PORTFOLIO 2019-2021
Art and Architecture school of Waseda University
YUTA SUGASAWA
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PORTFOLIO Art and Architecture school of Waseda University
2019-2021
YUTA SUGASAWA 1
ACADEMIC BACKGROUND 2021 2020 2019
ART AND ARCHITECTURE SCHOOL OF WASEDA UNIVERSITY Diploma Class
2018 2017
AOYAMA GAKUIN UNIVERSITY School of Cultural and Creative Studies
2016
Yuta Sugasawa NATIONALITY Japanese DATE OF BIRTH 06/October,1997
WORK EXPERIENCE 2021
NORIHIKO DAN AND ASSOCIATES
EMAIL yutawii1006@gmail.com PHONE (080)2001-9881
INITIAL TRIGGER FOR ARCHITECTURE I mailnly studied Color Science,Art and Uruban Sociology in School of Culrural and Creative Studies
2020 2019 2018 2017
of Aoyama Gakuin University.I was a member of
April 2019- April 2021 (summers & springs as my part-time job) October 2018- March 2019 (4 days a week as my part-time job ) December 2017- September 2018 (4 days a week as my internship )
Norihiko Dan's seminar owing to having been interested in an architecture for some time.I worked Norihiko Dan And Associates from an intern to parttime job.I studied architectural design through working experiences from scratch.As I made study models for new projects I was fascinated by
CAPABIKITIES & SKILLS SOFTWARES
production process.As was often the case with all-
Adobe InDesign Adobe Photoshop Adobe Illustrator Vector Works Sketch Up Pro Lumion
night work I was more fascinated than fatigue. Through such experiences I was convinced that architectural design was what I really wanted to do.I decided to go Ar t and Architec ture School of Waseda University as a double school because Aoyama Gakuin University doesn't have architectural design program.
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LANGUAGES JAPANESE ENGLISH
Native Conversational level
CONTENTS P4-17
URBAN SOLIDITY STREET SPACE
P18-31
THE COMMUNE CONNECTED BY FURA
P32-43
MELTS INTO THE TERRAIN
P44-55
HEREDITY
: LIVE ART GALLERY
: THE HABITAT OF FURA
: SEPARATION AND ASSIMILATION AT BOUNDARY LINE
: FROM TRADITIONAL ARCHITECTURE TO MODERNISM
-July 21st, 2021
-June 1st, 2021
-November 20st, 2020
-January 22st, 2021
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Total floor space of existing building : 2264m²
4. SIZE
Yoshiaki Akasaka
Daisuke Yamashita
Free
3. STRUCTURE
Takeshi Hagiwara
New working stlyes in consideration of social conditions
2. APPLICATION
INSTRUCTORS
Okuno Building (Ginza, Chuo-ku, Tokyo 1-9-8 Japan)
1. SITE
THE PLAN CONDITIONS
bold proposal in the structure are demanded with being familiar with existing architecture.
From the lower part to the higher part of the building section: Three-dimensional circulations,voids and a
relationship with the roadside.
The lower part of the building section: The space and function are demanded in consideration of
constructed in1934.New working stlyes are demanded in consideration of social conditions.
in Ginza.The main building was constructed in 1932 after that the Symmetrical new building was also
This design for the assignment is renovation of existing architecture whose name is Okuno Building
GINZA RENOVATION
after knowing the origins of the work while watching the production processes of the works.
the process of the works as a new way of art gallery where purchasers can purchase the finished products
I propose to change the rental gallery of the Okuno Building into a planning gallery where you can watch
works and the processes should be valuable.
attention to the production processes in which the works are born.The appearance of the artist facing the
At present, only the finished products are attracting attention in the works of art, and it is difficult to pay
theme of the works are different for each individual.
because they need to be produced individually and Okuno Building's program is inconsistent because the
Okuno Building aslo has rental art galleries.However, rental art galleries often do not attract attention
such as "the city of art galleries".At present, about 90% of the art galleries are rental art galleries in Ginza.
