PROJECTed Realli.ties :1:0 ~lJ:.? !t-:.

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photograph: Hiroyuki Hirai

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The 31 works represented here range from the Kim House of 1987 to projects that were in progress in spring of .2000. No particular criterion was used in selecting buildings the works. Diverse projects are juxtaposed, from

that were completed

years ago to unsuccessful

entries in

competitions and projects that were unfortunately halted before realization, from extremely small houses to enormous office complexes. They involved different design processes. They include projects of K. Associates /

Architects that were carefully considered in detail as well as collaborative projects undertaken with graduate school students that were deliberately conceived only in diagrammatic form. I believe that differences of background and contest will disappear when these projects of diverse origin are examined solely through the medium of drawings and models. What will be made manifest is the "distance" that lies between architecture and reality. I believe that confirming that "distance" is a necessary first step before the next stage can begirl. Waro Kishi


ThesmaJl house is lOcated ·inone of Osaka's doMllown areas, where ~ hcuse was removed. In !Fe site thuscreai;ed,.a


houses \Wh pre-war

lirlelhe streets, interspersed with factories and waretruses. Fo- the ttikflflQ, part da to« dOJbIe-cIeck steel 00!lSb:I.cIQl (with a !rootage ri one

bay of 2.58 m and a depth of wee bays 015.4 m Iwas erected wilh IIIsmall COUIIyard atus center. The I100rsof both the courtyard and the dining room are w.oered with v.hite tiles, so that both areas form a sirgle space ~ are fully opened. To achieve the highest possible degree at factory production, prefabrication) a special method (simaar to distirdion between

arid: outdoors, \\ten the ~


was devised, reducing on-sile wor1< to a minil:oom. First. four wide-flange steel

frames "Wefeerected at equal intervals akJng the length of !tie plot rectangle. Then, the IIoor of the upper story and the ooncrete foJndation were completed. With tIrIis., 1he frarnewas finished. All that was required afterwards was 10attach rroIded oemenI panels and aIurtun 'tWIdcws and ooos to thejrarne, uslng curtain-wall techniques. The pro;ect was carried out iXldefextreme!y difficutt coodltkm, as txih the pId and !tN3. budget v.ere limited. However, this did not negatively affect the building's desiQll; instead. it taught me that such difficulties can actually stimulate the imagination.

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4 83

This house is located in north Kyoto, in a residential area thai was mainly developed after World War 2. Extending <::Nerhe whole S.6m-froot of the sne, the Widing t

1BBm in depth and,

5.95m in

height Inserted in the house's concrete box Is a 2 X3 span steeJ..frame construction,

with outdoor elements such as a cenlral crull, a terrace, 8I1Ida pilOO.The whole plan, one might say, is minimized: a concrete and sleel framework with the Iea~ possible number 01 vertical planes, (glass screens and walls as partitions) and on~ absolutely neoassa!y hOOzontal planes (roof and floor). As a resu~ of this deliberate frugality, the interior space. encapsulated in glass,

gives the impressioo of floating in a Iranspareot exteric;( space, ln I!Jis wak. I intended to build
into a box with clearly defined dimensions (by the size of the plot) a landscape

as deep as

possible. At the same time. !he building provided a first opportunity for me to Ihink about such
typical elements of tradOOnaJ urban housing architecture in Japan as lI::01-niwa and fsubo.niwa (two types of small garden).


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J"'J~Ijiij1J'Sjt )30)btO. M1cL~'5~4::. '.jfH[_j'L . :jtftll. mtW::JY?U-I--O)~..i.:bIQCP~cO))1. the green stope of the Iront garden. cl this gromd tto. approach to the institute is on !he south side and gives access to Ihe building's second Ikxr.:::rli.'Gn \Q.b'QJ.::ll<itLI!l<tlJ[jQ~EI~ 'LiW>.rn~t. This building is located in the center 01 a new busness Kansai Science City.:J'LI<tft!il'wmJ.::.MJl.J (-?tJ:):i:JI.~b'ffilO)tl. ~A. i. . the terrace on Ihe upper-fkxJr level. I chose this concept as I imagined wou}d be particularly meani'lgful to tecfv1icaJ IhaI contact with nature and the seasons Buddhist speciaJisIs whose 'MJfk on centufies«j statues continuously makes them aware 01 !he gap in tiTle separn..@ -W.Q.T--'flJ. )I::Y~A . The outdoo" features-the approaclJ.:1j1J G'LmL fuft'{Uftjc:mw9Q~@I. the terraced OOi'ICretestructure of the outdboIr exlJibitiorl space.c::xDiff--(Y .J:.:3(.LOJliimIffl. 86 . Them is a 3m difference in gl"CU1dIevell between IIftrn! considered how these natura} features might be basi used and integrated into my design concept. and the central oourtyard in the !1O!1h. ~:tI. sooth axis.G'LSb.J-b.tlt.J:~r. a secondary (seMce anddelivety) entrance is provided on Ihe gn:x_nd'tto.:::~lilllli Ab~.Q)7?tl---7. f4~'~l..ZC!J. LrdJI:J' iWO)Lt"'}lAY':'l:tc~1:"d:m.J)Jti]ILif~:JY?IJ- NOOU:JIIl ~0)!lO)_. The site is an aIDJst perfectly flat rectangle with a Ioog north _ the rn1h and sou1h ends oIlhesite.tJl5tJ~c "(i51J .:::g~cL filiI.L~J:R..Zcj$!)'90)b'cl.:cJnt.:31. o.ting them from the CBJVefS who created !he statues.:.:::.fl fll~ C.which can also be considered on !he north side..J:jiijjl:1. in which the mar.:::(ll lm8co)l. IDJt.brd({~~~ffi:Jn\.:::7:1O--T. which is paIkin being established in the hills of the Kyoto-OsiHra-Nara area Research conducted inlhis building centers on the development of restoratial and recrnsInx:tion techniques for Buddhist statues and excavated cullurallreasues.Ar{-A.".::.::JlilltQ~lJ.1l: l:r~fP5":J "'~c&'iQb\ it!!1. I anived at the soIutklnlhal can be seen today./-? IYAOA:If. li C::-:Jtr. 1d:-e~_t1R).HHfl'!!Ji6 ~ L "tbIAWd:O)-eI<l:tin. )1J'c~~r':Lc~d1OtG.:::t!~:g1~~ I--c:ii5 ~OOD0)1eLIV.ldtEl~jj1jI.are seIf"suflicienl yet at the sane time related to one another.:1'ft£ m~.:liJf~tC~O)Ar{!~t.~QLCeLO)H ~." The ground Ik:x::c. On the Whole. depending on the ooservers point 01 view-is organized by means cl only ooncrete walls ruming east to west and rath to south.~r~bl"ttlffitiL1.'3.-. I placed mutually illdependent research offices no !he expanse and sequence 01a varied OUIdocf space. as well as !he natural' difference in ground level The buildiflg was completed by adding a steel-frame construction on top.:::MW71. the baseJnent. Eventually..~~~~dJO:)lli.t-t?JijO)AD~I:t:gcl. 15J1i!i1..

t2 0 88 89 .-."~ I ~ -i--~--.

:1D'Y?~z:'itWfl:ZfrCtd:l. The remaining slreetside part (8.'\WimAl)l~vr~::. ~ILit ret ~1.::~fie:.:~....Flat TSUZUKII Hat ~0'JiiIIrDII!IJQ).::1O'Y?08..J" (I):±f9:Id:LJiJ~I'iY~i5D.j( t-'J'y? /~ The flat is located on the third.. ?I!J-I-. one of' Ttlkyds central wards.1J5~Fi~ILrd:::lT3hmm§:<!tln\go HHe::::J::. supported by low walls made of concrele blocks. <!SI.t7-1At~.l?®mffi~'tIFclliJ:5~e:_ 3 1-~~1IieW 2-~fIlOlliO<~ 3.~~T:/~V.~ . which faces Shinjuku-dori. ~)J(I.:J. At the end of the floor .J?Ij-1i.!. RllD6_Bmx~fj17. FuMer installations include large canvas sliding doors. The fWrneasures 6.I.L'dJge:.b L''tI1. 2 Jlr-ll~olI t5 L.EtlfiAvrc. ~mll.. In tills space. ::1lt---7:.\Q~l!tJ:9:. a street with very heavy traffic..~l.Q~~.J'?'_J. :::l/?I)-I-I.'::?lJ ttH:J~1./.:[d:..8m deep and 3. 'h is these Canvas dooesmat !eaturemost protTiinenHy in the large studio4y:Oe space.1hlsfeaturB' has a certain feedback effect on permanent elements such..J::1!. as they make it possible to dIVide !ht3. room if and as required. which in lum become room installatioos.:J. 10. despite the H·sectioo steel beams and !he walls'concrete blocks that structure Ihe room..5mOJ7DIY~ ~~t~.4m high) forms a plaster wMe rectangufar space. 91 .'~r':H1.'W)el.Qo <.8m wide. In tact..SBt~.E~ii!iLrc. set along the steel frame 'in three places.J::t'1'/J(A_Do):.:lj'cl<l:1i!:<.J 'Y? ' ::1'-'-IL~~cH_. as the concrete-blOck walls and the steel frame. Interestingly enough. i5JW) -70'.close to the elevator and the staircase - constructed a lavatory. V})b''tIvt1tJ:I.&n I in width and 175m in depth.L'<1...\l. floor of a nine-storied office building in Kojimadli. 6_8mXlO_8m.. I created a new second-floor level (grating) with a guatriparnle metaJlic-grey frame of H-seotion steel beams. ~SJ.1U'Fit.IL" IIY'--$'-' ~mILI~'.L.4rnOJ1!'o<1.:RiL7C~~~fjl~t<!tl.' ':N11i:fi-@:::J:. bathroom andkncren.

