WATERSIDE ARCHIVE

Until now, the spatial imagination has been defined by the dualism of objective and subjective. Through his critique of the double illusion, Lefebvre appealed to the need to remove the powerful constraints of the logic of dualiism, and proposed trinomialization as a critical othering. The specific methods are as follows.

1 A completely different way of thinking about space, which has been obscured by the exclusive fixation of illusory materialistic and idealistic interpretations.

2 To define the scope of the infinitely expandable spatial imagination in a comprehensive and radically open style (as an aleph).

FIRST SPACE

Practice of space (perceived space): The spatial prac- tice that poses and presupposes social space slowly and surely produces space as it dominates and takes possession of it. It is mediated by human activity, be- havior, and experience (repetitive routines).

SECOND SPACE

Representation of space (space to be thought). Iden- tifies lived experience and perceived objects with thought objects. It is constituted through the means (knowledge, symbols, rules) of decoding spatial prac- tices (actions) connected to order and design.

THIRD SPACE

A space that differs from, but encompasses, the other two spaces. The third space is different from the other two spaces, but encompasses them. It embodies a com- plex symbolic system (the darkness of social life, under- ground aspects, art, etc.).

HISTORY

In the past, Ikebukuro was located in the valley of the Tsurumaki River, which is rich in spring water, and peo- ple used to access this abundant water source to make a living by growing vegetables. However, as time went on and development progressed, the valley was filled with soil, the Tsurumaki River was culverted, and the water was no longer visible from Ikebukuro, and its fertile past was forgotten by the people. By unlocking the under- ground water in the basement of Marui, which is locat- ed on the border between the plains and the valley, and making it behave above ground, we can create an every- day relationship between water and people, and make it a place where the memory of Ikebukuro is passed on.

D’Agostino House

This is a house with two entrances and a shortcut, situated between an iconic townhouse and a parking lot. Related solely to its neighbor and to Venturi’s large, unrealized D’Agostino House, we opened for a linear tripartite sequence – front garden, living space, and utilities – in which one moves from automotive urbanity to the innermost sanctuary of the human dwelling.
The garden hides behind a façade that nods to its neighbor and whose mere existence is a Venturian feature. You park the car and advance diagonally to the subtle front entrance.
The living space is a large cubic space. Its direction changes abruptly and dramatically breaks up the linearity of the scheme. One glides upward via a broad stair, into the light that flows down from the large windows above.
From here, one moves either up to a second floor bed room or down to the kitchen, from which you may also jpg B escape via a backdoor.

VERTICAL FARM

LIVELIHOOD UPROOTED, COMMONS EMACIATED

My mother has a vegetable garden as a hobby while she works. Amagasaki’s grandfather also makes a living from farming. There is a fundamental joy of life, as if one is rooted in the land through plants. However, in a capitalist society, there is more than that. When the logic of capital is brought into the business of hobbies to an excessive degree, our live- lihood becomes labor, and we are “uprooted “1. The healthy ecology, that is, The linkage between the “public,” “private,” and the “commons” which was supported by the layers of nature, has been bloated and destroyed by the influx of com- modified goods and service substitutes2 (Fig. 1). Production has been black-boxed by industry, and the commons and our convivial joy rooted in it have been emaciated.

DISCONNECTION BETWEEN HOBBY-LIKE PRODUCTION AND CONSUMPTION IN IKEBUKURO

We can also see this effect in the behavior of the city we observed in Ikebukuro. For example, we can see that one of the buildings has gardening plants growing out of the building, and on the other side, there is a Halal restaurant (Fig. 2), but even if vegetables are growing in the garden, they are not eaten in the restaurant next door. In Ikebukuro, you can see many gardens, but even if there are vegetables nearby, you cannot eat them. In Ikebukuro, there is a com- plete disconnect between consumption and the production of individual skills, even though they are often adjacent to each other. Architecture must become the infrastructure that connects the desire for the pleasure of growing plants with consumption, making plants com mon and creating a small cycle.

STRATEGY FOR CITY FARMING COMMONS

How can this be achieved in cities? For the commons to be powerful in a city where everything is large, it needs a broader coalition than it has in rural areas. In terms of skill level, the number of core members may not be that differ- ent from the practice in rural areas, but the amount of par- ticipants and observers3 should be much larger. Therefore, there is a serious problem with the quantity of vegetables. In addition to root vegetables that can only be grown in soil, those that can be grown hydroponically can be grown using the vertical farming method, making it possible to grow enough vegetables for about 120,000 meals4.