the end of the war.Today there are still approximately 90 art galleries in Ginza. In short, there is one side
An art gallery dealing with overseas works is born in Ginza with the development of transportation since
: LIVE ART GALLERY
URBAN SOLIDITY STREET SPACE
GRAYS ARE EXISTING SKELTONS WHITES ARE COMPLEMENTARY SKELTONS
CONCEPTUAL MODEL
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ZONING THE WALL OF A CROSS
REINFORCED STRUCTURE THE CROSSING WALL
EXHIBITIONS/AUDIENCE STREETS LIVE ART SPACES FUNCTIONS Live art satge is after climbing the two
The three-dimensional stairs that
of existing stairs and the artists carry
pierce the crossing wall represent the
out production activities in that place.
streets of the city.The scenery is cut
The public can watches the production
out depending on the location, and
sceneries on each floor from various angles
the artist's production scenery can
while climbing the swirling staircase space.
be seen and hidden.The structural
The completed work will be exhibited in
crossing wall containing existing
the staircase space and It also has a gallery
pillars and beams was created for
function.The basement floor is a workshop
seismic reinforcement.The free spaces
room for young artists, and the public can
were realized by removing some
watches the production sceneries from the
beams in the internal space because
first floor.The existing skeletons of the blue
The crossing wall and outer pillars
color have the functions required for the art
and beams can support the structures.
gallery.
CIRCULATION
RELATIONSHIP BETWEEN SLABS AND FACADE
AUDIENCE STREETS EXHIBITIONS STREETS
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The steel staircase was added to the interior
The slabs of the staircase spaces
space as a new structure.This staircases float
inter vene in the facade so that
in the voids by pin joining without biting
the internal functions appear on
into the existing RC structure.The Glass is
t h e f a c a d e. T h e o p e n i n g o f t h e
used for the slabs of the main conductors
intervention parts and the existing
stipulated by the Fire Service Act, and
windows are opened toward the city
punching metal is used for the exhibition
side, and the work of the exhibition
space.Two transparent materials deliver
can be viewed from the street side.
natural light to the lower floors through
The new and existing skeletonts in
voids.
harmony recompose the facade.
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AXOMETRIC DIAGRAM
ELEVATIONS
CROSSING WALL
EXISTING STRUCTURE
FLOATING SLABS
RECOMPOSED FACADE
SCALE 1:150
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LEVEL 1
LEVEL 3
BASEMENT FLOOR
LEVEL 2 THE WALL OF A CROSS
LIVE ART SPACES
EXHIBITIONS/AUDIENCE STREETS
FUNCTIONS
SCALE 1:150
LEVEL 5
LEVEL 7
LEVEL 4
LEVEL 6 THE WALL OF A CROSS
LIVE ART SPACES
EXHIBITIONS/AUDIENCE STREETS
FUNCTIONS
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NORTHEAST-SOUTHWEST SECTION
SOUTHEAST-NORTHWEST SECTION GL＋20200mm
GL＋20200mm
GL＋19000mm
GL＋16400mm
GL＋16400mm
GL＋14800mm
GL＋13600mm
GL＋13750mm
GL＋12000mm GL＋11100mm GL＋10000mm GL＋8800mm GL＋7680mm
GL＋6200mm
GL＋5830mm GL＋4740mm
GL＋4740mm
GL＋3190mm
GL＋1500mm GL＋550mm GL±0mm
GL±0mm
GL－3050mm
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NORTHWEST-SOUTHEAST SECTION GL＋20200mm
GL＋19000mm
GL＋19000mm
GL＋16400mm
GL＋14800mm
GL＋13600mm
GL＋12400mm
GL＋11900mm GL＋11200mm
GL＋10000mm
GL＋9500mm
GL＋7300mm GL＋6200mm
GL＋7300mm
GL＋7400mm
GL＋5940mm
GL＋6100mm
GL＋4740mm
GL＋1500mm
GL±0mm
GL－3050mm
GL－3050mm
SCALE 1:100
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SOUTHEAST ELEVATION
SCALE 1:75 14
REFERENCE STAIR
4800 300
300
300
300
300
300
300
300
300
300
300
300
300
300
UP
2.5
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975 900
35
300
2.5
300
SCALE 1:15 300 280