~IJ 1<1: 1-7'?'...ltO)&iIi':.C. 2 Tfl~D-g.!IifJJb'S~. I must admit an degree than I had hoped for.ri!£LA':lIb ittJl(})J. t1J:!7) I reckoned.~ft:ttO)t.QLcld. 1..l.Y"Ci1i... ~ft:lJffuO)~l.ts rsvival. .J. paying strolls after nightfall.1-1) '!I?/a>Ilf1IlfTlI!!r l-- -C o<1J'S®:>~. the Yund<. These four basic ideas guided me IhrDlJghout designing Since the bridge was realized.ct.::::x.@.)tS~7J:itW1t. an element directly touched the bridge. Kumamoto Prefecture. I the bridge with a terrace which would allow people.r.fTIM)tc. ~was to make crossing the river a delightful To realize Ihis objective.QJ. also wanted Ihe bridge to be used for pleasurable on human.f-!.1 particular attention bared my design precise to the archttecturally of the handrail.~1JbIS. t L 1:"D})flfd.:~ 51':.u"t"ilK 1< GJiIllij L.1. ::t~ft. from the very beginning I included illuminatiCn effects in my planning.€:~QAQ)Y)f...abashi bridge was constructed did.QL cl}mt~*Li7Jc1J 3. seen lITough Shoji (paper as I sliding doors)... 51.. decided to provide I used a number of technical means in designing the bridge..T~Y:.M5Q.A..AJI!lO)77-}ltL'~-tL. This has made me realize - obvious truth: that thinking about bridges also means thinking about pscpte and cities. (}c::llcPJ<imiJTilflJn K L. -tu.:cl. 3t1§lIL:9~~tl~ L~J.~:A~.::::)1K~x.. ~IL. \5. greater have expressed their. to descend to the water surface to relish theimrnediate the balustrade.QLc. t--J}<!1<I:J}S.Rrst..Sfl.oif)ILLQ)lliI!il~I<l:L ::)tlm..~ILrtI!fl.FCff.: t-l:>CXi:ML.Q=¥i!o)T-(T-)!J m€:~:.:I~~\!'I€:~cL. In keeping to replace a lMJOden red taiko-type pedestrians bridge IhaI had spamed the river of onIy.l.J. ~J5':ItJlIJ~ctO<fd. to a far very late..S/looking TfvtJ:m1J'*~Sntt. ~IQ.: 92 .ta)7':r-)lt~I<t1<l:<. ~I.r'.co. ~. detailing not civil-engineering scale. !he silhouettes crossing the bridge.I €:-gG.A. ~1.iJOJiiUI Yunokabashi Bridge YUro:JUI'a in Ashikita-cho..: .. Third. tL -CtflbltiSiiil. ._. local residents by people's hands.5icJ. pedestrians sensation of water.Q.::cta:Q)r.mvucu . K~x.. tu -cm/}Cu_tlbtc.. 51<rnbtg Qo ltc.O)c<D·M(0.-{y t-t.ihlLtit11i!!f-SL. COOW7J:UM.. Then I employed and retracted would sarritransparent materials fO( of Wrth the sun rays reflected by the. *~1':5I.@tc.enttusiastic approval.:51JT57~~1G..aslfy.~\SIl~'@'~~~&5'@'.*~~I~b:>Ufiu<~r:tSfl H/general view Ioright~ tc.::c.. used to be a pq:xJIar spa thriving with people whJ carne from Amakusa by ship. Designed as a s)'mbol of the sp... balJstrade.!he with illllunqion experience as a bridgafor for its users..!aI~~lt!:u1J/. resemble those.J / :.

t9 itL'I.J!fW.!his buikfng.AUTO LAB L~[.2x4AJCt~®!J.5~ Ml:~Q_ta::iUIT"i!mft:1.:.QJ. MI'J:~l'~.:.JITruIIl t. Examples are and semitransparent glass panes..::l"C.:j~1.:ii>Q~ ~1~b!Jo:J::JY~tC).J~ btQ~1. a.:jj(Ulliv~i'J'S1. d L 00 .gaskets.U-':Lt:CDMfjLO)Y3-}lr- !JH:lvfct-'l::~. 1. I.t€lIJlijW)Y3-Jlr-b. .:~mfj~ Sntci!If'U:*.:9GL. I attempted that is quietly and serenely !here - to COIJI1!erbaIanc the noise and restlessness which are not ~ il today's suIJurbia gr T p::. ±~l. ~1JJC. bkN It!e\liew. tlX':T" C:<!5!J.~(. To the east 01 the btUldilg. 'fV(JI~r. ml.*~~~8:II1.the several which has a certain indE. the as waII.7' ~7 /sketd1 3~"J'?'.::L.~~ib'l.Nl!itl.Vsile pian ~lJ ~o ULJ L.~.ll!II )C.V east elevation 2. ttU::liJlmt.2OOim.t:l'~t:'fO)m.ttfi::lrc7'" ~t: v LEI.trCibilEls- I~ roodl in 0001 01 Kvotdssuburbs. direction .:tJj%st1.:J. lI7:1D-7'.rr9l1~::J7. simple box and in its sum.l.C:a5li.2OOmmO)LI"\II.:CL~<DIlImI.JmiliiI!!.t-IJ'y?/~ 4~ Rl!!.penden:le 12!Dn/m difference in eIevaIioo.)ff5:A.At the 'same tiine. b. COO"ing ftan a deck raised by l2!XXnltn of sceneries inside grtu1d level.:.1 1. to create used a diversity the building's occasionally.:tJ!i. was designed as a C<:Nerad by a.lTern garden apprOOnaIely !he showroom Intending lhrWftlIt!e the same size is located. fixed direclly to the !rame with . mXl8m. ~!J..I/)l.jri. ~D'Si}J!J~. the which c:hanges.:~~tr-:K LI. and the ClJr\'ed root which to produce a building! 'seems to be' suspended '0'IIeI1he sleetl tIame. Custome!s approach CHef gardieo. Standing showrocm in a pIOI atJng a fcf autc. 9m x lam roof supported by a steel tr!ll're! (2 X 4 spans).\t. =l'b'S:tli!r...with a core of sanitaJy installations. the sIlaNrCOOlloons a single lJldivided space .u:r.1 the fransparenI cenlralcore approach a variely of means toobslructand.:77D-7'9Q.unoogs.'t n ' 00 degrees times.

!t.. ~B't:L n~ ~ mLqM:j~(d:rollO~\!i!!J .:l.s::$:mOJ. JIr-.fiJJ~~~<IDQ.f~jH.)!F.l1J.::jiL.jI. ~Lt:. t.J .>:?ft:. X30nfli:9i.:n.t.:J'iO)"fIlIJ.?. ~:. BJ'.'l(1)II:IJCl2..'jO)Jjbtt.!!Iilfj\5 c\'\30)fj . l-Jyif-I-'/_ 2--lll:ft!V'klp fioor 4 3~1IIiiEV~ 4- "77"'7-1-' /tIc:ade 2 .\b\ rB~ O)cC!~'r<JT5 AC:: 1}-f=:.Q<:c~Lc~O)-~~[i:=Osm.shi r8~~J I.. ®?1i:.fJ~'tnI2.. ~l.l...i[9QtiC)1J\C:jb\ -t-tlMb1:i\54L.t.>:1.-t. )1..~H1J:(DCId:1J.51-f :Iiil:J!g!i::lI!1..j( House in Nipponba.l. -t-ru~t:l.::~ =Y? ~<!tn:~iI1tG~~B5.:~c®b.:tlOJL'®~LC.I. JIr-t.cL.l3rntJ)~ct1 <:~t:1.\3~ItJ.l.r=:.::. !!i1)~113~T5A ~1.Q<:c." LtJ"O=tfUJt~.:tlO)li:~uLlm~"L'\l:JLt:rd:tl.J(qJILtlAA(1ZI$<~B~tlJLCIL itL Ltc:>ta&niLtI'1J:t. LfJ\Vmq~ittJ\'iI' 3 ~Li.17'5Ac.t:~ttr.ILJjid. ~~..i)QJt:~s.• ~~.)5 lITM~ ur~... ~ 131lli1)iHJ)O)11Wl\53M~rctOJ~. 'iii. '~'R.tBltfCtft!t.tM1:J1CJI.n\i<:.1. ct..t.h\~tH!f<~ltt. ..J:!.\c~~.5m..'l~bt.

The lhat is cut off !rom the noise of the tkJating living space (the lop 1Ioor) SlTeet and iscIose ID NaILre. and !hat is 10 be bliflcl to what our age has wrought. 2. What I tried to do in designing this h:luse was ID give In olher words.the result. filS the entire froot al the site. 'GI" more Ispecificalty: the rOCllgarden. the structure remaining third 01 the depth is filled !by an apen-ai"!:emlre.)(ocOll'lWic 98 99 . full advantage As a ·of the naI oniy emphasizes depth of the narrow sile. !his tu. InJse is 13 m deep. incIudIJg the geoorrus dining room. Achieving this required naIhi1g mcre !han a few square m oj terrace space and jusl30sqn d buidIng space. That. t-LJ '. IthInk. the building: creates re« rneartJg to the cmcept of a roof garden. I do not kraN whether modem amhitecttJre. where the dining room is Ioc.77'.J? /. One is the verticaflly of IJban life.IChas tW'I)- lhirds of the entire ruldirJg. 01 a privileged in the observer boItJ !he sensation view and a urnique feeling 01 :being afloat.The house was built 00 an extremely smaI plot of land in cbNntown Osaka The facade of tile building.ated. Wrth a 6 m high ceiling. the dir:mg room ~ as lI'l. The Ihree floors vee kept ask:Jw as possible. The buildllg oltter is the crealioo d a has two main themes.5 m in width. and' the Iowef This cons1rudDn is topped by lhetqJrms! flott. is Ihe precious quafily thai was made possible by the rnod!em concept oil space. 6 5--1I?ill&Vsi1el''''' 6..//)1. the vertical di"ectioo but takes. I am CCJIlIIinced 1hal !here is one thing we need to allOid.Jse wiIh its my terrace and: dIning room can be called a work of 1-IoweIIer.

a site wiIhil a ramb~ng thicket of 1- r~r.QJ:51i:.. 'Sc®.QL.)5 101 . ~~.en rt is partially roofed. c. m::lt. lii!m~'bJ~tm..U-'::CLOtJl!3. •.m!ili:l~Lr.clot!! Hoy t-b"l-tr. 1-!J~?/axaoneIric 2'. _.< a.J/.1JIOJIi:IiR1. I ItKJught of the significar. )e:{. wall oriented lin the north-solJlh direction and a wood structure.:O)ffi!jj(ct:ta* :II1J~£ \x'(~I.b~1l*W::1. 100 tllct:c. I thOught that perhaps a "place" might be generated as a 00 resUlt.JIm"J 7Hct:jlO)fr!jlwt'mnO)l:j.Weekend house iin Tateshina This weekend house was plamed for a site on Taleshina plalealllM1~spnWS'} Japan Alps.::e of a p~ctled roof on this ~!". This project is an expression of a will to introduce order trees in Tateshina plateau. begins to be distorted ".fBIlP"C C~. -tnl.".Q.i..Q~c~1JI:J< r~t.:~lotB*rJvnQ) m~1. ~~~<Dt±r~·.. )'SItIt!!fuJW):l:l(.Oc:JO)M~·t"5)6ajr. D e:ilb'b1J. .tQ)_~.~.::\.Qe:~j{_n)1t.::..::uo)'t'®IJ.ii::DDBiI/ sWIHDtl seciOl .QLCcmtJ'!jiJfmJJW::J1)~7-(:1· IJtil "9.:e:cl<l:m'1J\ -:J rc.{"C\.\1t."."""5!31J'cl.m:t. ~ ~~1. *1tLO):m~I Lt1)7tJ~I7 t.'"""'-l~~~~ created by a.'b\ C~.Q.QQ)cl.

