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.