渡邊大志研究室    

Sechie-倉庫と舞台|Sechie-warehouse and stage-


2019/10/16 Sechie-倉庫と舞台-

「Sechie-倉庫と舞台」が住宅特集 2019年10月号に掲載されました。




Stage and warehouse

This architecture consists of two volumes and a garden named “stage” and “warehouse”. “Stage” has no function. All modern house functions (watering, storage, bedroom) are stored in the “warehouse”. In other words, the “stage” is a useless long thing for a house, but it was intended that space would appear within the human consciousness of going back and forth between the “stage” and the “warehouse”. This state is called “Sechie” (ceremonial meaning). Instead of containers, we considered the form of human behavior as architecture. Several related people are occasionally replaced, and guests are invited to join the occasion.
The site is located at the point where two triangular blocks with rice field plots from the Edo period have their vertices facing each other. From this point onwards, the riverbed slowly descends to the underdrain, and the steep ground rises from the bank to the plateau in the north. For this reason, both sides of the site are swung to the south, and the section has a height difference of about Im. Taking advantage of the characteristics of this site, the stage and the warehouse were set up in three dimensions. A stage with no function was placed at the center of the site, and a warehouse was placed behind it to trace the helicopter on the site. In addition, only the digging pillars at the four corners of the stage were grounded. The stage carries the warehouse, and the entire volume of the warehouse is floating in the air. In addition, the stage and the warehouse are 60mm apart at all levels. The person who goes back and forth between the stage and the warehouse must always straddle this 60mm clearance. Only the cylindrical steel staircase that leads to the rooftop of the stage bridges the warehouse and the stage.
The main book of this “Sechie” is my idea of ​​seeing the beginning of architecture in the warehouse. And it was impossible to oscillate in a single building, and I tried to figure out the multi-dimensionality of the warehouse as the ancestor of the building by continuous work.
In July 2019, we held an exhibition titled “The City of Tokyo Port Warehouses Created by Blue Infrastructure” at one of the port warehouses at Shibaura Pier. In this exhibition, we suspected “the logic to create a city from land” such as the laws and regulations associated with the designation of water such as sea, river, pond, moat, and culvert. Re-examine the modernity of the city. The outline of the city that appears as a result was presented in a drawing entitled “Inverted and Saved City”. The key to this is the warehouses lined up at the water's edge. These warehouses have two functions of creating a landscape of the port area by a system operated by a network such as a trade route and a distribution network and the warehouse itself. And “Sechie” is closely related to “DANCE”, “STORAGE” and “PORTABLE”, which were categorized as “Warehouse Coneption” in this exhibition.
First of all, to find the beginning of architecture in the warehouse, the type of “DANCE” is the scenery of “Amaniwato Legend”, the creation myth of Japan. According to Kojiki, the Ten-yu salesman danced the strip while the male gods frightened in front of the cave to bring out the sun god (Amaterasu Okami) hidden in the cave. The light from the cave warehouse gave birth to the world (space). There was a stage in front of the warehouse. It was Zeami who built this event about 600 years ago. The Noh stage he designed is not affected by differences in the history of the land and the surrounding environment, and the Noh stage is always constructed with a certain size and configuration. This type of architecture is rare in Japanese architectural history. The Noh stage consists of three elements: the mirror space (backstage: a “warehouse” packed with costumes and props), the stage where the performers dance, and the “bridge” that passes them. is there. On top of that, Zeami set the pillars at the four corners, with a standard stage set between 3 x 3. The “Sechie” is a plan where the stage module is 3 x 3 and the prototype is angled in parallel with the modified site. The cinder shaped steel staircase that goes from the warehouse to the rooftop of the stage is an adaptation of the bridge. The skeleton of “Sechie” was determined in this way.