>lii'iiIL:. tct!!lcf<l:iEl<:....t~mntcas~.::J:. ~§?&1)::pIL1<l:t.~I1J(7)ll!iH<:Sl. § c! ~H16 I-b~e'1irilJl.::f6:~~C9S1J\ o:'::(. C~..~1J\1Cl:§?l:~~9QD H:'I:i~Xi:K:mn1i>C:cl.&~" mtJ\S~~c.:5c~. ~c *t.<7y. l-Ijift1lIV _tioo 1 2.Qur.:.r Lt.fbL~:.:. 'tU)~t1lllf. r. !19 LDfd:O)fj-t-C/) *rt'!JfS!I~I<:~c®tJ.QJ.C1a:<. ) ~t.::J::JL' ~lWCr<l:~J::tjS~OOJ:..::C:J lb'.:~ctJ:. ~JI!!I<I:~~R1J\~. L"("!d.!6DL~M< t.j ±ftIYI-5YX· ili~)"Wlt:(:!~.btl.<pn(f)S!~. b~f.N Resort Project mllW~f<:~U~~ Na-~M~i1!)~. =twcld:.U/gIl!le!at_ 2 102 . ?M):p1~ni5l1J'l7)J:5~c ~~.tJ\S~f->~1.).~co.::.t.::iDJ1J\:J =n~(.f~ 7Y "tru3d:JIL}5A~~:t~t:Cr.::~f6:tn~ta::Jrdll§(1)JIDli.::.Q§Z!i«~9~L.:~ffC Lt~coo~c:c.:la:ffi~mtJ\S(])lllgu:r<l1ll!(1)i3r&~S(j-6lLC ~Dfiilicf.C:~LC/)M~i5~.:: .:51J. L~a~331c. *<mlI~t1<D *OOf..::J L~cl<tl!j< ~Jcr. l.::.tlml.QLt:1(jiOJad:1J:l..::'ii1iiLt::71v:. ~. fiji.lj!.::Gl.{7I.:J\f. r<:lml.::~5tr'::D 13\r.J::§~r<:llilii<!n.J::1i>J:.§Jg:§iJ~tJ\5~fd:mjt!jl.llliiiiiflll Vseeuoo 2 3.~.t.U-':L. L.Co ID.irdtif.J::l.~:I..rflM:l t:cb"tC'i!!:~.m«~L<'b. Sf.t!rcl<t.>JIO)~t).::!m*f11ti1J.£ttJ:.:5 rL:~Gr.::§~c.j:Rct. I-Hv:"L. ~r<:Jl'JJl. e~\S~<ii1n.

in COfTVTlunion with a riCh natural environment encounter in the city. the personalities of the seasons-architecture cjevekJpmeftt 104 sllTIOVncflllgSsOOuJdbedane a catalyst for this kind 01revitalization. even when moving through the building. a secondary !rom the relatively level Irootal road voIoole ixlunded by roads 00 bee sides. To be far reml'led from unlike anything they might me incoherent city. and east 01 this. A pond is placed before the entrance hall. urn of the main element I have cpened fulJy towards the valley and allowing tt continuily from interior to exterior spaces as well as contact with 1Ii~ from exterior spaces and with ellCOf11paSSing greenery. This thought has guided the of this prOject 105 .facing slope is above a valley and enjo:¥.rards the steep . guests will be outside.'s presence with !he landscape of adopts a central court configuration in the manner 01 a traditional Kyoto k:1. In these two volumes. The site is 00 a IhickIy 'IYOOded SlOpe erarnpassed by a natural park. While the main volume is open voIt. vieIM. and is basically cbsed in attitude. in the courtyard 01 the main voILlTIe.vrItnJse. at tin1el!. To avoid disturlbingllhe' natural surroondings and to hannonize the building. is CQIl'lPOSed01 a maln volume. the placed in rich natural seem of the wind. VISitors arrMng here will become aware of the sound of water within the tranquil surroundings. guests of the facilities can enjoy two contrasting types of exterior space. of Owal!udani Valley and Mount Fuji The building.This projecl lor resort kJdgng tacifllies is bcated i1 hilly terrain in Hakone. The west. Each provided with a terrace. I' have terraced both volumes with the slope so thai they appear submerged in nature. e~nding tov. to the exterior. The path of movement aJ!)O leads mainly Ihrough exterior spaces. and reawakened to the sound of wafer. the secondary in contrast.

O)ffliI. Both sides have glass walls. and the waves of UIban erosion on lIle 0Iher. (..( l~r.::Mii!liL1t..). ~1~1.a. the flow runs parallel to lIlis axis.::1i1. The doolinant sides of the building am the north and south facades.(J)ti\ 1J:§?t.)1Jb. whal was required 01 me was an architectural sdution to the CCI1l)iex situation 01 unspoiled nalure on the one hand. was 10 stress the spatial continuity 01 the site and its surroundings. This means.i~c3~bQ.::~ 1lij1<:::iIDl:L1JJ}S c 3l:v. 'HU<UijO»./A51J"Y':l?1. 0.5'tgj!ggrdl.Q. i11~dll11:.Qm::lw~~vQ.G)M:lilliila:iOct:J1J5AIIije: L. I had to decide how to interpret the relationship between the surrounding area and the urban context. The most appropriate solution.::iDQ~.::.3m high ceiling.tI11'Jw<.L . !n planning this project.@l.:Nlbl)~QO)-eIa:1Jtlb\ c~ SI.tlj. Kyoto f':mfeclure.tll.~ q:JlCliWa:cLiJ'.::m.ll"'~156*cY-/O)i9U:L)3IJ't':"5ctJ!ii6iULe:C:i5 Ucl.J.[.t - A .JCtt?.Q~jt«:JsnLL'1tQ mliPl~~~ !). This sequence of sceneries mirrors the continuous ttansition from the center of the city to its outskirts.IliC®Qo m ~~1:I::>t::.::.Q.:e:~.::t::. The center 01 lila city is still pervaded by a nostalgic atmosphere. In other words. of COlfSe.::IJZfiL ~r.Qt::. Y-:.3mQ. ~t:~WJIlII§~co)J::31.jjO. that particular attention needed to be paid to the planning 01 the extennal space.. ~ .3.~"'~I. 10the interior space 01 the building.with most of the total space taken up by an office on ground level with a 7. Basically.. Li7Jfdt!! L31.II. but occasionally. The site lor the SO office is located in the OU1Skirts 01 Sonobe.!.::_tJtJiil.Q(J)ti'b'liU.t3Lt.'b.:l-i>.fV. ~.:!lJf0)~ ill_c§~cO)fl.:t7.m!.1i:Ln\Q.t7.j.::"Nl~Lo Lrcb~:J"LL(J)70YI? I(Utlff1~c®tl. :r. and to dramatize the relationship between internal and external space of the building.Q'OO)tJ'S~I. interspereed withfarrn houses. a city with a long and rich history. and a clear-cut north . and it takes no more man a 15minute walk to be arrD1g fields and paddies. btdjbltl. B*~1J.tnt~t:LI3. L~~~!)!miU~b' cl.::Jt.where tha city environment merges into !his typically Japanese rural landscape. .::'ljZfi1.1JlJ~b?>3e:Vei!lIJI.::i!!~(}JpgJ5ll~~c:Jf.uc. The building has three stories .Jt~r.gQL~~. t39.::::>< under ground level.::~I. By extending the sequence of sceneries to the vefY interior 01 the site.'3~1.~~fc®!).z::fltll3fi. L.I(J)rJ:t IJ .C~OOI3. running parallel to the streets in front of them. 1tl.::"'3c.ltJ'SJ6J 1-Jl'1j-i"/facade 7- M/aerial view This office bu~ding is situated in Sonobe.COiB!I~:J< ® ritlb'fltat-(":.lffij1 "LLa. it intersects it The overall approach leads from an entirely open space featuring nature to a semk10sed space. the building is fumly positioned in the context of UIban and natural environment 106 .(~Jj~5-j~oIbLL).!ff. t:.r::JD::h? H<t~ll5IiJl.CL~· L"L.south axis established between them..02!HJ0) t3LrdilJ(4)§l:b\515~tJ. !J. L~~ r.). and from thera.SBilI.wifb'lffi~"ct.:taJtJO)tjwc®.IIB6 SO Offi ce Sonobe SO Office t::. and two above . ::>~~»~ ~U$.e:.:3.ffi~~m.

5 &-MV~ _l!ilI/silIl.~ &- _~s8GIi<mI M/seciioo detais 4 106 109 .

t"/facade 9- ~wan section 9 .8 7- '1=>1!@G/looking to courtyard 8-77'''7.

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city as if it were a landscape.4 meters length is reserved for widlh of the s~e. the upper level presents the. The hoose is erebsed ~toIy-tligh cooaeta box whose 4. city ra1l1er!han allowing. one to lee! a part of ~. lIIhiJe the second and third floors Jllovide residential Quarters..House n Nak(9)O SIands illhe middle ria typCaI Kyoto disbict with mixed-use comnerciaJ and RarI'tM' residential buildngs 10 1he!nltlL The site is oriented I"lOOh-south and fronts streets 00 !he riantiQues and Ihe first fk. the northernmost courtyard.I)l..or provides a place to south and west sides. 4 4- i!!llllllV_ e4evaID> S-<P~~~ID~ 6-701'.ide facade takes up almost IIle entire 3.2-meter-v.5 melers of !he box's 13... II is designed lor a cIeaJej- receive visitors.qJeO at the top on the west skIe-is a closed and ·quiet spare at ground level while being open and oonnooted 10 the terrace at the upper-most level. While only five meters separate the loNer and upper pOOians of the coor!yard. The first-level guest area is accessed from !he southwest Ilia a traditional doma or earthetl fto:Jr area The residential portiorJ is accessed separately Ilia the second-IeveI beQ-ooms and third-lew! dining 6)f!erior stairs at the ccutyard thaI lead to 100m. t-IJ ~7/axa-amtric 7-IIImiVSeGtioo 114 7 115 . 1hirl level spaces and thei" sequence taINard !he courtyard-. The third level is steel-frame oonsIrudian.1.. creallng a dis1arlce from Ihe.

(<!i:ti5f.<~-t-3cL~ L.\::>~L:c1t~Jacf<tt!g..:: lJJ\ t:16!::> \6111'5 c~.l:T=~~L1CWS.15.)3J1ift~MUI3mwa:L.iJO)WflSl<:Jl:.Q.0).1'. L.!ID'!-~~ I_. tt.I:~L..).:M1ttOJ.~I.:S. 1.:.130)tJ~±iWbt. -to)Mc::)(m.i'/Iacade 3-1!ffiilVsac:tm 116 117 .. FmcL. -C¢~1t2:fut-=*~<!lft t:-t-fl.lOJ""('fWt.QO)cld:t. o)b~ftl1Jilm~!J1R~L. !J!lfj4..n \tcL:cl.:j:lSUc~cti.~1d:75-{ ~'J:.I..:mig.:l. Jlr----L~c.<.:51J ft!lO) 2 rCt.QL:C: LtJ'L~JlWfJIFcJ~<: mEO'JtI:.QM~c~1!:. House in Shimogamo jl:1.:~. ImD32rnX2A)tJ.Q. 5fl.<t~""timtcDI<:~I~u§:.'1J\. U1J:r~1z/7JUg. Z'L.Qc ¢1U::1.=!:Io)b~. 0)J..Ut~~:Y5.CI..CI. I:Jtc-bl1.. 1-111iiEV S!lCIm 2-7)''7..t.(J cL:a.7'-)1. -t-nl<!:.:m1tt:L.-toJU~1J.cmx3. LctlGl.c .~::l.QtJ) ~1tilR1t11~cl.i!I~fttJ'5D~t.xt!'f)I.l«lNbt-fl:t.l:c~~l>. cL.1a. ~O)jl:.:31.tjt. lifr~c~l.. Z'mta~tco ~C: -t-nfl1OXlB~(.. 1X2AJ\J:ft-.j].t J~Y~. ~~c.t.~· ~l'C0)IIjjI5t:vZ'LIJ'IJYI)j'. ~'t:1J::>n lliftfi:~1c!:lI1! J!<!1tn \t.@:I:l!~cL.. 7. ~.QlWjit!!I<:~<D.t~.Q~ iJ.::::l!.Q~t: fB::>Z'ilictiJ.J.*rr~O).lg~al_.lf[.:)J. F<!H'~f<:~!.ij1J11 ·cL. l!i~fI:. ~ftr<:~1z_.-.

