[pics]

■ about this site

[pics] - synchronous sensuous platform

　It has tried to newly rearrange an architecture group of all ages and countries by not making it into a thing only like a construction information map, although it is one purpose that this site builds the database about the architectural work in the world, but catching a phenomenon with the viewpoint of the observer who actually visited the spot. Then, we emphasis on some materials using architecture,and each observor use 9 keyeords,

ensemble, blur, weaver, skinny, voluptuous, protean, vanish, keen, dense

about the architectural scene, and intend to get deepness the database that impression, atomosphere, memory which they felt at the location. The photograph by which trimming was carried out means for which portion each observor tries to recognize the place this time. That is, "pics" It is "pictures". It is also "pick up."

　If you hope to know how to use this site, please click ＜here＞

Observor is constituted focusing on the human being of this generation who began to study the architecture which lives all over Japanese every place, and all over the world. 13 persons' observor has participated mainly by Japan as of January, 2004, and there are several persons who have already opted for participation overseas living.
In this project, it is also one of the purposes that participants have a network in every place through work, and it is looking for the participant periodically. Nationality and affiliation will not be asked if it is those who can be continuously in charge of work with responsibility. If you got interested, please inform us by mail from mentioned [contact].

Tomohiko OKABE, Isshin SASAKI, Kazuma YAMAO suggested and this project began from the time of carrying in a plan to a Media Design Research Institute. At the "For this site", three persons have stated each idea. We are glad, if you read together.

■ how to use

1. Please click 9 keywords on the top page to go to the main.

2. Then, Some pictures related with each keyword appear on the window.
（If click Japanese keywords, you go to the Japanese page.）

3. When you put mouse corsor over the photo, name of works and arhitect appear. Clicking the photo, then you can go to the information page of each work.

4. In the information sheet, when you put corsor over the number which is side of [material No.] at right side of window, you can confirm each material. And when you put cousor each material photo,it's overview is visible.

5. You can search about each material or architect by using the navigation on the top of main window.

＜back＞

" Look the will over the cut off subject "　　　Kazuma YAMAO

Many other trials in which it was going to arrange the information piled up over the past and present came out so, and it began from the trial in which the situation of a certain "now" primarily involving architecture also in this plan will be grasped. Although only the direction of making database of the works from the far past was decided, we who began to set foot in this world at last now should just face existence of all the "histories" involving architecture how, it is not easy to merely discern it before the overwhelming amount of information. Space, form, a phenomenon, structure, and a cut end probably exists variously, but when they have the history altogether piled up to them, although it is a commonplace way of speaking, one cannot but believe the thing which he has seen after all in order not to simply be collected there.
If it says without fearing misapprehension, it is assumed that architecture is an act which gives a form to a phenomenon by adding operation to a material after all, we united aim only with the material and phenomenon, and thought that it would arrange, once putting a thing like the historical formality of the architecture around which attaches without acceptance or declining, if one was those who studied architecture, when observing it, into a parenthesis. The whole nature which falls inevitably is left as it is by cutting off an object, the architect's deep concept, or the hand for realizing it, or history and form in which architecture is clothed, anyhow I throw away information other than flesh and blood experience as much as possible, and look at the "object" which exists at hand to a trial. The material which I use, of course is inevitably accompanied by operation by man from the beginning. It could be said that a substance is the concept which carried out intension of the operation from the start, furthermore, it is not what was fixed, so that the phenomenon could also be primarily told in one language, if said. It can do also saying that raw experience does not exist in essence. The phenomenon is not dependent only on a substance and depends on experience of the formation of the object and the observer itself, environment and time, and all elements. Although a material and a phenomenon are connected and hard to divide, and they are not what guarantees each other, even it, but therefore, if our eyes are turned only to direct and individual experience, doesn't "operation" of lurking there emerge? It is not the talk of mere construction, and it is not the intention which is told by someone and which will seemingly be reasonable, the operation as a concept of lurking in a material and a phenomenon -which can say that it is just doing architecture- may be able to be made to emerge.
The force of summarizing different human being's experience in the same language is after consent, let's share experience of this generation's human beings, and our own past here now first. Of course, this work of ours is going to creation.Grasping "now" and throw toward creation in the "future". In the keyword sorted out this time, language about "operation" was made to dare exclude. Probably, "operation" can be put in another way as "will". Does each which has participated here create by having of what "will" after this ? Since it is our future subject.

