Photos: Toshiyuki Yano.
This is the second post today looking at the radical houses of Makoto Tanijiri of Suppose Design Office. In some ways this house is the opposite of the other. Where the House in Miyoshi appears to be a black box from the exterior with no windows, this house is all window, although they are translucent rather than transparent. Where Miyoshi is heavy Tousuien is light, and so on.
So what would explain so many of the tactical moves in Miyoshi being overturned in Tousuien? The context appears to be the obvious answer, but I made it fairly clear that the response to context in Miyoshi was to turn its back on the site virtually ignoring it.
With the translucent envelope of Tousuien, there is arguably a similar sentiment, but the communication between street and interior is also acute if rather mysterious. There is no direct looking out or looking in, but there must be a sense of performing for an audience if your every bleary shadow can be seen from outside. Again, the house asks something from its occupants for the privilege of living there. Read more
Makoto Tanijiri is a young Japanese architect whose practice, Suppose Design Office, is shooting inexorably upwards. Today we look at two of his recent houses by way of an introduction to his work. Both manage to be radical and both are capable of shocking their audience.
From outside, The House in Miyoshi looks like the scrag-end of a cinema, or perhaps the rear of a theatre that has been extended here and there. It appears to have no windows and it is painted a mid battleship grey. This apparently haphazard character reveals nothing of what goes on inside and one might argue has little relationship to its context.
But then what is its context? It sits by a railway line on the edge of some sprawl next to the most pedestrian and tedious of suburban houses. It might not give much to the site, but it takes nothing away!
It is an introspective house. Something like a quiet man that disturbs nobody, but who gets on with his work. To extend the analogy, we later learn the man is a maths genius… and now we begin to understand the house in Miyoshi. Read more
Photos: Koji Fuji Nacasa & Partners inc.
Building on the tight urban site is the key to achieving dense cites. But the need to get light and views in to a building is often a defining criteria. In the Daylight House from 2011 by Takeshoi Hosaka Architects they have come about the problem slightly differently.
Their approach has been to sacrifice views, but in compensation flood the house with beautiful diffuse top light. The result is an unusual house, introspective and enclosed, yet so bright and responsive to the natural light as to create a very real sense of connection with outdoors. Read more
Photos: Kai Nakamura.
The exciting exploration of the contemporary Japanese house continues with Outotunoie by mA-style architects. It is conceived as two mini towers that are connected by a bridge that forms a lounge area. The elevated room that is created provides the occupants with a vantage point to appreciate the splendid views, but without total disconnection from the street that say a penthouse might imply. Read more
Photos: Jeremy San.
The idea of reflection as the conceptual generator for a house has a layered meaning, according to the designers Studio Sklim. Beginning with introspection, the shadowy ground floor study and library is an architectural manifestation of this idea that is carried throughout the design. Literal meaning in this idea is explored with the reflection of exterior light and views, as well as internal reflections that help to sculpt the space with light and shadow.
There is a certain mood that comes with this house which is explored in the rich dark finishes both internally and externally. Perhaps this can be read as a post modern critique of light and air as the precursors to health and well being, where quiet contemplation in a darkened room can be just as commodious to health as a sunshine bath! Read more