I therefore coocemrated on incorporating reN ideas i'llo the pIalYIing and structure.>'. t was lufty aware that contemporlllY I:Iban hooses seem real only to the extent 1hat !hey are unique soIuti!:J1s. !he 00use Is two bays 0132 m ill wdll and northern pari 'Of Kyoto.This ~cried hoose Is Vc:aIed n an urban area at lhe Ioot·at IIle Kitayarna m:lUn!ails in !he ooti'e'site. I treated ~ as merely a Ihe basic elements [rem which the vmoIe is assembled. I focused on 1he relatiOnship beIweoo the exteri. Instead. In designing the house. Coven1g amoot!he three bays '01 4. several decades architecture.71.1-')')1::/ /~ " 5 118 iI F= EO F IA r119 . and gate doors.ln 5-1~lFpIan 6.Jr . privacy was not my main concem. At the core at !he steel-lrame structure. The 0fIie result is a Iflling space. but a proIDIype of !he lIban h:luse of the kind that has been Modernism. .M!) bays in plan. in order ta create the effect 01 a single functional unit. having passed since the heroic age of modem the implicati'Ons of the machine age for the time has come to reconsider 4 r---i I o r-- _j_ J 0 00 4-~/2FpI. Ihe inner court-and the rooms facing ft. root just a specific a dream 01 2Oth-cenIury solful. to a number of fixed precorn:liIioIR Nevertheless.sIeel window !fames. If seems to me that. Imtead. which had been the most impoftant aspects of rmdem architecture. Designing this hcIUse.1.0 m in deplh. inlerrelated. I made an attempt to cleveI-cp./ .J. with indMduaJ rooms 1hat are independent yet. The rest of the house consists 'Of a $lee! frilll1!l with exterior we Is made 0I1ormed cement plates. architeclu"e. Nor was I coocerned too much with 1he struc1:!m.spacelarge Ihree-dimensional that is. I created an inner oourt measuring ooe bay by 1J.

U/general view -1'!fI!t.7 7-71'<.Q/Ioomg 120 121 fmm cxuI .1- t'/Ia::ade 8.I'SJ!.

.tj~A (<tl. 5J::Sffi! 5~9.:l:iilJl!:Mt.tL~:)(.Qo)b'.go 1m!m51ilDfflO)a.:5~LrCD ~.: tt3~9. r.J11~IJtl'G::. ~~0)9~Atl¢J.C:.?n\Q.:Ia.. flIl!tiI:.:5~.cbIL"1!tcO)'C[.. li:N<:Ul!:1U SfJ'..lcta:¢J. ~c ::J~?IJ-~flmL~c~*~§~~btt. lJ.~~~~¢9~=~~·A~-ACn~~ iBl). §ffl~'SWtJ ~b'I.? mJ~Cla:~n~D (])OO~~~j-"'J':i!mL .:ffi~(®iMl:Q2R!i .trCD clo \5~btL. ~mml<ti!.l.ljj(!)t:ttj".~r.t~t:l'1dJi'l'ol.t. O-c:J(<I:::It~j1)qli!(.::1J::. 111im.l:BllI:t.::l!~~btJtt. cL\ SQ)fJtae9'M-(!) J3vt::>oo±mra.@~~®ac~bl . ~1m1. 122 123 . 3M.:?6lLl<t~~1Ia:±c ::J-~t:~ L.!!mt:Lt.!~I.)~lOJb\ L~ \ :Ji.I.Qm~(a.:1~~b\S.~1Jfi]~ (I' Murasakino Wakuden r~fitJ 1<t6Orrf1.~ (1.1. ~B .:U~r-5~A' 0)cl:lA!(t:0Jdilllj1.1<J..l n~. IgI~~c5 ~. L.:[:tQ)Mt.).)" -1~-1.:tj'gC\-lSm f!i~I. zi. IfLl.2reS.:. C 'C~W"J~~:J< L.DB:.::&:L~2Ill§C(.< n 1:@$ll:1!:.p::p~1. (t. 1c.\Q.:c~.r.ccMW®~~.I.ttt5Q)rG~l::6l5'lflWJMc1<J.t:!tOOl1):pi!l. ':J :Vt':(1~~tt.!.m:fi:t.t>1lll.-cWm. t1J(. mm1. m.::ii'ii9¢cFo1!mt..jllll!i!rmc~c:G.fU. ~.::l ~~'::OOJL • .~.:J::?rc[<tta:<... c L ~I ):11J'tt:@ e ur. ""(<1')1).IiJI.'Hr5c LiZ.M::J~? 1J-I'O)jY..:I.:~I3jjL :It. 9. ~50c~.::JJ\<!:t.g ~1'::IOJr-.tmVJ\ ~·::tnlQ.t.trcb'5c®Q.!Jl1:. -15. tfim\Qtt!b·. §W§F(1)imIi-f->J:Q)~"~1d1J<.ee. c6\\.c!.PJ!:Ir9L.\lmII<::j!?3Imtr.:Lrc.:*i!«~ ~~XQL.

and the kitChen and service area are on the third . It is in fl1i3Ij{ed contrast 10 the second 'Iklor space which is open to the west louvefS are used to directlhe eye. The second floor is lhemain dining hall. It provides a means olI booOWing the verdant. The second floor spac:eis open in character and faces a garden court to the nath and the Daitokuji ~x to the west In Ihe fin)t fIba". f-bN is a Japanese sense or style to be expressed in a reinfomed concrete structure? To put it anotherway. Where !he take-oot lunch boxes are sold.I1 was created on the rlOfih side. This COOIt is key to the spatial transitim in thisWOlk It was a major theme of !he design. These were the means emplOyed 10 suggest a Japanese style and to acknowledge the presence of the Daitd<uji temple complex.sprawIing Daltokup' oompIex on the other side of the street. fX nne correctly. it was ir"rporIant to maintain a contiru-tty of greene!Y.4 . but the second floor space is fuU of fight. This gives more importanoe to the wan andserves to emphasize the exposed aoncrete wall and the hoIi:zontaJchestnut panels. A second theme was tile quesIionoi Wafu.n only the IIoating edge of the roof.floor. In this design. It is a Ihree-storey Slructure.3-1Ll!i/eI!oIaIUJ 4- ~caJl!ll\1V secron 1ttOu(fl DaiIOIi!J-j Tert¥lie 5-1filV- This building Ilo!Jses a restaurant serving. Instead of adopting the usual gabled roof. but to the greenery ·o!the .lish and is aquBt spaceWilh. I have Shov. With a road interveningbetweeo the site and !he how is the powerful presence of the Daitokujj complex to be acknc:M1edged? The garden court to the north was my solution to these CXlmPIex. The6rst floor is the reception and sales area.a closed character. asrop serving lunch boxes. light Iihers in only through the no1h court. not to the ground or the sky. quesliOns. The roof is another way in which a Japanese style has been EM:Jked. The first floor has an earthen fi!. 12. It is bolrlded on the sooth side by KiIaoji Avenoo. a major thoroughfare that is very noisy. a small garden serving as the entrance' COI. scenery of Daitokuji temple complex and creat~ngl continuity between the COOIpIex and the site. and luriherc wesl is the Daitokuji temple ccmplex. Japanese ClJ9le. On the west side is a 6 m wide road. The site has an area Ci less than 00 sqm.

l.6./.:5!lliVs~e plan 7.I-IJ'!J?/~ 7 126 .'lIliiH!VsectiOn 6 8-?P':.l.

r¥il'18wa:~ttC9.tJ~61~$'j...u.YJ)rtij.i(. @G).@~ L~=lm~fJ\5J.. Continuity between the exterior space .:75.:m~r..\j~it~l±l9:O r..S ~Y?~/X~~~?/~ 3.l: 13~m.gFell1J\S~:A.@L <'::J<::i'J:. not directly.:o What special qualities .r~9~ l.1.grJlWJ:§1.1I<l:JLJ=j(C[)J.(.@.l.CL. This led me teconsider the relationship between the' house and the valley. asked myself as I began this project.:.::1. 1I1l1lJctL'<ml.@ Lt:tA t!!:~~tl'"9 L<'::r. A floating rool garderl in a flaI:uraisetting WB. $'j.!:~. The roof is of steel frame construction. It is on the west edge of the development and faces a very deep valIsy.LQ){±~t~m1..7 I) ~tr~~c9:OL<'::~lIC::~:OEl?&I<::~<m~c. typical ol the vast suburban developments being constructed n the hills of north Osaka.1<::J1.~J:t$JrL::'*I c!SJc::-'fG) .c." c.@Nc. ~<'::i'J:Q. )Ir..:~I.~f:J\5rmtr~aI.~~Ii:milii9. 2~IC::lct t_"y7 .of a site can serve as a starting point or a SOl&"G8 d ilspiralicrl for design? Thai is the quesuon . I tried to make it appear as thin and as light as possible and to give it a Hooting fcrm. '!*~XQLCb'D1)~~ L tlL.:117:1.Gt.tJ~.5t:ur.ofthls house. IIr-b.r~B9~~J. l!fIl.lur. A spatial connection Is thus achieved between the exterior and interior.3'M . In the end.!:~u . rising . it is nearly 100 m in height ff measured from the bottom of the valley.:. The valley retains its . such as balconies and terraces.01the valley and the interior space of the living room is a very important aspect .original tepography and a nanxa! environment l:-lliIiV_1b> er.r~uJ.{ =:. 9trtr5:~:1l<!1. The first floor accommodates the private areas and the service facilities. l~<'::Id.I. On the outer edge is a road.:t:~X cL \r.>.FoJ~Jc:~ii![J=jJbJJ.:J1. ukffilfiX. §<1J@b\5fd:13<'::fuc100ni!I\. The house has a courthouse plan. t--J ~ 'J 7(})']:' 5Ji:~.Jb~5100mJ1i:t.:.-t~~~!3!&. the firs! floor is an intimate and enciosed space while the second floor is an open space. The site is a lot in a terraced subdivision.\5g.~rLlb. but through the mediation of priII'aIeoutdoor spaces. Although this is just a two storey house. 3 129 .('f"I$g. ±il!ffif1.:tJ-N"11.:ti!ii!t:ot:l. )Q~d.l3L(I)!i!jl!lOYtjO~W: characteristic of north Osaka.I:<.:~~~IC::wL. The house can be likened to a Ship alxluIte embark on a voyage down the valley.1 ~c!~tJ -::J_O)"':..b. As a result of this organization. They are glass boxes surrounded by a terrace and balcony.\8KOOlu"Cl.t1}-:>n':01i:9~t.Jl·J$'I-mlm"<. I opened up the wesI side of the house and exposed the form. "I.I:Oa 3Gt.{"'-r-tr~~Jl7:dDQ~nt->75AJC::~9QJ!W).:fu1L1.3tl!Vgeneral_ an ideathat interested me in this wak. (7)!lI'I~~ht.r·~:OLC.only a few meter above the ground.@LC.{QC~gme'COJll. The living room and dining room are en the second floor. c!SI~WI~-mJ1il9 "(I.. A part of the roof ever the living room is translucent. The 'interior spaces of the house relate to the valley..

