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 敷地はソメイヨシノの発祥地として知られる、東京都駒込の染井という地域で、近隣は住居が密集した地域となっている。建主は開放的な空間の魅力に傾倒しながらも、日常の空間は隣地から閉じる事を望んでいた。開放的に閉じたいという矛盾する感覚を、どう実現できるかが課題であった。 

南側の隣地と北側の共同住宅の敷地が、共に大きなオープンスペースを抱えており、密集地にできた視線の路地とでも言えそうな抜けの一部に、この建物を組み込む事が出来ないかと考えた。建物の半分を開放的な抜けの一部として、もう片方の半分に閉じた空間を積み重ねる。対称性を意識して南側の立面を家型とした。家型という形状は、間口の中心を棟として2枚の屋根が架かる。2つの屋根の下に質の違う空間を並置し、それらをひとつの住まいとして捉えることができるのではないか。  

これら双方の空間は、一方が日常で一方が非日常ということではなく、常に補完的な関係にある。日々の生活の中で、この対比を横断し、補完し合う関係に位置付けることで、住まい手の詩的反応を引き起こせないかと試みた。 

The site is known as the birthplace of Somei-Yoshino cherry tree, and is located in a dense residential neighborhood in Somei Komagome, Tokyo. While yearning for the open spaces, the owner wanted a house providing privacy from neighbors. Combining such contradictory directions would be a big challenge.

The house is flanked by houses and buildings on both sides but, fortunately, two open spaces in front of and behind the property allow the creation of a vista in this crowded place, and which made us think that whether it was possible to incorporate this house into such built-up area? Half of the house is shown from the open space and the other half is stacked by closed spaces. Considering the symmetry, the southern elevation was designed in the shape of a iegata, with two roofs hanging over a center ridge. Wasn’t it possible to juxtapose the spaces with different qualities under the two roofs and to combine them as one house.

Instead of calling one space as daily and the other as non-daily, these two spaces are always complementing each other. By intersecting comparison and inducing a complimentary relationship we attempted to leave poetic nuggets throughout the house to shine on the owner’s daily life. 

furniture:

half moon furniture workshop

textile:yuki tsutsumi

construction: aikawa-threef

photo by jumpei suzuki, yasuhiro nakayama 

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