Next, it was categorized as “STORAGE”, referring to storing the most important function of the warehouse. A huge food warehouse has been restored at the Ikegami Sone site in Osaka. Although this warehouse is a backup for stocking food, it is placed in the center of the village, and its appearance is clearly conscious of the temple. This huge food warehouse meant not only to "store" something but also to "seal" something. The warehouse is more necessary for people to gather than any other. This is why there is a warehouse behind the non-functional stage.
Finally, “PORTABLE” is a craft box making for warehouses. The reason why the warehouse is huge and sturdy is because the warehouse doesn't move and people are not always there. However, “PORTABLE” disables the previous warehouses “DANCE” and “STORAGE”. Modern containers and Edo-era boats (seafarers' safes) are the crystals. The container itself is a temporary warehouse and can be moved whenever it is no longer needed. Similarly, the ship made by Funae with the same technology as Kitamae is wet with seawater.
The swelled tree expands to increase airtightness, and buoyancy works to float on the sea. The warehouse itself was a very small ship.
In order to use the warehouse as an architectural expression in the “Sechie”, it is necessary to have an idea through this “PORTABLE”. First, Juliana Tokyo, which appeared in the port warehouse in the 1990s, was classified as “CEREMONY”. Assuming that Juliana Tokyo had lost its warehouse function, it was once again used as a place for the ceremonies of the era. Next, the characteristic of the warehouse that lost the warehouse function was reclassified as “HIDING INFORMATION” and presented in an actual work named “Air Grotta”. "Air Grotta" is in the basement of the floor directly below the port warehouse where Juliana Tokyo was once. The functions are the president's office and the tIP reception room. The basement of a port warehouse over 50 years old, which was built in a bayside landfill, had springs and moisture in Daegu. Therefore, the whole room was covered with waterproof paint for water tanks, and the air at the inlet and outlet was maintained at positive and negative pressures. In particular, the VIP reception room is intentionally overflowing with various decoration styles. Interpreted modern business commerce as a ritual, concealed in a warehouse that lost its function. Gold and things are exchanged in a cave-like warehouse with no external representation. A modern grotta is a place hidden from the pleasurable expression of a consumer city, and a warehouse is an architecture suitable for hiding. Currently, many warehouses that have lost their warehouse function are trying to overexpress the past as a consumption space.
It is the third type of “EXPRESSION OF WAREHOUSE”. The twisting phenomenon, in which product value is found in the hardware of the warehouse rather than the items stored in it, is finally beginning to imitate the warehouse as an architecture.
However, this phenomenon is just the appearance of the so-called “so-called” societies in the warehouse, which is the multi-generic ancestor of architecture. The warehouse was a fundamental architecture from the beginning. The multiple nature of the warehouse as the ancestor of the architecture was categorized into six at the exhibition, and one of the typologies was reproduced in the actual warehouse by “Air Grotta”. And at the "Sechie", the figure of the progenitor was presented as it was in the modern city. My theory of warehousing is an attempt to pursue a universal architectural ancestor lurking in the history and climate unique to the place. The architecture of modern Japan without such universality is merely a Japanese style as post-Western architecture. He is currently thinking about redefining Kohgei (craft) in Helsinki, Finland.