FOr a brief moment people can forget the stresses of being in a medical school.Q. ~S~C=t:JtcJ:QLt:1J'itfl. 131 .. It commemorates anniversary of the institution and was donated by the alumni associaliort the 50th Although it is an alumni hall.\.tL. meetings.c.50)-Ci<t1a:<. u ~IL~1.:.!:~I.:t~c 7-".\.:!J.J:~~~'5J:5rn!ij. IJU£I~.1J'590l!1ffiILlEltJ~t).Q~t:1a:::>n~ DYt-'t15AmGOJ:.c. n This building is for the medical faculty of Yamaguchi University..J:::> L"d3IJ.. The path then turns 90 degrees to the right.ln:tk~~~Ut:u-c.WI!:b\t.jJ1GIOI O)g~(I)--{lIIc1J-:JL"~ul. ~~~1>:. The western third of the building is an ootooor terrace that leads to the firstfloor entrance hall and a ramp..t ':/) tiu\' )~2t1Hf1ltJ"iSib1tL!-\<':c: UL":::j:. The new building was an attempt to reinforce rather than to erase that reality or those memories.!!icMEf:'*~"\1 YJ t7J'31.tL~€~Ur.t'::J:l czr.:~1:. faculty and employees of the trivefsity can also come here to relax. the place already possessed a significant reality and was associated with many fond is a place rot just for alumnlreunions but also for the discussion 01 cutting-tldge themes in the field of medicine.::tiGli:. I!i~ ute t}-:JT:<:Q)Jfl'J. ~~J7I.::lIJ*fl£lftc1J:.uLa>O. StudenlS. GO)::JIJ :. ~9". go)~Q.*rt~~~I. The main approach to the hall is over a pond in the Japanese garden..:: ~~l'y)a u ~U.JI. Thus.:~ 'V ' D"t1O)~1}3rj:~~T5At:t. -t-OJ**1~ij .!:lilft9Qt.:?~\.td:~ _ja::%r. iIiI~.::J1J:1Jf::>L!-)Q.}CZ~clj:Mt.Q.-p OO):pILf1ju\' ~€::J< 0 t!l9UO)Ci5 IJt.:rj"cld:tcJ:<.. ~~~Ctlt. The old memories have nol been erased but woven into a new landscape.@t:0)S!1I1~£fHiIIL~ @clPJ3l.1O)iB.::t:COO' ¥1Jrctfi1I1i9Qt:t:I. with the exception of the top-floor conference room.lJtJstlt.<!nrcB~*"\1YJo.:~ 5n. c~.L~I. Most 01 the spaces.:::'FI~tI1tUO)ci5t).'J:31a:~lIOJi:Pr.Qon::1d:1J.t'O)~€tJI. L!-\Q.o)O).:.::~cmbl---ft>t:1a:::> L":::j:.<€mfflj!tQ~'PliIf~.fVa:t. (})qlli:~c ~.1/J\ c~.::jf:j~V~:ua.::1. ~ri:I~IL~~fl£lI'«ffi!ii~nr':tla.Q·. 9C1. Jiu<~imi!tQ~~H·0)~tI€~9L·t:1J:<. \Qt:c~O)fi!fCu~n ul. c-:J<::tlB~OJJmb'6D~~cL -c.ZD-::1'""-C.J:t).~. L~j:ffi~£EGt:B*~ ta:tr577tJ-79.h::> ()I.Yr:a>.1. b~c IIl!jr.Cf81. research seminarsand lectures.tl1a:::>n\. It houses facilities for conferences. The layering of old memofies and a new structure creates a sense of place and uttimately a sense ~ history within the campus..t ):QO)tc. face 130 the garden or the abundant greenery in the campus.t-5clj:~LJ5.::~ILC -:J <::1<l:=rl'Y' 0 L. The design is intended to integrate the archrtecture and the garden and to produce a new' place in the campus. ml.:\'\. The hall is located in a garden that was donated earlier by supporters of the trivefsity and that has long been frequented by students and the university staff.

:filj~"f/ .J/j/. r-IJ"?/~ 3-ti~p<3I1iaI~ 2 3 132 133 . pbn: sIvoWlg rdal.i:Jn1n!lle ~ 2-Y7'.

U/genem!view 7- B:t<mHIltl'-5Jt<l>/lcd<ing 1Rm"-""..4-~ __ 5.iIl1liilV east eIeva!icol &.. gMlen 5 6 134 135 .

"'N11lXl~~:iliii1. . brd'Hil3~IilHr a L.\":Jr~~ .t.:51':~L B1~~Id.orri[Li5J.tJ. iJ.'5~Q.Q~ {Mii!l!~.l<'JIJ1OJ:t7.:a~ 3JJrr@Rr.:Q~rollla:P"l~b'5~c.Q75?"/t.:.nZi5IJ. L..ft:fflb'5~~I~ t-~~Jj-abttc~. *rc..QLO).:.enr~~b'5nl~f.: 51L. ~"'ij"!j.. ~~lrt5d.t7-rA· ::JY7Uy"J7.. ttl.:M"t6>. ~t!mjtlll.rdj":J""cL.t>A7-Jv" H+JvCL.t. ~:fIJ. r.: fl~rLJ4tJl~$>j.:. c't. ~I~~ a::1t~"t ~~c~.:ct.\l.\."~WJ:~ijj<~®.M Office Complex 580).jC] P"lfi!1J'S$>j.t~1lti. -'..l$J3"1. B~~5T55-l>J.~'1J\5~~~ ~.."t"~<.tlJ..~c~±mt. :::>:JP"llli3~r~c:::>~1}":J L~<o cil5:@J.15~roll~~fJI~I':~9Q~ U tJ'3nfOJ11~t:O~iiicL.-($ll) Y~~I~nt.:QL._t.t ?:"1f:5Lt:C'lD1JI':Afe.-3~I<f.t.:0.(AtIJJlHrJ-rI).. .~ILiI\-)V~..c-€liJIililL I==================================~ I 3L 136 ___ 137 ./59"/ 't--: " u"'JlJO)uyjjcoo!l~J.$~c~r"J !3?£!t)J'ollc~-l>"bQJL'(m<~Q.~" <!S!.II~l_. "12X:J.'tiJ'il! ~~c~. l~o 3-~rrai">building uytit:t..:tfii~ A"Cilf$L.J~Wli!iR:'®Q..t7-rA" t:)IJt. ftL.:~~t.'9"::nr.@L.:::ltMJ'(.'f. '5~rmx-..~~\51J. L "(o)VYJJaJij96>.c*.vZ~Lt.fl:@J.lti7-rA· . 1-~mailtJuilding 2-~sub tJuiIOOgA :::JY?U-t-COOPcIlm<tf±LI:mW:LLj~-(-?l)r~~c..)lr-/~-ILJ.tMlL::JU*-t>At~9Qq)I~ML7:.-<:::><-35.tYo)J::3J.'~:f.rb. ~1a:TnILimLt.\'i¥i~~cM:::JY?I)~h'm.).J:"3~~~~.:.l.cld.JmiL...b. !.t: v"(iI)f).~ t:L...:" u'"")~± .O)ru!irr.AJllJ~F'g2!9~mtcLnbL Ll:. TO)$I'.\5~ltIJ\Ut.: IJDc1itd1X:Lc.:t.'1t*1t'1m~1jJffii~*t. L.:31':.Q)..A. Id.'?A~t.::Hf->rpJU:t.$'I.'II.p~t->T~ i!ID"bB~iE~1d:tE£ll~~UT3 ® . <til_. 1!~1. ZiP5Q. -t:-aJI:fl1':~Lttit ct.~A7 -}~~x..::::J:J7U:J.tTomlOffl.

7 4 4- Hl/site plan buildl1g i:xJildI1g 5.~rmi'l s-IiJDB/SIb 7-~gEnRlview B a-1IJIitiS:A/ SIb buikfl1g A 9-1!ltM.IB/SIb buildI1g B 10-.~rmi'l 00Idi-g 139 .

Jgh !he use of int9lior courts and terraces. This is widenl in the placement: of green areas and interior courts on 1he nor1h side.chance to reffect architecture and naILI_re.ust area is about 31 (i. In Japanese tradiOOnalarchitecture. exterior space is lirKed to !he intemr space Of buildings by means of transitional spaces.r. diliooaJ and rrodem materials is emphasized. In this design. The brick walls can be touchedi and enoow"the architecture!Mlh a human scale. I.Isalso affected by the conditions 01 the sae and also OIl the first floor deePlY comected locuttural traditions and heritage. materials COOSIrucIion and reinforced ooncrete loadproduced prefabricated concrete outer walls are made of industrially such as precast cement panels and steel panels. and the use 01 IouvetrSOll the southside [oeul down glare. Man lis enveloped by nature. The brick walls serve as an orienting device on the first floor. the ~elationship between nature and man exis! in harmony. thcught II1al !he appropriate sojutioo to Ihe prograrm1alic reQUirerronIs and !he site conditions to !urn the entire site int~ a park and to treat the buildil'lg blooM as pavilions. it has sanething 01 the warmth of the handlhat made it It is nota uniform material. JNaS The site r. k . A work of architecture is created from lhe representative malerials olthe age. These became the themes of the design. This design reflects certain aspects of the 20th eermrv.iDl SQlT1. the cultural 1radition 141 .I. whereas brick is a traditional material These materials and technologies coexist in the strucltres of lhis project The presence of trapast. and me buikflllg area is aboot 31100J sqrn. These materials effect a continuity between and milieu of northern 1IaIy. The reinforced walls are 1m-shed in brick-1he traditional materiallha is coomooIy used in northern Italy. Wtlhin the steellrame. and !he transition tram exterior space to intenor space is ad1ielled architectura1tyltm. oppoIiIunity to CCflSiderlhe relatimship This WO'k prOlli®d an between the extensive exteticr space of the site and the 00 interior spaces of buildings. It also gave me a . Since brick is usually handcrafted. All the structures are a rriixtlJ'eoJ steel post-«ld-beam bearing walls. Steel. glass and -cerren! are materials of the twentieth cootuty. The concept of light is also inspired by traditional Japanese residential architooture. The CCI"Tl)Ie)( coosiSts Of 5 bIociks of dfIice I:JuiJdt-Jgs and '3 blool<s 01 COIlTIlClO facilities. present and furure. and the spatial concepts of Japanese architecture. The entire site has a park~ike character.

