern.

dust........

s my body e passe eranc rag e f th

16：43 ：Pe rspi rat ion ,

GERA NI

ry th ing is sti nks

EY, B L O SSOMS, HON

LAVENDER, ORIGI NA L

STATUS 1

京都ウインドス

ピード

nd o wi Kyot

speed 6km/h

a body, pup , fly uid liq y od

y powder undr r, la do alo m

e ur st oi

into teeps der s h o wit

ジェ ,香りラニウダーム、ブラベンッサム、ハニー、ラ Colorado River Rock [Mesa Grey]

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTO