Pilgrims Hostel

PILGRIMS HOSTEL
The design proposal is on the site next to the shrine – connected on the same level, and with plenty of vegetation. We search about the activities of pilgrims, and offer a timeline of activities: the basic ones (sleeping, bath- ing), and some that connect with the spiritual experience (dining, workshops, tea ceremony, meditation/worship). The process started with dispersing the activities on the site to create the design, and connect them in two areas public and private, linked with the semi-public outdoor space.
The sequences were part of the pilgrimage narrative – spiritual journey within the site. From arriving, along the long ramp corridor, to come to the point which is opposite of the public entrance to the temple. And climbing few steps, to reach a garden semi-private, disconnected from the street with the terrace from the hostel. The garden offers three paths – meditation room under ground, with a sky opening that views the shrine. Continuing to the terrace and the reception of the hostel, or continuing to the shrine. After the reception, few steps are climbed to provide accommo- dating space on the same level as the shrine.

Izakaya

Izakaya was not considered as essential work during the covid-19 pandemic. Considering the change of working lifestyle such as working remotely from their houses, we have focused on the residential area. Researching the typologies of the Izakaya, we noticed the binary division between Primary and Tertiary industries. The selected residential area, Ookayama has many plum trees, which can be used for the production of Umeshu. This can help to dissolve the binary. According to the architectural typologies, we propose three types of new Izakaya combining with plum production: A: movable Izakaya kitchen car, B: Izakaya taxi which connect to the urban mobility, C: Izakaya park which has relationship with the outside.

CAPSULE_CLUB

Tourists visiting Tokyo may not be architectural fans, however, anyone remains fascinated by this unique piece of architecture – Nakagin Capsule Tower. Together with development of Internet, SNS and later – Instagram, more and more people become aware and begin appreciating its silent appearance. Nevertheless, this silence makes spectators indifferent to the fate of this building and they remain unaware of drama moving around this building for many years. During this exhibition it became possible to show the hidden life inside the building. By conducting interviews with residents different stories were told, what shows diversity of capsule interiors and lifestyles behind similar facades and round windows. Instagram in this case serves as a tool to connect people outside and inside in order to fill a gap between indifference and passion. Visitors of the exhibition may not only view but also touch and feel actual things brought from different residents. Thus, such awareness and publicity that follows development of applications like Instagram may help us preserve buildings longer.

Toilet

The development of the toilet and the treatment of excrement in Japan are closely linked to a growing mechanization of the lavatory as a device and its progressive shift vis-à-vis the house from outdoors to indoors. In the Edo and early Meji Periods toilets were located at the edge of or outside the house. Conceived as a squat-latrine system, made out of wood, it was adapted for the easy collection of the excrement, which was then used as fertilizer. Between the World Wars, new systems, new materials, and even new toilets (for instance toilet bowls) were slowly introduced, while the collection of sewage became more and more mechanized, with basket collection being successively replaced by trucks, then mobile vacuum-extraction units, and later still by a Western type of sewage system with pipes. In recent years the predominant European-based device has become hyper-Japanized, highly automated (including washing, drying, background noise, cleaning, disinfecting, etc.), and even described and praised as something kawaii (cute, adorable) in the public narrative.