011AJtY~tJ'5..Qb\ -z-a):j:In:I<tIWlIJ:b~. \5~ .Qcccc'i!'..:L~1J . O:.."g.""[[<tA:.m.. :Jn. 3 YfL:I!Il1l..t. mC~IL:An..151'tm~-tf::>RC~cl~I.'tcL..u -TY' let.. L:<J)(H.QO)clctta:l.:z-n 'Is~IL:~1t:.Z "U?)[_.f-)~i*IL:Ii!!Il112....:..cim n L. \1"&:1JtSlBljijlL:mrtJl..Q!JI:::':I:1· 1'=Y:1· 1 7 IJ.j~ l..':'J)"7*. \.... \bl CL.::f1..I<t~iWIWl-.llj?7D-7~l!l!:J"tl..~J< U't.:tiO)~cl5.Qt:::o5.Q.QLCo) mjijli5jij(T)1F"1d:1-'L..JtY.G n ""[I.. \.Q. ~~$'IO)!. lE.. ""[iN·lJj'gtt... \..:J.. ""["cl<t1J<. ~ ~-00)17..ttb11.<Y"~Z7-)v· ?. .\:'t..)3 ra.t"t'{5]t}nJtmt.:l. tlti~~t!T ::EJl1M v"'JIJI.bi1i1J\51a:fuO)~m....Qcccc~J:b'IJ. cl.N!i@j[L:IIJi1~IJC:~IL:CT)ihOOl. D3.r.!.~ I)~ r"(i...)""[r-D~.J lJy~?c~JI'FC:L. :rl)Il1jjh..) r.lcL..4mX3. . fiW±tlic1J:..Qcc1J'c~.6mX2AHY. .Q1' .-f>TIimo~1tl:::o-{ l-M/_ 2-q:..jL. ..]: ~ fi3.\l).Q1L:9U'1Jl..:UI!1.Q~EeGDtp.:. -z-OJI3IvO)b'9'b'<1)9tJ\ ""[4' -7...QL:CL:..5-cL.t~UQ~IIlM1groan titMc'::L:~Fom~O)~J<.QJ: ~ M uri.J Y'.4 5 r~O). ttv~.J\ c·(''"St:cu-"... J'v-EY7)IJg.~U:Jta:tJl.itc L.mta:l..m'6.. Qg\j. !I < lJ. t:.(ILG"tl.. .QJt. cL:cl<t-z-3 L.1J'L. )1<J:b'S. ..:®tl.ttf. \1)\ .. t\:JJl .b"i~bry?tAOJlW&:f>IJJJ~~l.QIL: lillt---it<!1l.\3.. ctl»!tJ'S~"'. n 143 « J:3~l!iL.·0m3B.Qi!i~#tcC:L.JllWj L. i.. )rk.:~IL:ltlo ~1!Il~?Y>' "7)"71)7 C:1. \..1c'ls®. 51...15t1':jg~'5 s-- ut:::.!-)vcL.1tlIDJicJ"..Q...fI.IUt®T?.t1:lI:J L. (]li~x -to).QJ:: 51J:~r~ 142 < 1l.:lty>lltt 4-"7J'!t-IYI3cade 5-liilIVsedIcn ·y?1<J:~l1)cL. LJ:AfC1d:~iiibI4.tdll::'Ccnl<l:'E.<'J'iYO)±:II~~[L:~· ~ifln:cg 75.b'GL. . L.o)H~~IL:~ 7I-l'lIl!J'Sp.tJj.lIl:~c'5l..QC:t.

and thai is the only opening The court gives access 10the third-floor livingfdining 00 the south side in the entire building.This house is no! a heroic expression of contemporary technology aIKI industrial prodocts. and this serves 10 ()(chestrate The main floor is ooly a few m above ground. situation.xxn. t--IJ :>.0 m high ceiIi1g.baysano a depth of three 3. side f<lcingi the street 8ehi1d structure. The building stands in a SlbuJb of ayajlable methods same approach of structure !hat anyone can build ltl Nipparil1Jashi. T amg!he in cornrnonly environment. in a maootonous stDppVlg residential district sliced by private railway lines.~ aJ'1'jIWtlere tne world.() 'eisvatms. yel this slight dJfference in elevation produces a character of space thai is at once removed from the city and open to it. . Instead.I)1. This coull is open onlhe south side at tile top. The Site. n. which has a 4. space. ocoe facing arother house and the metropolitan SUburb.. another area me-bay square is given CHSf to a court with a tv.J-1"" 7.~generaJ 8- j'·<5'-}I-/facadedetai view Y?'-'. The theme !hat I explored in the design was !he potential mainstream industrial vernacular. located close to abus!ing surrounded by condomnuns aIKI has only street that leads to a railway station.?/axonarnetric 145 144 . The ho!lse. A staircase the main and terrace occupy an area one bay square 00 the. 6 7 6 6-77t.mdcMr frames. and Osaka. II is a . other facing the street These are conditions typical of a ~ The rTJeinstructuru has a fi"onIageoi two 3:6 m . one-of-a-lktnd builtlir'lg made ofreinf«ced cooaete. it has been constructed by dadding a 'structural steellrame with molded cement panels of and rnSlalling steel .4 mbays. Part 01 the transition mm thecourt 10 the interior the roofis translucent.. I used as I look in the Hruse to arrive at a solution !hat is unique to this site. tllerelOre~ is ineoomplete antithesis 01 BlID'iIOlithie.

"<::~. 5-f J E/-1.. ~BI':~1. to 3.'Jt::.MrI at the park. \~t. 1!:>rdjlj}1..:mL.::c~ciVQ.J"-. 4.~~ <!SI':H~..l.t House in Higashinada ~5.IJf.\b\ -t-fl~~(j5nQ~.. ~1/41. 1L~~1f6-miGr<:.tlli'iiD'Sjt.. which are by a staircase with Jow: risers..jlJlrfjO)qJ"~El?&l. represerning a quarter 01 the c structure has three. ~n:enO. The 1I) t::. 2Md:~J:IJt.L. however. 2 146 3 147 .J.myself in developing the design was to create a relationship with this park the entire site. (J).up area The task I set for . f->D'ta:II~ci'il.'lInroJ1. is alroost Ii<ebeing outdoors.A.3m. !ll!fi16mO.ID'iroJU:Q/livhg rOO11' 00Idng to the part< SOUII1wesl aner. given over to a coortyard. tiving acca:nmodaticin !hat 'MlUd allow each of independence while sliD h<Mng a sense of the residents gather. one to enjoy a measure wanted c~.:jOJb'l.·\bl .J UfQcL . a predoos pocket of greenery in the heavily ooift.::~1CJ:'7Y· Jlr--b.GrcJmD3. To the sooth.:. i.""(lliL1CId:L\jt1J:LI70rrl~.. JIJ 3.ld:DJijgtr. is system.t7JV- The building is a concrete box. 3.. a mother and her daughter."5~!) l<tiUl. 4. -b. Across the road on the norI!1 side.9 m. one large rocm..Z:..l. as high as possible.~DIcj. Being on the third floor. The residents are row able to maintain con-tacI with nature in the heart of the city.lrd and a skip-floor COI11p:)Sition. ~1. hJoI<ingtocoo.J:q:.1J:51J. 1:C~®!).jflr':75Af->t::I:l~~~rjl. The nor1h side of this space is ccmpieteJy glazed so that the occupants can Jbd.'IMlI~J. occupying L .lt11!ljiiliE1.X1).{rY t-1<tjijHlic(. Lowering the heighlS of the frst and second levels. where the residenlS can sense each OIher:'s presence yet not see each olher.jC(d:~cil5Q~~bl®Qr<:6I).t:l&I:1Ti. TO)~l. As a result.rty.3 m wide and 16 m deep...IU:G.i:~WI'vhg :<.iftiL. ~cCP&~~!@iilj]':-:Jta::i!'.) Ij- ~L.1JILlJ1'I<ItA:cgl).C~tL..'W4~~(jQJi~d:1J:L'1J\ The crl€f1ts.ft:.):]Y~ cL\5~I~g t- JDr~ij£C:gQ.·yJ·· 11<::fgj:~1(j:t.J:o-c-::>O):.lVccutyafd '0011.2 m Irontage. v.J:mc 5~"("i'eHJI~I.~iilO)~ 1!P~I<::~ifJQ..J:rf!n. =AO)fttftJ!l1 Q~cL. ~ all began wf1en I asked myself if SOOI8 WfXo/ coold not be found to create a connection between the third floor and the greenery 01 the park. Q.m~("bIJl.t7JV-L 3.--'L.t da. .@bO.m ' :..:.)":1 LiW5~L"'frQJ.'Id:SQ'b0) L:OYb.q.. jt~QLC:~<l:~I':miLtd¥:~ 1. with its vi€!W of the park and the air freely passing frOOn south to nor1h. !. levels plan.mlJ~i~KclJ.i. 1!1:1t!!l.tAljMr:'lcU'Il mt<l:Ji'!i5tn.J:3JIiO):Aq:..'tIiCi1. *tdt. the building is..lI!!mtt:1'.. this space connected with its lolly ceiling faces the terrace and court.t!. I raised the ceiling of the lhird-floor dIning room. 1:>1.J~SiiSgLt:-it!LI:1J\smnr<:31ll!i I'$'(J)ifi:Y?:Ai1.J-3i5!l1 ~~I':~ C:L15CV~br.I!WJI<<l: ~1~1~5~c®Q3IiI!W$'-f=Y:t· t: L. The site conditions were severe: 70 sqm of land with a. in character.2mcL 15Il!U cL15JiL. The remaining I created a three-dlmenslonal spatial 2.)~. using the lltids of the staircase and the coortyard to provide vertical connections. was a park." ." T.

e. 6-i.beIween pail<. t--'):>?/a>anneIJic 00Uft\'«<I ancl ~ 1/ spaoe 1 00Uft\'«<I ancl_ space 2 !Y-i.~:v ..q.'t!!I. 6 148 1 Q .J)l..n between pail<.I~II~ii mIaII.7").'IlI·<j:IiH~'I.4-7'.

..z-a::>1W'.tiJI 1191l~l_..!.iU11\~ JO-Ij:.A(I)t'::~C'iDlJitJ.Lil.. ~)lr-Jt-. ±~ tJ.I3X1C>b'-:>rC • In my design. v "'(O)fIO)i9ifl.(:tJ . ~U::lmta:Qftc C'ffl>~IJM< l_.. ±~A'T-)[.:A 7'YT / sketches terraaesedim B~vf->l!liiZSlf->b'ILiI!1~=Mlc'1\~tJ'c!J:::J"'(. l<'. I was scale to accommodate four !raffle lanes with pedesbian with Cfeating a bridge that would be pleasant to walk aaoss. YIIhen viewed from the 10 reduce its and' used V8fY thin PC slabs having an appearance 01 fighln$S massive cMI-engineering scale. giving the bridge a scenic night time presenoo qu~e difB-enllRlITl its appearance by day.. Hl~1J'S~~ill.Qc(5]~IL. ~c~~mla:~)lr-) c v "ClliIDLrct:.:~i~rC®.T5AlI!ljf~Q/aerlaillieWc< 3. The FeN bridge would be of walkways.en!Jers.ltI1r':T7A[.:\" \c?!.z-Ct'". ilrPil:l!!~ m~Q~~~...oJcil!ilJ. IIattempted wood louvers and' a mare open manner of separation the road and waJkways. landscape and also a device for experiencing river views that we set in m:JIiOfI by cr=lng n. Their wood louver roofs shetter them from the sun's rays and !he wind.JLC1ir§mL. I tell.7. Heme. )jI1.iUr.~. 2 150 151 .::Ud between Il')! prodoce the desi"ed 1eSI:AI:. Y("ma?iJ.~tJ\S~ti1lIL~D!±ll_.Q.:fri!*:n. ~1l!IL§IIiL~cl* * baiuslrade. lQL. reaffirms that a bridge is both an important L.W.-"'?YZ'T-JI["CVL.:IibIL 2-. 1-~gene<alVieW Jlr-71<t.~l_. CRW. *n:.. ~g plantings.~9?.z-LCi7)li)ft!lJ::1. making them pleasurable contact places.1.J'!3~aefQlJlijlLIim1igQtLIib t-1il!l1. ~I.. ci::l. ~[L..?iJbt. yet simply hiding the carsbenrd a partitloI1 wall. ~*5ic~tl:'). Mthftl>r-\Y:fCt>=Fiwa:t:ILSl.:J "'(.Cc~t>1J'1. am:7DZ t-1j5ZILJ::l>~G)~I.(/)~!. IL.Ji:. 'T-Jlj~1> L.t~Qr. Then. rathef than a cMklngIleering In my approach 100 overall design. .::J..{. ' LL lQ.j.J::*9-ft.QL<'::l!:®5n:Iib~v"'(I.QL.tW1n~.z-L l!:H9' Qr::cl.iiIlmILtNJ'?. that 'MJU1d maintain vievvs let car :pas::.LtcfJI.1it: vi.:?!. prcMOOd ~ by extending !he WIXld flooring 01 the walkways.J.The program called for rebuilding substan~al concerned preserce·aI a bridge serving a provincial city.C'1a:<I::.}(IL1J. I considered the river embankment how the bridge wruldi Iocf<.LO)ji-tii!iil'®..Q. The design element in !he !ormation 001an urban (Ner :$'j.Jmt1. ~1. l ~~!m. I also placed lighting units under frosted glass at the foot 01 the i\!l?iJitI!1... rL " 1<1:. mb'5~l_.::J. m<'::Ia:. by means of benches and handrails that respond warmly to physical scale. functi:::f1 as plazas for enpftlg Ihe across !he bridge prosoeet from the bridge. I sought 10 impart a human-scale 10 the walk1Nayareas. Terraces.

