The Blob_Constructing Direct Emotional Images
Davide Masserini & Violeta Garcia_Tsinghua University, Spring 2016 – Joint studio
Tokyo is not a beginner on hosting worldwide events such as the Olympic Games.
This area that congregates other sports facilities is where the new Olympic National Stadium is going to be built.
This site is very well connected with main stations such as Shinjuku to the northwest hand side and Shibuja to the southwest as two main activity points of the city. Tokyo has a very high intensity in these places, where people go from and to. Another main link in this city are the vast green areas or parks. As a traditional reminiscence of Shinto, nature is to be worshiped in Japanese culture and it lives hand to hand with the beast that Tokyo has become in the past few years. This kind of relationship is cherished by the population and deserves some attention. For the same reason, we have analysed the main park areas that surround our site and have tried to understand the difference of people’s movement in them. Tokyo has a vertical over ground level-horizontal underground movement, whereas these areas suggest more of a quiet and improvised type of promenade.
The expansion of the project symbolises a new type of fabric throughout the city. The Olympic park, which generates a temporary and future area in the city will colonise the surroundings through its first floor. It will happen in the perimeter firstly where some of the existing surroundings will be connected to the park network. For example, in the southern part of the site. At the moment, there are several abandoned and old housing buildings. These constructions will be renovated and turned into a dynamic part of the park, having a direct connection to it. The pathway will reach and establish itself through them, having the chance to develop a different typology, not necessarily residential.
On the southwestern part of the site a less dense neighbourhood takes place. The park will reach this area as well in a complete different way given its complete different character. Through this work liked and empty areas of Tokyo will reconnect to a newly generated fabric. The pathway acts the net that will knit it all, mixing various typologies and rythms of the city and contributing into a very diverse and renewable fabric. The venue towers built in the project will also be reproduced in its variations around the city. There are many pieces of soil non-built in Tokyo between high rise buildings, which is where the expansion of this park takes place. The development and change of the project is dictated by the city, but it will only create a new type of city. In some areas of Tokyo the street doesn’t only take place on the ground level. This project offers that concept, combined with several uses and spaces that lead on to a great public space, the Park. In a city like Tokyo where urbanism hasn’t set its limits a network of diversity and change can experiment with the beats of the metropolis.
Who influences you graphically?
Every project I deal with is a new discovery, a new research. There are recurrent references that I take in consideration of course but at the same time I try to widen my field of research, focusing on new projects/architects, movies/directors, paintings/painters, sculptures/sculptors. I’m not a fully formed architect and I’m still in a process of development, studying and understanding. I grasp everything I can from all the experiences and people along my path, most lately I had the chance to live in China where I assimilated new techniques, different ways of thinking, different ways of interacting.
What dictated the graphic approach to this proposal?
In the last part of my architecture studies, I’ve started moving away from a photorealistic representation of a project, focusing more on its representation by means of collages, montages, images. Personally, a photorealistic render creates a sort of detachment between the viewer and the message that the architect wants to conceive, whereas an image has the ability to transfer emotions more directly.
You neglect to show japan’s/Tokyo imagery, why so?
Tokyo will host the Olympic games for the second time in its history in 2020, following the ones in 1964. The city won’t build a complete new set of venues, indeed some of the precedent ones will be requalified and reused to host the sport activities: the Olympic games in Tokyo will be a transversal event, involving the whole metropolis and not only a few specific locations. Therefore the intention of the project was to conceive an horizontal intervention, able to interact with the urban tissue of the city both during and after the games, without being limited to a small area only. This interaction with the city that aims at colonising new neighbourhoods, and at improving old ones is what has dictated the choice of not showing a specific area of Tokyo, since the whole city of Tokyo will eventually be the site of the project.
What is the effect and purpose of the monochromatic palette? What led to the choice of red?
I decided to use black and white in order to be more direct to the mind of the observer, adding details in red and tonalities of red to highlight some elements that required more attention.
You construct through fragments, to what extent does the pre existing context of the fragment influence and have an impact on the new image?
The elements that recur in these images are extrapolated from their context and inserted into a new environment; they serve as a tool to create an atmosphere and to transmit feelings but at the same time their iconicity can’t be ignored – e.g. the sculpture of Hercules or the symbolic silhouette of Magritte.
What dictated the choice of drawings you decided to use?
I personally believe axonometries are the perfect tool for representing a project, they can be really detailed but at the same time they leave more freedom. Together with the collages they allow a more comprehensive understanding of the project.