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300 280
踏面：強化ガラス t=12
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蹴上：PL t=2 L形鋼：t=４ 45*45
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L形鋼：t=４ 45*45
80 80
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L形鋼：t=6 80*80
12
138 150
80
H形鋼：100*100*84*8
138
138 150
蹴上：PL t=2
150
L形鋼：t=5 60*60
12
12
踏面：強化ガラス t=12
138 150
12
丸鋼：Φ9
SCALE 1:6
SCALE 1:3
L形鋼：t=6 80*80 36
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Free Total floor space : approximately. 30m²
3. STRUCTURE 4. SIZE
Takeshi Hosaka
Motoshi Inukai
minimum house in principle
2. APPLICATION
INSTRUCTORS
Free
1. SITE
THE PLAN CONDITIONS
04 Visualizing material properties
03 Designing minimum house that directly corresponds to the body scale
02 Thinking about boundaries in the urban
01 Researching abandoned places that no one has ever touched
contradiction and create a rich urban landscape in that place is demanded.
city and designs minimum house based on body scale.That the proposal resolves the
attractive spaces in our urban.This design for a class is Individual finds a problem in the
There are abandoned places that no one has ever touched though there are potentially
MICROPELAGO
the urban.
the square of animal trail on the border between Inokashira Park and a residential area of
I propose an architecture that connects FURA and local residents in his habitat which is
locals take a walk there with friends or family.
residential area of the urban. Children play as a hideout on the animal trail and some
His habitat is the square of animal trail on the border between Inokashira Park and a
attitude toward street live are loved by the locals.
He interacts with local residents with playing the instruments. His gentle personality and
and bamboo flute on the street in Inokashira Park and makes a living by throwing money.
FURA is a person with a punk spirit who survives in the present age. He plays the guitar
: THE HABITAT OF FURA
THE COMMUNE CONNECTED BY FURA
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FURA PROFILE FURA is a person with a punk spirit who survives in the present age. He plays the guitar and bamboo flute on the street and makes a living by throwing money. He interacts with local residents with playing the instruments. His gentle personality and attitude toward street live are loved by the locals. His habitat is the square of animal trail on the border between Inokashira Park and a residential area of the urban.
PERSONAL HISTORY After graduating from a music vocational school, he lived in the hippie village of Nagano prefecture. A few years later he embarked on a journey on the Silk Road to go to India. In india he continued to drink the water of the Ganges as sacred drinking water for several months, after that he got the hepatic inflammation and wanders the brink of death but he healed by natural healing. His journey continued to Europe. In Amsterdam he lived in a punk community that illegally occupied the building. They made a living by selling used clothes and earning money from street live performances. After leaving Amsterdam he lived with the Indians in the Golden Triangle. At that time he met a woman who would later marry him. His familly lived there until the child was 15 years old. He gave a child an education like Tarzan. His son gradually became interested in civilization, His familly desided to returned to Japan when the child was 16 years old. When they came back to Japan he was suffering from drug addiction. To overcome his drug addiction he continued to ride a bicycle and achieved a round of Japan in a year. Finally he cured his drug addiction on his own. Today his family lives apart and he lives in the square of animal trail on the border between Inokashira Park and a residential area of the urban.