Related links

「ブルーインフラがつくる都市」展
“BLUE-INFRASTRUCTURE MAKING THE CITY” EXHIBITION

空気のグロッタ - Hiding Information
Grotta under the ocean - Hiding Information










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(https://shinkenchiku.online/shop/jutakutokushu/jt-201910/html)



2019/07/28 Sechie-倉庫と舞台-

「Sechie-倉庫と舞台」がGA HOUSES 165号に掲載されました。






雑誌をお買い求めの方はこちらをご覧下さい。
(https://www.ga-ada.co.jp/english/ga_houses/gah165.html)



2019/04/02 Sechie-倉庫と舞台- スタディ













2018/09/06 Sechie-倉庫と舞台- スタディ




2018/08/09 Sechie-倉庫と舞台- 設計プロセス










2018/06/25 Sechie-倉庫と舞台-・鉄骨製品検査




無機能棟の折れ曲がり柱の角度を確認する。
最上部の鉄骨柱梁は人間にほどよく近づいてくるようにデザインした。
高さをギリギリまで抑えた梁高さと角度の兼ね合いが気になっていたが、原寸で体験してほぼ予測通りであった。
2018年6月25日


2018/03/01 エスキースドローイング




2018/02/08 エスキースドローイング



「Sechie-倉庫と舞台-」の意図するところ

 この小建築の構想を始めたときから1年が過ぎた。
 およそこの建築の規模からすれば、1年の思考時間は決して短くはないだろう。
 その間、色々なことを考えた。それに従って、構造もいくつかのエスキスの変遷を経た。
 そろそろまとめねばならない時期となり、改めて現段階での最終案を眺めてみた。正直言って、満足できなかった。
 それは、この小建築の最も重要な考えの骨格がまだ判然と表現されていないように感じるからだ。

 それでもう一度、1年前に描いた最初のスケッチを引っ張り出してきた。左のドローイングがそれである。26/JAN/2017の日付が入っている。
最初に描いたこのスケッチは、今見ても自分の関心の中心が現れているようには思えた。中央に能舞台のような、無機能な空間の骨格がフレームとして立ち上がっている。それを何やらラフカディオ・ハーンの「耳なし芳一」の如くに呪文が書かれたような高い壁が囲い、青空だけに向かって空間は解放されている。

 人間の動きも含めて、一見止まっているように見えても、微視の中で感得できるような、万物のうごめきが凍結された瞬間のようなものを建築化したいと思った。
 舞台を囲う高い壁は、機能に象徴される俗世間を封じたものだ。それらを封じるために呪文にも思えるなにがしか怪しげな装飾がその壁に施されている。

 右のスケッチは、本日08/FEB/2018朝に描いた。
 ほぼ1年後に、手元に出来上がったものを最初のドローイングにもう一度立ち返らせようとしたものだ。今、鉄骨業者や工務店に送った図面類は、当然経済(建設コスト)という現代で最も強い理屈の上にも成立するように調整したものだ。それらは決して悪くはないのだが、ちょっとしたところに最初から考えていたことが初志貫徹されていないところがあり、それを1時間くらいかけてこのスケッチで大急ぎで修正しようと考えた。
 つまりは、機能のない「空」の状態のフレームの二辺を、生活のための機能を封じた壁で囲む構造を、今一度鮮明にさせようと試みた。
 封じられた壁は箱状のものであるが、「箱」と「壁」はその背景に背負う近代的なコンテクストは全く異なる。
 「箱」はバウハウス以来の、近代そのものであるが、その「箱」に封じられたものは様式や装飾といった歴史主義に根ざした建築の現れであった。
 一方、「壁」はベルリンの壁などのように、封じられてはいるが、壁の向こうはこちら側の世界と並行して存在している。
 そう考えた時、ここでは私は「箱」ではなく、「壁」の方を取りたいと考えた。近代的な知性からは嫌悪されると予想される呪文のような壁の表情は、木毛セメント板の上にモルタルを擦り付けるなどして極めて安価に表現するくらいのアイデアしか今はない。さすがに経文を書くような勇気まではないからだ。

 「すまひの節会」は、節会と称する儀式的なものに、「倉庫のように、何かを封じた形式そのものが結晶化されたものを建築の始まりと考える」ことを意図している。封じられたものの代表は「すまひ」という生活と近代的に呼称される以前の人間の振る舞いそのものである。それを近代は機能と呼んで整理しようとした。
 中央にある、無機能な空間の骨格の最上層は、それらに囲まれた壁から頭一つ飛び出すようにして解放されている。しかも、その下部からはフッとズレるような動きを与えた。そこにあるべきは、無機能、機能の二項対立的な区別からも自由になった「節会」の初源と言えるようにしたいと考えている。

2018年2月8日 渡邊大志






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