gllfti.J'dlr<::c::> 'LO)~ttO)r.5~L c::\. 1)1::":17· ~-{=::.Ir. l.! "1.QJ. ~cfv~r. L.t.31J:7J'ij'1Jf..:. The highest level of the hOllse is on the same level as the main road is the IfTlOSl~blic space. mI!~ J. All the rooms face and are connected 10exterior terraces and gardens.).~~-t-C1. :9i-~1J\ ~~t<::~IJ\U1JD~s=O]qJjI. There is a hierarchical sequence of spaces..M®13\n~ti~~~. Each level of !he InJse is a distinctive space. r:J::t U~ -b. }t:J1) ~?1d:~>l. 0 3 J. The main road is 3 m higher than the. From there. The house provides a rare opportunity for a city-dweller to immerse hkTlself in nature. /. that is.~gen€faJ view view 2.l'1:NJ5'9\ 9""'L0)w"§!Id.iSn~Lt:.J~.-IJ'_:I:"'.lJt:L. <!Sf<::filr¥O)iI"cJ'El.t.-kld.~lJn'<t:.::l~I<::Imt&9~Lt:b\pJllliCSIJ..lj.<r<::L t:btl.l'IJ.L. I tried to limit1he ld:me o! the house as much as possible in order to blood the facade into !he S!Cenery.The site is quite special.):)PH<::t.~I<li2':::: .)t£I<::lU1iii. and this creates a feeling of being afloat in the natural oovironment of the house.fJ't.!it!JC<5IJ. from the living and dining room and the ha~-enclosed space of the' terrace to the open valley below. highest part of !he slope.:l.QIi~I<lDB/t':JU~?ta:~r.\~I~'n-iD. 5ft(7)~r<::JVtli¥!ng-. 152 -t-O)T5A)'j<!St<::~rc:::Wi'9~. One is made immediately aware 01the changing seasons and' the IT1(NeIl1entof the sun.T5A~~Ji!1CI:CO)~~IJ. /. 75-{ F'\- t-ta:f:imn:lI < 1d:~J. the living and dining room. ~. lli9~im~dlmL'L9I-$O)T5A"t:Jta:f. and below thai are the private areas. .Qct.\Qc -t-Lb'SIlI1i~~m.l1d:1Jt::) 'LfSIl -t-fll.!. 153 -t-tlb~S '9). It is on the southem $ideo! a slope facing a valley.. that is.)5. Because 01 these unique yondiUons.:l n '-iDb'ScS~. 3 r. one descends a stairway to the semi-public area. the bedrooms.. 1J'1JIJ~~cC(7)p"tii!iiC'<5llo ard:~cjO]1J'3_~~a.:g?&-t-O)tJO. 1.Hl: < bt. From the main road there is a panoramic view of the green valley below.31<::jt@lL ooo ~3 Lr3:f!ll~Id:~1CI: Z !§lttl. DC!5 oo~tJ'50)!!: ~l/"'Jv1J'5J 1)1::"::.j{$~IJ.lJn.l:-¥iMItJ)O~L1JtJ< tJ cl.\ @1<::t. s« =/7· 11.jr<::-'tO)§?t.~=tJ~ 1<::3ml!i1~ lffiiliil.I.:p.)~I<::~ c.~c~~rdmx1d:b: ~C~£>J.r-b.?B'>l.~general 3-jtmm/northelevalion 2 3 II:JtaI<li¥illlJJO.A).il!i~rd.'l1J\Sl'imI<::$b~Q~SiS\n ~EI?&*CDt~r<:::.rC~f$IJ~t>IJ~~ttJCl.5.

6 4- :tlV general vieW from !he roeo 5.iml!tI!I$'fl!VvieW 6..7-'7./7' /sketches 7- :ii!./general view 7 <I 5 154 155 .

31tl. that is.itC"Y'YAC Z"o:>mmll. and on the other side. In this competition for the National Ubrary in Kansai.\. ~tm-no)~~fic""t.:~~t£t1G.)5 O)ffDJJB1A=JQ)~:llfitrQU~*9'ilIi1': 156 L1Jtl'S7:1D-r9. _. ".:JI. The modem library refleels 1he book's paradoxical character. !mfi1:IJIJIWAlI.'"gI':~11c~.QJ.::)i$f.:::Jl.)1:J~1&~'j~ ~\. '5001: ®. people and information crisscross and are made manifest in the enormous atrium in the reading/circulation space.Qmm~c.-t-Mt**f.fllrc&c162m.Qcl. together. A book is esserniaIIy rnormatioo-and information is without lorm-yat that information is inscribed on sheets of paper bound. These are both 162 m"J}QIij.Q. Water has been arranged around the building as a metaphor for nature and suggests 10 the visitor approaching the facility the contrast between nalufe and Information that is a basic concept of this design.t<:>< Sntci:Uc:C3C91J1.)j"-$'cLl ID'ICR{t9QO)f]\ St.e/preservatioo block.::tJ1.Q.::::Z~-7cl6ii'r9.t:~~:rrtj.:~L. the required function too is paradoxical.'JG. Their material And perhaps. -tnl':~L ~cu*"iWjjjj5:::Zc U"t't::Gt.QL:C:(" L~[':®fSlt1..n.:MbQ)J'e'J.tntiM~Q)e7. fi!im1z/$'-~I. spaces but is a space ..l)c~MiI. j]~]~!P"'~lilmfIJc(.iiiW-6I1rLl. The reading/circulation room not only mediates between these two contrasmg m~&Wu.:=w1:lleo/d. UU\3!llffib'Crr~J. c\. we ar-elaced wi1h a paradox.:ttlSI.::~V(Illil.QC:tt.I39tgz Q)~'JI.)r..'3tJQ)tp-t-(})$j~ ~!!!U:tJl.rc:>~.toJtJ Q)c®.). By contrast..QCcl.Uc. This space has. and it ilIurninales by contrast the artificial cParac!!3f of the rrovernents of books.::j5jM.)3L:cb~qQ)±mc1a::>r. The new city in which this site is lQcalBd has as yet no clear identity.:mtL®D. a view of the ·information center floating in the north light.::~1.:~kS9~1z/$'L:Q):.~ 1t'iO)f. The proposal is a simple farm that is intended to be in marked contrast to the spraw1ing.l:OJ9WJ~lJm i ' 1(j:~l!!§3M_)c1J:.~I.:~.J1(j:. 3~.)l:tKMl.f~nr-.Qm<D'?~ XO.r.I)Stltt.137&I':~L c:. -t(]J:7055A~I.QCL.15uo)l.Q.)3.Q* c~xtcLcbl-tOJmtn::®.. which has a 3() m high ceiling. The bUIlding is situated in the southern part of the site so that an observer looking north from 1he information center is provided with a sense of depth. u I) :J. The' program of a library is not so easy to define.j" A 1:®~1z:.::j.l. f!jl.:OO(.. JI!J!Mml':I.r.Q7/t. flooded with light introduced through the translucent glass on the walls and the roof. We must also deal with the people involved in the library.QM~~. <'::l.::. it has a roof garden and threedimensionally arranged greenery inside its outer membrane of glass and wood louvers./9-. we have a closed mass for 1he storage and protection of bo:Jks. cSI. :lJ:.( $'71' -c L LO»I<~~IJ.'iMmcl.QL:cb'*I.1jIn:~~Igj~m ~l§m National library Kansal Divisioin 'MIen we think 01 a book..:. The rnovertl!lIlIs of books. It was task to discover how the movements of books. The storage block on the south side is completely closed.I~C I9IJ~J~it"f->~. middle ground and background. bOOKS are more than justirUolmation.ilSd(U-t-flSr311.:<.qO)UI<t1lli l.13~iU:: "9.Qo j¥j~_I~I.tut:1(lI. information and people might intersect and to translate our discovery into arcMeclufe.::. cL. nictflll!!fij C~!J!M . ~Ca.QRl':iITJ!!· ~ *. This light is an abstract foon of nature. L L~L m~r<t-t-3Lt.»\:. ).9-~.QQ)f.Aq).O)I:jJI':i¥iiI9.t1(ll.tli.::FJ1tRJ .ir~eKS. -t-L L ~13.::.l.f:cDltr':J[.[':~b'U'J:blSttrt\'" H5. *.Q. -t-.QD'5C ~~L.~r:p. r. existence sustains fields such as culture and history. In our proposal. information and people. El?&-iafilcl. utc.15.:D~.*~~J~~c ¥i~. J'CT':fjbl® 11!i ~7.t:~l!MJ.lJIIJ(]) ctpflll~ L.yz:~.Q~fil1z jJ:.J:uo)l. ~1. .7itrl~1)7J[.:l¥l* C~_~cl<l:-t3urd..r1A ~*.::m:r.ltc'5.r.:::$:0)11 the bookshelves floating in the shadows within the storag.oo~~-tOJjj7A®+*mlr--}(-cl.and an open volume for 1he information center. fOffiground.:31!G cL.. r.:Xl:f1<.5r.QB~c ut.~c..IJL. 1'liWiZ/$'-b'Sjt~. Oil one side. because of this paradox. ~~*cl. the information center on the north side is open to nature...~QMr.n.:'f11. ~rmtJ'®. OJ1mt<!tl.'fnl<l. :9HIII. aview of *t:[. We thus must deal with both visible books and invisible OJ infOOnatiao.landscape.lil. ft is tostore books and to trans-mit formless information.3:\.mxStlt.t:-t-3 ut. In between lheltwo volumes is the H'/ genemJ·vIew reading/circulation space.t.~f!ijZ"lctta. \5~~.:1lI1. Ltcthc'bO)cu mfW)~HI.t:1B<!.\.Q.15=~Jim:f:L R.

~night Inkxmawn v'eN 3.3 1.ljli-E:/$'-~caw center and r€'fetE-ore nx:m '-IY!'5YA/0!!1lrar>::e 5-ll!JD/reference room 4 5 159 v'eN 2.