TODAY He has lived in Inokashira Park for 10 years. He plays the bamboo flute from 10 am and Plays the acoustic guitar from evening to 10 pm. His attitude towards stoic performance and His gentle personality is loved by the locals. As a communication with local residents he teaches locals to play the guter and he consults with local residents about their daily worries. He makes a original song several times a year and his musical scores became a teaching material for a local junior high school. He sometimes gets the painting of his playing scene from locals. He can lives there because of understanding of local residents and acquiescence of Tokyo Metropolitan Construction Bureau though living in Inokashira Park is mostly regulated and evacuated. At the recommendation of neighboring residents, his luggage is protected by security cameras in the neighboring house.
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AXOMETRIC DIAGRAM ROOF
FRAME
LEVEL2
LEVEL4
LEVEL1
LEVEL3
CARBON FIBER
WALL SURFACE
CIRCULATION
PLACE OF RELAXATION
PAINTING/MUSICAL SCORE
COMMUNITY SPACE
EVENT STAGE
MUSIC CLASSROOM
HABITAT OF FURA
CAPTION The site is the square of animal trail on the border between Inokashira Park and a residential area of the urban in Kichijōji. This architecture is the abstract form of the acoustic guitar
SLAB
and bamboo flute which are the instruments used by FURA. The volume is decided according to the height of the surrounding trees.The combined shape of the cone and cylinder creates space that directly corresponds to the body scale. The carbofiber hanging the spiral staircases that expresses the strings of an acoustic guitar makes a sound when played by hand.The seemingly excessive pillars are structurally indispensable members. The slabs and the pillars are structurally joined to prevent the pillars from shaking. The solid wood is used for the pillars and CLT is used for the slabs.The walls and roof are designed to withstand rain and wind, depending on the function of the plan.The spiral circulation runs inside
BASE
and outside the cylinder. The first floor is a live music space and a place for people to relax. On the second floor, FURA teaches musical instruments which is bamboo flute and acoustic guitar to the local residents. On the third floor, the musical scores composed by FURA and the paintings of his playing scene drawn by locals are on display. The fourth floor is the palce where he consults with local residents about their daily worries and his minimum house.
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NORTHWEST-SOUTHEAST SECTION
PLAN
LEVEL2
LEVEL4
LEVEL1
LEVEL3
SCALE 1:80
SCALE 1:60
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PL t9
GL±0
独立基礎
ドリフトピン 14-M12
R-9
柱脚金物 B.R-16
CLT t50
PL t9
手摺・銅 t40
GL±7900 お悩み相談所・棲家
GL±11000 屋根トップ
GL±13700 塔トップ
地盤
無垢材 t24 砕石 60mm
鋼製束
PL t9
布基礎
化粧材(無垢) t24
前面支圧ソケット
ドリフトピン 28-M12
B.PL-16
接合金物 PL-9
ソケット
GL±4400 音楽体験
はめ込み式 t50
GL±5600 楽譜・絵画展示
強化プラスチック t10
ナイロン-カーボンファイブ
PL t9
前面支圧ソケット
CLT t28
はめ込み式 t50
手摺・ニッケルシルバー t40
1:40
0
1
2M
DETAILED NORTHEAST-SOUTHWEST SECTION
捨てコンクリート 60mm
化粧材(無垢) t18
ドリフトピン 20-M12
ドリフトピン 20-M12
ロッド定着ソケット
接合金物 PL-9
接合金物 PL-9
SOUTHWEST ELEVATION
SCALE 1:60
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SOUTHEAST ELEVATION
SCALE 1:60
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the paintings of his playing scene drawn by locals are on display.
On the third floor, the musical scores composed by FURA and
withstand the rain and wind for FURA.
On the fourth floor, The minimum housing equipment that can
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MELTS INTO THE TERRAIN
: SEPARATION AND ASSIMILATION AT BOUNDARY LINE Proposal of a nursery school and library that responds to the rhythm of the undulations of the terrain in Toyama park as a form and blends into the landscape in Toyama park. The lawn roof with gently sloping undulations provides a place of relaxation for children and local residents, and a base for raising children throughout the region. The underground space of the play room, which has never been seen before, cultivates the imagination of children.
