修士

　本研究は、近年のカプセルホテルに多く見られる、畳や障子、伝統文様といった視覚的に分かりやすい要素による「表層的な日本表現」の問題点を整理し、日本建築、とりわけ数寄屋建築に内在する空間的特徴を抽出したうえで、それを現代のカプセルホテルに応用する設計手法を明らかにすることを目的とする。装飾的な意匠の引用に依存するのではなく、余白や間、ずれ、身体と空間の関係といった本質的な日本らしさに着目し、宿泊体験の質を再構成することを試みた。文献調査および東京に立地するカプセルホテルのフィールドワークを通じて、立地特性や利用者層、カプセル形式、ラウンジ機能の関係性を分析し、それらの結果を踏まえて上野駅周辺を敷地とした設計提案を行った。カプセル内部および集合体としての構成に数寄屋建築の空間概念を導入することで、最小単位の宿泊空間においても、利用者が滞在を通して日本文化の本質に触れられる空間を目指している。本提案は、カプセルホテルを通じて日本文化を体験として提示・発信する「次世代カプセルホテル」の可能性を示すものである。

This study aims to address the issue of "superficial Japanese expression"—characterized by visually obvious elements such as tatami mats, shoji screens, and traditional patterns—frequently observed in recent capsule hotels. By extracting the spatial characteristics inherent in Japanese architecture, particularly Sukiya architecture, this research seeks to establish a design methodology for applying these concepts to contemporary capsule hotels. Rather than relying on the mere quotation of decorative motifs, this study attempts to reconstruct the quality of the accommodation experience by focusing on essential Japanese spatial qualities, such as yohaku (empty space), ma (spatial/temporal intervals), zure (intentional shifting or misalignment), and the relationship between the human body and space. Through a literature review and fieldwork conducted at capsule hotels in Tokyo, the relationships among location characteristics, user demographics, capsule formats, and lounge functions were analyzed. Based on these findings, a design proposal was developed for a site located in the vicinity of Ueno Station. By integrating the spatial concepts of Sukiya architecture into both the interior of the individual capsules and their collective configuration, the design aims to create an environment where users can engage with the essence of Japanese culture throughout their stay, even within a minimal accommodation unit. Ultimately, this proposal demonstrates the potential of a "next-generation capsule hotel" that presents and transmits Japanese culture as a lived experience.