OPEN TECHNOLOGY AND SMALL CIRCULATION

Agriculture is becoming a very high-tech industry today5. Vertical farming is one of the best examples. Temperature, water composition, and genetics are completely regulated by artificial intelligence. The harvesting and maintenance is largely mechanized, and humans watch it on iPads. In this project, it is necessary to diagnose and anatomize vertical farming, rather than operating it as such a manipulative and closed technology, and to recombine it into a more open technology for conviviality6. It is not just a matter of making high-tech low-tech; it is a matter of reconfigur- ing technology so that it can be maintained and managed without the politics and power of control and manipula- tion that separate us from the plants. The agricultural pipes used in plastic greenhouses should be used as a framework, and the components should be as simple as possible. The growing environment should not be controlled discretely by microcomputers on a unit-by-unit basis, but rather by conventional air conditioning technology and circulation throughout the building. The technology is a key in the whole system, in which the water from the spring becomes the circulating water for the water-cooled heat pump chiller, which gradually returns to the same temperature as the environment within the building, and then returns to the environment through transpiration by the plants.

DEPARTMENT STORE REVOLVES, FAÇADE REVOLVES

When a department store is weighted according to the com- mercial value of its homogeneous structure, the spectacular intersections and avenues become the front, and the rest the back. Instead, the next generation of department stores will look to the abundant resources around them – in this case, gardening skills, water, sun, and wind – and bring the place of production back to your neighborhood. In this way, the sunny south of the building will be penetrated by the di- mension of plants, creating a new façade where production and circulation can be seen.

Shibuya Backflow

Societies have understood and approached the commons from many different point of views that have shaped our cities for centuries. The ʻʻjuristʼʼ point of view can be simply described as looking at the urban realm in two main areas, the private and the public, which work together and perceive the commons as by-products of their relationship. This approach degrades the importance and value of the commons (resources). On the other hand, an entropy perceives the commons (resources) as the foundation of society, followed by the public and then by the private. Therefore, in our proposal we are unlocking this resource and use it as the basic element that will influence both the public and the private, and not the other way around, as in the juristʼs point of view. Due to the limited use, the river is underutilized which gives a private distinctiveness. In the case of Shibuya River, there are important questions to ask one selves. What is the reason of the current bad shape of the river? And in what way should the natural resource be limited to ensure a long-term viability for the city? The plan is to revitalize and unlock Shibuya River.

Upstream

The evolution of the different communis of an ecology typically starts with the available resources, the ʻRes communisʼ. In Inokashira Park, these resources can be considered as the basic foundations of the park. The trees and their shade, the water and its reflection, the birds and their singing – all make up this most primal layer of what can be considered the ʻInokashira Park ecologyʼ. The area of Inokashira Park was formerly restricted to be used solely by the Imperial family. This practice, or ʻPraxis communisʼ, was thus very limited and can even be considered to have been completely restrictive. Only until after the area had been donated to the people and was opened as a park in 1917 were the resources unlocked to the public. But, merely opening a park does not truly make it accessible to the public. Certain facilities, or ʻLex communisʼ, were constructed to allow for the visitors of the park to actually enjoy and experience the Res communis Inokashira Park had to offer. These newly built paths, benched, fences and more, had changed the Praxis communis of the landscape into something that could be practiced by all people visiting. Over time, however, more and more Lex communis was added to the park. Bridges, a variety of benches, many toilets, different paths, restaurants and even a paid zoo and swan-shaped pedalos became a part of the Inokashira Park ecology. Most of these additions did not deal with presenting the resources of the park to its users, however – they simply allowed for the accommodation of many more visitors. Those that did, however, required a fee to access these resources. This is how we encountered Inokashira Park – a theme park for the masses. Having observed the different layers of the three communis of Inokashira Park, simultaneously, we got to understand the way these communis interacted and how much they were dependent on each other. We learned how the practiced Praxis communis was lacking order because of the built Lex communis and, in turn, how the built Lex communis interfered with making the available Res communis accessible to the people. This meant that the Lex communis could be considered the crux within Inokashira Park. Their placements, practicalities and appearances lack consideration regarding its surroundings and usage. By understanding the issues at hand and by analysing its causes, we were able to pinpoint which interventions would have to be made to improve the functionality of the multi-layered ecology of Inokashira Park. Firstly, the built structure of the park is to be clarified and simplified by means of subtraction and adjustment. Certain paths will be removed or redirected; its surface materials changed and their facilities adjusted, so that a smoother flow of the different Praxis communis that are practiced within the park can be realised. As such, these different Praxis communis will be less likely to interfere with each other, without limiting their potential expressions. Secondly, by subtracting certain parts of the park structure, opportunities open up for the placements of new kind of Lex communis. These ʻpocketsʼ will be realised to provide for a better way of experiencing the resources of the park, so that the Praxis communis can truly grasp the Res communis of Inokashira Park.