WASEDA COMMUNITY CENTER : WITH A NURSERY SCHOOL AS THE CORE Today, the declining birthrate is a social problem, and the demand for nursery schools is increasing as the number of double-income households increases. In addition, with the progress of nuclear families, the dilution of local communities has promoted the isolation of child-rearing in young households. Support for young parents with anxiety about child-rearing and whereabouts of children in the urban are required. Against this background, it is necessary to consider the environment of children to watch over in the community, including interaction between parents and child-rearing support. This design for assignment is a community center with a nursery school as the core in Toyama park. A new community center that is open to the community and has relationships with parks and multiple generations is demanded.
THE PLAN CONDITIONS 1. SITE
Toyama park, Okubo, Shinjuku-ku, Tokyo Site area: 1700m²
2. APPLICATION
Community center with a nursery school as the core
3. STRUCTURE
Free
4. SIZE
Total floor area: 1000~1500m²
5. COMPOSITION
Ⅰ ) Nursery school: 700m² Ⅱ ) Community center: 300~500m² Ⅲ ) Park management zone: 200m²
INSTRUCTORS Daisuke Yamashita
Junya Inagaki
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COMMUNITY: Base for Raising Children throughout the Region. I regarded the entire Toyama Park as if it were a nursery school. The core nursery room was not only incorporated into the architecture that responded to the rhythm of the hills, but also scattered as an underground nursery room in the garden extended to the park side. The underground nursery room, play room, and dining room will be opened after school and on holidays. The lawn roof and garden will be a place of relaxation for local residents and children, and will be a base for raising children throughout the region through interaction between local residents of various generations and children.
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INITIAL SKETCH
DEFINITION: Separation is the action of coexisting adjacent A and B, and assimilation is the action of changing A·B to A·A or B·B to avoid a mismatch between the two.
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DESIGN PHILOSOPHY: Separation and Assimilation at Boundary Line I created the form of nursery school that gently wraps children by assimilating it into the undulations of the hills of Toyama Park and the thin volume wall with a urban scale that suppresses visual erosion of the park by separating the boundary between the urban and the park .
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OPPORTUNITY: Landscape Creates Multiple Entrances During the time zone used by the kindergarten children, an organic circulation along the terrain is created with the wall passing in the east-west direction as the entrance. By being thoroughly opened to the park side, it is possible to access from anywhere during the hours when the children are not using it. SPATIALITY The volume of the wall where the library is located maximizes the spatiality of the building by concentrating the functions necessary for management in the space under the slope.The underground playroom with a threedimensional curved surface, in which the context of the landscape has become more complicated, allows children to experience a different dimension of spatiality that is different from the external spatiality.
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SCALE 1:300
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HEREDITY
: FROM TRADITIONAL ARCHITECTURE TO MODERNISM This suggestion is the hotel and the theaters of RAKUGO and MANZAI. This complex hotel is a program that targets foreign tourists and allows them to experience Japanese architecture and performing arts culture. Designed roofs and columns are the size of the Five -Storied of Pagoda in Asakusa. This design is comprised of modernism and Japanese old-style language of the architecture. In response to the reconstruction of traditional architecture into modern architecture, the program expresses the process by which traditional performing arts, RAKUGO, was transformed into modern MANZAI. From the perspective of COVID-19, the theater is designed externally to control the spread of infection and propose a new way of using the Japanese traditional roof.
ASAKUSA DOUBLE TRIANGLE : COMPLEX HOTEL ARCHITECTURE IN THE URBAN Design a complex hotel in the urban in two triangular sections located north and south of Sensoji Temple. It is required to create an attractive urban space by fusing the tourism industry with the culture of local art and living culture. From the perspective of COVID-19, new ways of complex hotels in the urban are required for design. Propose programs considering that Asakusa is a node between traditional culture and performing arts. Plan by specifically targeting the customer base who will use the hotel.
