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Three floating objects


  I designed two exhibitions for KYOTOGRAPHIE 2020.

The first was an exhibition design for Machiya Vision at the Ogaki Bookstore gallery in Muromachi, SUINA, in collaboration with KYOTOGRAPHIE and the Kyoto City Center for Landscape and Urban Development, which featured video interviews with people who live in machiya houses in Kyoto. The second is the exhibition design for Atsushi Fukushima's photo exhibition using two of the five row houses in the center of Kyoto City, where buildings and apartments stand side by side. In addition, a reception desk and a rest area were designed in the alleyway of the row houses. Although the contents and uses of these buildings are different, they are all made of waste wood from different townhouses, and we hope that they will provide an opportunity to think about the circulation that takes place in the city.


Floating mass of pillars

  Machiya Vision is a collaboration between KYOTOGRAPHIE and the Kyoto City Center for Landscape and Town Planning, which supports the restoration, management, and research of machiya houses. To transmit the vision for the future of Kyomachiya, the exhibition features videos of residents describing their daily lives, their thoughts on Kyomachiya, and the cultural value of Kyomachiya. Since it was decided that the video would be played from an IPad, it was decided to create a large object-like display stand to highlight the flatness of the video.

  This display stand was made entirely from the pillars of demolished machiya houses in Kyoto City, which is about the same amount of pillars as a single machiya house (15 to 20 m3). The pillars used as wire are gathered into a mass to express the "volume of pillars," and the length and placement of the pillars are shifted to increase the surface area in order to give the viewer a sense of the volume of the pillars. In addition, by minimizing the number of points where the pillars are placed in relation to the floor, the pillars are made to appear as if they are floating, thereby manipulating them so that they are perceived more as a mass.

  The existence of Kyomachiya itself is decreasing, but the reuse of materials from demolished buildings will increase in the future. I challenged the idea of renewing the value of the scrap wood by transforming it into something different.


Display wall suspended in midair

  Atsushi Fukushima's "Bento is ready" is a work that reflects the daily life of Fukushima, who used to deliver lunch boxes to elderly people living alone. In exhibiting the work in a machiya (townhouse) in Kyoto, it was necessary to avoid a nostalgic complicity between the lives of the elderly and the machiya as a venue for the exhibition. In addition, an exhibition wall was created to allow visitors to experience the trajectory of Fukushima's photographs, creating a new line of flow. The exhibition wall is set back from the walls, floor, and ceiling to create a sense of distance from the machiya, reducing the ground contact points with the house as much as possible, while still relying on the machiya to stand at one point. The exhibition wall alone is an unbalanced structure that cannot stand on its own, and it is made to stand by leaning on the machiya. This is similar to the situation in the lives of elderly people who cannot live alone. The work was created to be ambivalent, as if it had always been there, and to be suspended in the air as an entity, by using scrap wood from the townhouse only where it is visible, while being a foreign object in the townhouse.


A ship drifting in an alley

  For this venue, it was decided to build two reception areas and a rest area in an alley. The reception area is located in the alley facing the street, and is designed as a long, narrow tunnel with cantilevered eaves to hide the side of the building facing the alley. The reception area was expected to serve as a device to change one's mood, as the facade of the tenement building that will be the venue for this exhibition will appear when one passes through the tunnel. Since it was a temporary structure, it could not be tied to the ground, so a large amount of scrap lumber was bundled together as weights for the pillars to serve as a substitute for the foundation. The massed weights also served as benches and exhibition stands. The rest area was constructed in the same way, with each of them facing in a different direction so that visitors can look around and feel as if they are surrounded by the surrounding buildings.

  The tents are red, the color of the KYOTOGRAPIE image, and serve as signage from the street. The area is also the site of the Yamaboko float, which is a large boat-shaped float that is paraded during the Gion Festival. As the name suggests, the float is in the shape of a large boat, and the tent is a reference to the wave-like shape on which the Ofunaboko rides, as well as to the shape of the boat's sails. I hope to connect the Art Festival and classic Kyoto festivals as features of the place and to hook them somewhere in the memory.

  I wondered if I could once again draw out the sense of place of this site, which will be demolished and replaced by condominiums and buildings in the near future. Alleys in Kyoto are often thought of as one of the symbols of the city, but I think they are a very special place. Some alleys have gates and nameplates at their entrances, clearly demarcating the boundaries. They are mainly used as passageways, but they also exist as important public places for the residents of the tenement houses, where wells and plants are placed. Alleys are public spaces with a mixture of closed and private spaces, and are important urban spaces that have built Kyoto's close-knit human relationships.

 By transforming such enclosed yet expansive spatiality into a public place for the exhibition venue, we hope to expand the experience of Kyoto's urban structure and instill a perception of the exhibition venue within the city.



一つは、SUINA室町にある大垣書店のギャラリーにて、Machiya Visionの展示デザインをした。KYOTOGRAPHIEと公益財団法人京都市景観・まちづくりセンターと共同して行われ、京都の町家に住む方々をインタビューした映像を展示している。もう一つは、京都市内のビルやマンションが立ち並ぶ都市の中心にある5軒長屋のうちの2軒を使用した福島あつしによる写真展の展示デザインである。合わせて長屋の路地に受付と休憩所もデザインした。これらは内容も使い方もバラバラであるが、どれも別の町家から出た廃材を使用し、都市の中で起こる循環について考えるきっかけとなればと思っている。


  Machiya Visionは、京町家の再生支援や管理、調査などを行っている京都市景観・まちづくりセンターとKYOTOGRAPHIEがコラボレーションして生まれた展示である。京町家の未来へのvisionを発信するため、住民による生活の様子から、京町屋への思いや文化的な価値などが語られた映像を展示している。映像はipadから流されることが決まっていたので、平面性を際立たせるために大きなオブジェのような展示台を作ることとした。




  福島あつしの「弁当 is ready」は、独居老人にお弁当を配達する仕事をしていた福島氏が彼らの日常である生活の様子を映した作品である。京都の町家で展示をするにあたり、老人の生活と会場である町家がノスタルジックな共犯関係に陥らないようにすることが求められた。また、福島氏の撮られた軌跡を体験できるよう展示壁をつくり、新たな動線を生み出している。展示壁は町家との距離感を図るため壁、床、天井から距離を取り、町家との接地点をできるだけ減らしつつもある1点は町家に頼ることで立っている。展示壁だけでは自立できないアンバランスな構造とし、町家に寄り添うことで立ち上がることができるものとした。これは、一人では生きていけない老人たちの生活の状況と近いものがあると考えた。町家においては異物でありつつ、見える場所のみ町家の廃材を使用して、元からそこにあったかのような存在でもあるような両義的なものとすることで、存在として宙吊りな状態を目指して作られた。







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