Tomohiko OKABE

Isshin SASAKI

Kazuma YAMAO

" An experience induces an image "　　　Isshin SASAKI

In fact we have many opportunities to use mimetic words when we talk about our experience of Architecture. Mimetic word is a language which copy a state, a appearance, a motion, a change of things as a sensitive vocabularies symbolically, and also some of which express a phenomenal meaning indirectly. For example, this kind of vocabularies means Japanese words "kachi-kachi", "gichi-gichi", and "yura-yura" which is derived from the origin of mimetic word "yura-yura", and many sensitive vocabularies are unconsciously in our subconscious in everyday life.
In Japan, there are many mimetic words that can express sensuously a state of things compared with US and Europe. For example in France it is said that they don't have their own common language that can explain a detailed feeling between "kira-kira" and "gira-gira". It can say that we are expressing sensuous features embedded in the state and the situation with many sensitive vocabularies in everyday life. In case you talk about a state of things, you would usually use Japanese sentence "nuru-nuru-like wall", "fuwa-fuwa-like floor" which means "slippery wall" and "soft floor", and then, for example, if you are ordered to say the above same sentence without "nuru-nuru" and "fuwa-fuwa", how should it be changed? Their answer might be "slippery" or "soft", but it cannot be applied sufficiently. It's really difficult for Japanese to say in other words, because these words subsist in a special image that only Japanese can create sensuously. That is, this kind of language has the image which can be sharable by only Japanese sensitivity, and these vocabularies will not explain about the state in which an only narrator exist, but explain to the feature in the state where the narrator exist, that is, it could be defined as the vocabulary that express about the situation with a narrator and a surrounding state. I am interested in this kind of "The image hidden in these nine vocabularies", and we are focusing on the question; How are our possession of many sensuous mimetic words influenced our actual experience? and then how they are concerned to our experience for Architecture.
In this project, we have selected out Japanese mimicry-like vocabularies which would newly copy out a state of things sensuously; ensemble, blur, waver, skinny, protean, voluptuous, vanish, keen, dense, and we are researching the new relational concept between a material and a phenomenon mainly through Architecture. In this web site, it shows the work which build "platform of a sensitivity" on the Web through the nine mimetic vocabularies that can share the feature embedded in the state as much as possible. Our project has the intention of making a database mainly for architecture experience by each participant. As updating this site, "the platform of sensitivity" would be extended and it would emerge as "Window of Architecture Experience", which will pile up with each experience of participants. It's happy that you visit this site with your consciousness of your language, and your experience of Architecture.

Tomohiko OKABE

Isshin SASAKI

Kazuma YAMAO

" Prologue "　　　Tomohiko OKABE

The impression received in construction from the textures of a substance besides the impression received from the form and composition of a substance is also an important element. The magnificent slack space colored with a fine ornament and fine sculpture was making the Catholic church acquire symbolism in the time of the baroque. Today, the textures belonging to some materials have given symbolism like it to the whole building and the portion. Now, commercial construction uses the effect most, probably.
A thing like Catholic-Manipulation which was going to call back again the heart of people who are separated from faith once with the Reformation and social desolation exists here. And , in etc., it seems to function as a guidance system of a certain kind which emits the brand color outside them. In a faculty time, an opportunity to exchange arguments about form composition is considered more than the argument about form quality. Although there is much operation of giving language to a form and composition, operation of giving language to a thing called the phenomenon and feeling which a material causes is seldom seen. The concern about a material increases at a stretch as an object changes from the thing of imagination like a subject to actual work.It was thought that it became the stock of the future to consider how he understands the impression received from a material for us who are in the shift process now.And giving language to not only a photograph but its impression thought that it was important when sharing the impression with the others.The situation at that time, an observer's background, and, social common recognition, etc. are deeply involved in work which feels a material.For example, the kindergarten along which I passed is included in this work. The paint of green is applied to the form which carried out the small cube on the surface of concrete.By the side of the front garden which was carrying out sand play once, I was placed just like big blocks. For people without intensity, although it may be a minimal and pop work, a warm atmosphere which watches a kindergartner can be felt for me who spent the infancy time here.
I think that such a gap of a way to receive is what may happen only also between the person who actually visited, and the person who looked at the photograph. It is interesting for me to get to know differences in the impression received from every person's background, such as experience when visiting and a difference in nationality. And I think that it is also important.
Then, I wanted various persons to participate this time, it considered, and production of data was performed by 13 persons. Although there is also a first-time flurry and an opportunity to carry out members exchange was not fully able to have, I want to have such an opportunity, when performing creation of additional data, and selection of language from now on. Moreover, if an interested person participates in this project, I think that a new network could be built.

Tomohiko OKABE

Isshin SASAKI

Kazuma YAMAO