最後の

クリティークがついに開始。さすがメルクリということで豪華ゲスト陣の時間割から。
27日午前　　Hans KOLLHOFF
27日午後　　Adam CARUSO / Peter St. JOHN
28日　　　　Peter St. JOHN / Tony FRETTON
両日　　　　Markus PETER

ロンドン色強しで、ロンドン旅行以来ロンドンアーキテクトの虜のぼくはかなり興奮。そしておかげでプレゼンは異例の英語である。
戸惑うスイス人学生たち、そしてそれでも戸惑うことなくドイツ語しか話さないメルクリ。異様な緊張感と疲労感が流れる。
以下英語でもつたないマイプレゼをそのまま。

First, I talk about the position of my main facade, because it shows my idea about urban planning.

For me, the important elements in this area, in this urban planning,
are Palazzo by Palladio, and this long and narrow piazza, and this small piazza.
To communicate with Palazzo or Palladio, I made this left part first.
This part is the same width, so it makes symmetry in my whole facade, included the palazzo.
By this symmetry, I try to make one width not 2 or 3, and integrate my new building and palazzo.
This symmetrical strength take the strong urban shape of this piazza, I think.
And in the middle, I made deepest part of my facade.
This part is the response to this small piazza, so to face it, this part shifts to Palazzo.
This gradual setback shows the difference of the responses to urban shapes, long piazza or round one.
And, to connect this two part and palazzo’s facade, I make this two wall.
Especially this diagonal wall emphasizes the direction to this small piazza, and also make the smooth urban edge like this.
And Finally I break symmetry a little, and describe the 3 different depth as the 3 different height.

The position of my facade works like this in this urban planning.

Next, I talk about the element of my facade, first about the verticality, because it shows my idea about the spaces, especially the section.

The left part is important for me to integrate of with my facade and palazzo’s facade as has been mentioned.
And I think if I make similarity with palazzo in this part, I can describe the relation of my whole facade like ’’1,1’, 2’’, not ‘’1 ,2, 3’’…
So, I try to learn a lot from Palladio to make this facade and I got the big interest how can I translate the verticality of this facade.

First, I introduce this 3 strong vertical elements like Palazzo.
And second, I also try to represent this inconstant rhythm of the small horizontal elements in my facade.
The interesting thing of this rhythm is the relation with the section, I think.
It is very honest, the rhythm mostly accord the floors inside like this.
So, I try to keep this honesty in the main side, and make floors and show them in my facade.
And similarly I introduce this generic section in the back, and I get such sections.
The flats is this one, this one and this one, every is mesonet.
And in the relation with facade, every large and high room, piano nobile is shift like this.
In this way, I translate this specific facade to my spaces.

The verticality of my facade works like this in my section or spaces.

Finally, I talk about the horizontality and other elements of my facade, windows and diagonal wall, because it shows my idea about the planning.

To connect this 2 specific vertical facades, the middle part has the strong horizontal element like this.
It is my simple idea to connect 2 detached facade,
but this strong and brutal horizontality also shows this facade is one of the part of this 2 great walls,
and my front court behaves to catch the city like this.
This facade has very abstract windows besides the left part, and it emphasizes both the brutality of this part and elemental of the left part.
And I decided the staircase by this diagonal wall, and going to upper level, diagonal wall go deeper and deeper,
so I get the different propotion staircase room like this.
(By this staircase, the flats are divided like this and this… )
In order to emphasize my section, I make very simple and open plan.
Near the main facade, there is a large and high main room and other 2 big rooms.
And, the court side there is around the roggia besides such a great wall of main facade, and kithen and bed rooms facing them.
Here is very free, and roggia sometimes become bigger and divide the rooms like this.
The image of the interior is like this.
Instead of the wall, the differences of the levels, ceiling, or beam like this devide the spaces.
In the left part, bay windows become the focus and make charactaristic in the rooms or adjust the distance against the city.
In other hands, the horizontal windows in the right parts have the enough distance against the city, so they give nice views in the rooms.

The horizontality of my facade works like this in my planning.

That's why, my facade is this. That's all, thank you.

最も印象に残ったのはPeter St. JOHNが出した''generous(おおらかさ)''。
どの案にもなかったもの、どの案とも全く異なるものであるとして戸惑いながらそうコメントされる。
壁ではなくセクションから空間をつくっていくことから始まり、
メルクリにもその日本らしさを大切にせよと後押しされて目指したことがなんとか伝わったことにからくも安心。
が、それに引き換えていろいろなことを吸収できなかったんじゃないかという思いがしみじみとこみ上げてしまう。
パラッツォというものの「大きさ」とぼくの日本人として持っている「小ささ」の衝突をどう表現したらいいものか、
今になっていろいろと整理されてアイデアが出てくるものである。
それを「重み」や「厚み」に還元することができれば、メルクリのいう壁のような廊下とかが現れてうまく解けたのかもしれない。
そこにこそ小さなスケールをも甘受する真のおおらかさが生まれたんじゃないか。

どうかもっかいやれるんであればパラッツォのもつ重さをいったん引き受けてやってみたいものである。
とにかくこんなにも考えて、そして終わってもなお考えさせられ続ける課題に巡り会えたことに今は幸せです。
このチャンスをくれた全ての人にダンケシェーン。

自分でも苦しみが見える。でもこんな楽しい課題もなかったす。