Pages from diary

Some axonometrics and thought process for 1+1=3s

Individual, unique entities can be arranged to work harmoniously to contribute to a whole + A bold composition that is absent of discernible sides can engage with the landscape and provide moments of viewing the architecture in different ways = Individual entities provide harmonious moments of viewing architecture.

A process of interlocking connects two different forms, yet the resulting spaces are unpredictable, and the experience can be chaotic + The interplay between curved and straight surfaces creates an unsettling experience of movement and chaos that tapers, accelerates, and decelerates = A process of interlocking connects movement and chaos.

Electroliquid aggregation of structures

Monument and Meeting place

I uploaded the model into my Cryengine environment but am now unable to locate it, however I will upload  a redone version of it below. I like the idea of void to highlight the magnitude of the monument that towers above it. Continuing from this model, I think I will exaggerate the monuments and place them higher on my environment than the meeting place so that they can be fully appreciated by the clients.

Animations

Orbiting

Investing the structure through section

The Models and the Space

Final Submission

My model was based off my selection of the keywords "Skin and Centered" for the clients Jiro Ono and Shinya Kimura respectively.

Model overview demonstrating the flow of the structure from ceiling to wall to floor.

Showroom and garden for viewing of the space and Kimura's motorbike.

Stairs blurring the line between the sky and the ground.

Staircase into Jiro Ono's kitchen and restaurant, situated above the showroom.

View from ground level garden of Jiro's kitchen

Jiro's kitchen (without roofing)

Kimura's garage and workspace, the texture used on the feature wall was inspired from the word "manufactured".

Tunnel into Kimura's garage

A transition for Kimura from the public showroom on ground level to his garage is necessary to allow him to escape the public domain and enter his workspace undisturbed and at peace. This transition, therefore, must be a total whitewash of his senses. Kimura escapes the noisy, populated and open showroom into his quiet, secluded and personal garage.

I have made this transition into a tunnel, shaped like a motorcycle's exhaust-pipe, linking the stairs from the showroom to his garage. The pitch-black walls and ceiling of the tunnel affords Kimura this sense of escape, allowing him to create his very personal work.

Experiment One Progress

Winding- elevated path leads to staircase into Jiro Ono's kitchen

Jiro Ono's kitchen and restaurant (without roofing)

View of staircase and winding path from showroom for Kimura's motorbikes.

Staircase across to the showroom, stairs running down to the right lead to Kimura's garage.

Stairs and "exhaust-pipe" tunnel leading to Kimura's garage. 

Kimura's garage (without roofing)

Public view of Kimura's garage

Winding path leading to wall leading to roof, creating the spaces of the showroom/garden between them.

Aims for Shinya Kimura's garage

Unlike the close relationship between food and customer that is considered with Jiro Ono's kitchen, the link between Shinya Kimura and his motorbikes is a much more personal one, and therefore his garage requires a different consideration for his spatial and artistic needs.

As he conveys in his self-titled documentary, directed by Henrik Hansen, his work is a very private and introspective process, saying, 

Considering this, I will design the entrance to his garage in a manner to insure his privacy while he works. 

Whilst there must be a clear separation of thought in the design process of Jiro's kitchen and Kimura's garage, there is one key element to both spaces that I believe is crucial to their respective artistic creations, familiarity.

I will model my design for Kimura's garage from aspects of typical garages, as well as, from his own workshop at Chabbot Engineering, seen in the documentary,

Moreover, my concept for the staircase leading into Kimura's garage will be based off his visual experience while he is riding his speeding motorbike, that is, 

I will texture the riser of the staircase with a white-blue colour that enforces this notion of having no boundary between the sky and the ground. As Kimura walks up this staircase/ramp , bringing his bike to the showroom, he has a sense that he is riding the bike.

Staircase into Kimura's garage blurring the line between the ground and the sky.

36 Customs Textures

Aims for Jiro's kitchen and serving area

As the process of making fine sushi is a very personal one for Jiro Ono, I want to design his kitchen to make him feel comfortable working in. In addition, his space must also be quiet and respecting towards Jiro. I plan on doing this by drawing inspiration from traditional Japanese architecture as well as the layout of his famous but humble restaurant, Sukiyabashi Jiro. 

The humble entrance to Sukiyabashi Jiro in a Japanese subway, the subtle use of colour and change of light quality above the doorway immediately separates one from the outside, public walkway.

Jiro and his eldest son, Yoshikazu behind the long, serving counter.

Jiro and Yoshikazu preparing sushi. Notice the different colours and materials used in the restaurant's design; polished wood for the eating space and a clean, off-white surface for the preparation area. The elevated extension of the preparation area is also above the eating space, allowing time for the sushi to be admired before it is eaten.

Jiro's pursuit of perfection and attention to detail blurs the line between food and art, between function and simple admiration. Whilst Jiro's sushi are minimalistic works of art, they have a final and intrinsic purpose to be eaten. Therefore, much like his restaurant, the kitchen area and and the eating space must be physically close. 

However this creates a problem, if the eating space were in the ground floor showroom so too must Jiro's kitchen, and visitors would wander in without the respect and quietness that Jiro would like.

Thus, I will design both Jiro's kitchen and restaurant-like showroom at the end of a long, solitude architectural promenade that elevates one from the ground and gives a sense of respect.