Tokyo vertical cemetery
As a large splinter stuck firmly in the soil of Tokyo, cemetery rises above the city, making all participants in his presence, but in particular the presence of death in our lives. His height challenge the buildings ephemeral soul of the nearby skyscrapers district, and it puts viewers in front of a comparison: those who are the skyscrapers of the living, and those of the dead. Like a house with no plans, no windows, no roof: an unfinished house, abandoned, a house of the dead.
As a large splinter stuck firmly in the soil of Tokyo, this vertical cemetery rises above the city, making all participants in his presence, but in particular the presence of death in our lives. His height challenge the buildings ephemeral soul of the nearby skyscrapers district, and it puts viewers in front of a comparison: those who are the skyscrapers of the living, and those of the dead. Tokyo, city with light soul, dominated by pop culture, the neon signs, the electric lights, is now coming to terms with a building that claims for itself a heavy soul, who commits a major sin for the city: work without electricity, no lights, except that of the sun.
The relationship with the ground, claiming the importance of the attack on the soil, which not only expresses a manipulation of space in a physical sense, but a relationship between lightness and gravity. Stuck in the ground, connects the soul of the deceased on the ground that generated them, which enabled them to lead their lives. Moving in height, get further away from the ground, marking what is proper of death: detachment.
Suspended, the great mass expression of memory, accommodates in its walls columbarium, and it is under this sprung mass that places the first place of reflection,after this you can enter. As a giant skeleton, this architecture dominates the city, its walls are decaying, eroded by time and this is expressed by the regular subtraction of matter, both external and internal. The interior is the vacuum domain, the supreme symbol of the absence. Starting from the second place of reflection, located at the end of the spiral ramp that allows you to go from zero to the cemetery itself, begins the big ramp attached to the perimeter walls, allowing, climbing, moving next to the rooms of their dead.
In the second place of reflection, a tree, a symbol of life, alludes to not see death as something negative but as a rebirth. Sunlight, the only source of illumination that cuts measurably the great void, obtained solely from the sky. The side walls in fact have no openings to the city, they do not let in light. The cemetery is denied to its surroundings, and only opens to the sky. Like a house with no plans, no windows, no roof: an unfinished house, abandoned, a house of the dead.