THE PLAN CONDITIONS 1. SITE
Asakusa, Taito-ku, Tokyo 111-0032 Japan 1120m²,720m²
2. APPLICATION
Complex hotel
3. STRUCTURE
Free
4. SIZE
Total floor area: 3050m²
5. COMPOSITION
Ⅰ ) Hotel: 1550m² Ⅱ ) Shared part: 500m² Ⅲ ) Proposed facility: 1000m²
INSTRUCTORS Takeshi Hosaka
Hiroki Naiki
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CONCEPT: REARRANGEMENT Focusing on the five-storied pagoda of Sensoji Temple, which is the symbol mark of Asakusa, the roof was picked up by hand and reconstructed as a new member of modern architecture according to the required architectural function.The roof left over from the reconstruction remains in the tower, and the luxury room is angled to make it easier to see the view of Asakusa.
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Roofs . .
c´ .
. b´
.
Mid rooms
a´ d e´ b d´ e
Pillars c
a
Piloti
a : Layer 5 roofs
a´
: Layer 5 pillars
b : Layer 4 roofs
b´ : Layer 4 pillars
c : Layer 3 roofs
c´
d : Layer 2 roofs
d´ : Layer 2 pillars
e : Layer 1 roofs
e´ : Layer 1 pillars
: Layer 3 pillars
ROOFS AND PILLARS Not only the roofs of the five-storied pagoda of Sensoji Temple but also the pillars have been reconstructed into modern architecture. Maintaining the proportions and directions of the pillar grit of Sensoji Temple, only the thickness of the pillar has changed in response to the structural mechanics of modern architecture. The difference in color between reconstructed the roofs and the pillars represents the difference in the number of floors of the Sensoji Temple's five-storied pagoda. The roof is not only reconstructed as a conventional function, but is also used as an open-air theater by taking advantage of the slope. By installing a wall surface to ensure privacy in the mid room, guests can watch the performance while staying indoors. Pillars that are not structural members are integrated with desks and chairs, and street markets are held at piloti, creating a lively atmosphere.
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CIRCULATION
KEY PLAN
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21
25 24 22 23
LEVEL 1 [GLL0mm]
LEVEL 3 [GL+6000mm]
1
2
4
3
5
6
26
11
27
28
29
13 7
8
9
14
10
31 15 17
12
19
16
BASEMENT FLOOR [GL-1700mm] 18 1-9: economy room 10: stand 11: laundry room 12: stall 13: medical office 14: warehouse
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15: computer room 16: machine room 17: wating room 18: office 19: guard room 20: ticket booth
21,22: stalls 23: smoking area 24: entrance lobby 25: reception counter 26: laundry room 27-30: mid rooms
31: theather for MANZAI 32: restroom 33: breaking square 34: theather for RAKUGO 35: breaking square 36,37: luxury rooms
38: restaurant 39: coffee shop 40,41: luxury rooms 42: HVAC 43: luxury room 44: rental office
45: observation room 46: luxury room
SCALE 1:300
LEVEL 2 [GL+1200mm]
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35
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ROOF PLAN
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LEVEL 5 [GL+13650mm]
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41
46 43
LEVEL 7 [GL+19950mm]
LEVEL 9 [GL+28140mm]
LEVEL 11 [GL+35240mm]
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33 36
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LEVEL 4 [GL+10900mm]
LEVEL 6 [GL+16250mm]
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LEVEL 8 [GL+23840mm]
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LEVEL 10 [GL+31940mm] 51
NORTHWEST ELEVATION
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NORTHEAST ELEVATION
SOUTHEAST ELEVATION
SOUTHWEST ELEVATION
SCALE 1:200
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NORTHWEST-SOUTHEAST SECTION
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NORTH-SOUTH SECTION
NORTHEAST-SOUTHWEST SECTION
SCALE 1:200
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Thank you.
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