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\tL.:~@jL. ..... '~.~O)c[.t:L'tJ:l~1.r-b:'~~~.:t.J[:1"LOJUt:fd: ..I'\)~mw:Jw5 O)Ut.CP!!f~L.tJ\~t.4rTlOJ21M:ftO)'J.(ffi.:Wlr-H-o) .tJ:J[Lml<~lr-H-O)H+J['1J:iIl:I1Qt:C:L'.J "L<l:lIJ. " 1'\.0)'--'..l:t:-.:MC. 1'\- c::>51J'c\. ct...:~-.3[.:::J~~:J l-~socOOn w5I..Jt.J:t I) ::J.trp~1J:tl-:$itt'iIi5lJ1Jb~S~[..J:bIS=O~~~t:c 2-U/!J8f1I'f'IIviIIw 3-l1im<D5' of 'T.bO)r>Mfrpl!c L...bJ51t...t~t.:.::~'r-io.J 162 163 . tl5AiIDf~UliPo)J..-{=y~. ::JO)£§1lIIJOY.!=O-:$1. 't-O)IJ.15-{ Jf.lI<f'JPU ~:?~c.31.<':. o -:.t1d:<. L.\.:.tL.t-~&1J~~'~~~J:.t Tt-:.~~nrr®lJ.t IJ:::J.J"LSIJ. -i"3 L. ""Coo.J LL.!i!t->.::::JO)'J.. ~mof) l::::'y =o30-c IJ:::J.:=Oo)7J:.(D-7C:J1d.t.~iWIl$'1-fL~OOo fIllD9. t:~[.5ml.\30)b~L...\J:.-b.J(JY. i171~L.::ttQL.L~(~~1.JL~I.!L>/eIeva1ioo detail t-~~0)~~O)i5\t.. :@§I.c1J:U c !tIM CPIDl175-{ I. ~f. MC. n~. .~f. L1d:~fiO)®~~1l6~1J:tlJJ:.J:mfllr=ot.3M@ilr n~.t.

The house is an c:oortyard type.4 meters volumes staggered in height and connected by a slope.'OOtl these vOh .other because 01the stagg.4- Jl!!li/- view 5-~oodioo 6-~Sil<tptan 7-~/2fplan 8. These give depth to the outside space in relation to the townscape. This is done through the WOOdlOuver walls. The composition is thatooe vdume in !he east would contain the public areas : living. 8 164 ..1~:/IF >ian A house in a newly developed residential area in 1he outskirts of Nara The basic elemenls are two separate 9 by 5. while one \/dume in the west would cootain the private areas: bedrooms and a tea ceremony room.rnes is the courtyard which provides green nature and which Pfeverlts direet sight Item one volume to "!he . g. dining and the roolgarden. With these the garden assumes two laces: a semi-cIosed one in relation 10the townscape and an open liberating one for 1he interior space of the house while reinforcing the character of the private spaces. In betv.ered' height 01tile voillTles. but is not intended to refuse the ci1y.rather have a controlled openness.1asssurface layering of the awning windcm louvers.

:<:cO)fM!1)lLo) ~AD-7C~t5fln\Q0)1':~lJ.of regional information and culture. iK?"' 10 be a diffuser .3. workirlQ. and wanting the .IuUI<:~al.t:J-f exis~ng headquarters.5~c: lJr. tf5AO):J:r!:t-t-L'*lmi. ~c3~QO)tJ\ ~Lft:.t75-1 issue 1.\.tm~I. And so.jVCBll1J\flr':oJrA RTcLt.f1jm~QJ.3ta:. \(Mc t. 166 .ojOCt are: a new headquarters if.o resolve the circulation pattern of the autoroobile and . and then the preserv~ Aa_r.Jl~{t.(.:i£l c~il. m~. 13~5i.. east block. while OIl flQLCC.Jlt~C9~.of the s~e. ~fLf. composition .jJ'ffcrt~CtJA _ :1~1J~I!\tt::~I).of the Japanese garden on the southeast side.1D'Y?l.9"'''(0).IL~l.0 the expansion area on the north side .office blook and the additional functiOns are integrated organiCally by a sklpe. In the first proposal the . The site is ot irregular form bounded on the east and west side by two fOOds.:1.l:~cl:!mI. ~ILI. ~1~'JId:C:PI!I':iIDLr55A€tC)4 the east side pi the office block a terrBC!'!opening towards the interior CO!.J...I::JDAt-· 5ffi$a)""C'~QJ..of the emplOyees: and visitors and hOW t. L..I:~T5A~J'7D-T€llVu "(-5}It~fl-Cl.J"(l. the relation ot this and renewal "1.'I.3f.. 167 m1~cm~1.I:~4:J-fA:1D'Y?c~"\15LJ-~m-Jv1JcO)mBlILi.j1Jbl . i~Ift:~®Q.t~cl5Jll. and the function as a wellSPflng of the regional ClJInxe.E ~512:l~rLf!Q~~~ 0)3Jt.q0)J.i!!iIJOJ:1o 'Y?1~1<:1.of the site plan based on three points: the access ."( The two basic C()I1sideralions tot this Pf. ~f->*W'c1:C.::.:.:m9~~~lJ ctJ. I resolved to have the bu~djng in two blocks. WI'lilein the second proposal they are separated by the enclosed outdoor terrace and approach.\.\Q.'~D. U3tl.:Q§jMQ)JhI!CIl:ft~c3a9~~b\.llcO)~ II':®-Q.) the same site as the I decided the cl.>Fo.'lmc flQ~.2 ~tELO'. ~1~<t4:J-f Ac't3 LrdtrotlmO):1O 'Y?I. ~"'g~t"Bbttt.A.JJI~ r{_ t-ta:. ~L~~·~j.(B.I:~I<: t. The difference between the first and second proposals is the relaliciri of the west office block to that of the gallery and hall open to the general public. Basically.t:J-fAC®Dr. the west block is the private ...:l..'30) block w~hthe west roadside facade in frosted glass to let ln a half closed light.J(li.. w'"'c. H-?0)J.1:2:10 'Y?1<:5}1::t5fl. nl.the parking area.Jrt allows an open feeling where nature is felt while. these two proposals are products wanting 10 create an vest pocket park open 10 the public.

J.i/.~ :H/.D..nerrnI :ger>«llI_ 4-!ti!m1 :~"'7-1"/sd>eme1 .nerrn J .aerial view 4 168 169 .j.3 1._ 3-~1 &-~D &-~D: 7.u_ : Y?'.ffi!ii* I .!. M/.eIevatim 2.axonc:rneIric I :. lliliV. "1J~?/_D.nerrnI .elevan::.i/.~ I .!IIiV5Ch<me I . "'J~?/sd>eme...8l<OraIl!!Irit: 7?'.

I I I wo 171 .

.jf&:jI!lml(.:~ ..Ibi5L<':::tJ'C~Q. *3¥~~L1to '!l-1=:.:.1:1· ?'.):ficl.t..tPJW"cI:~l)lI< f!tt.\Q~ -t G-Z:~<':::-ti7JlCJL 5f.t. ~I.'T-71tf_c5~f:tltlb~Q)IJ'cL\3 ~C~l:flfi:i¥~iMltc-:XV70~?r<l:AootJ~y-::.I/:...5~f. 7c[. $tJl~U1J:cO)~5ri:WI)<':::QO)tJ\<':::L\5Lb~mc::G1to Ut:'.:tt*3 2I!!Il!Xe~r:tttI.t<fi:*lcI:~D1JI<':::ttGUilfflc®Qri:~tJ\tJ\b5 ~crcl:Ur.:1.:::gbttT~1Jb.1ir-<':::fOJt. I) 1::::.:®I).tn\Q. ~qlcl:.J9Uclb. A<.::Lcl< <':::~.. .{=Y?c(<t~(i:Wmft~I)C::i5L<':::.0b'530Ii5!II.t LO)ftjfjjb'sr. \1J\ '77'<7-IVfaGade 173 .Jt:Y:1·· ~ -1t:» -:f(tr:J.1'«Wll<ftt \Go tcm~O):1D rt.1illi. 9"-Z:O)U1J:-~O)tJ ti1JllJIJI ~ 1}7Jtc<':::L. 172 9>.:1 ~ <.AO. C::fi:*".\ftiiIcmtjrz"51:.l:~pt.:tmIJ1JO)cl.:::1. VJ\<':::~Q~51J:P-::1O-71JILC1. ~9QT5 tJl(J)J. m:w<t~tl'Srifl£7m.:~~LC::.J::IUJlWJ~m1.t.)'5mGt~I.:lZitj~~fIIlImO)$ffie~1Jc.)5 l-J'~'.J::tn.Yc® I).~/axllOO'llEltIic 2- 0)70 'Y7cr. iUL07:0:i2!ri:IiIID 1J:/J\~<9GL<':::1J:~.::<':::b'S~x~tc..1-I)..:3ta::~1t.i't!L'rtta::1.

to dramatise living in the air.dining block the usual rrove would be to have huge two storey openings. but I opted for the opposite. the first issue in this Hence.I. Fran this site !here is a view of the entire residential area the 5Pfawling cityscape of the suburbs of Osaka. Together with the adjoining terrace. a sloping residential area facing the sea. the cantinous horizontal windows are used. while in oootrast. and the Bay. 174 175 . On the left is the private rooms zone. And so. proposal is how to deal wiItIthe special landscape. while an the right are the public living _ dining zone. in the pnvate rooms the view is wide open. Fa the two storey high living . The fro of the topmost floor on the left Side indMduiai room block is made 10 appear as thin as possible. Instead. 11is possible to view the entire scene in one sweep. I The site is a special ooe in the Hanshin area. I created two blocks of floating steel reinforced structure. I decided to use small openings exploring how to frame the view. I feel that ~ is an effective approach 10 somehow reverse the general thinking. in the living and dining area the view is framed. and the form rises frcm the road by 7 m with an ascending slope of aroond 30 degrees. And so. and both are joined by a sloping ramp.

&'E 1. ~S.8jO)i:O$'-1i~8(' 1..iIJi::> ~i5mtf5AO)§rC'm*ttt. \.:7.nffiGJ)~ml. 91mY.. ~~cGJ) .lteb'5 <:1500 t ) 1.:o) g~ mitiBlI::)v J .. 0.t--COfF£ f§lilli'tsIIt:JIJJ ~l.M.-C~I.::Mu nUlefuc'F J'-I---~Y$'-tD:~L.. t--m.@i}till./1JIDMlc 1Ji3"l..I'--~loom~~uZ:-.U=t=~0).il'!Bjj.:nlt.. 8.::l'~id:::J:J?IJ1d:c~m::tdabtt. »f.1j57. u Uti-7.1jn H)"b.: 5IJt~~c':-::>ti: GJ)I(!.:c1d:<\lmu. 'tnl.0-7cHm" . 9 <!5 r§llimlt:J!JJ 0)l!.t-rD1gf'F~cii5~.~south 1>.:abttL%lJOO9.::L5~i)W- fI1.~r.:n::*ttte1K!O)i:ijf)j::JY? IJ. tr ~l'fI2Omb\530mO)71'--1J'J~~iilEl(7)iI'W. b~.:n::*'57.:c.oc-n5ml.oc-n~flGJ)~j.:cCW'oM:7:l'mntuJ.oJYA~..@..:~.W'".1g-::> .ii1±l utel.iu1Jb'Sctl~. : IIIVatri.C~c.!!.\5~-mm:"'-. 71' JLd"'~l1m~Q.:. 7-I'--~Y$'-~~g~el.O)Jt1.::'t:01' 1'IJQ~~EI'u.t~:!t!lGJ) Ill.::~ ~1<t~e'9I.~RlJ(. J"::PJl. 1.: c 1. aerial \Oew e!evalim 3.:. 1IlIiW9:QJ'?)l. lIDeemWJltIlt5-5 ?i18~C. ute.f1C.7 I--I)? 2..3C()rTI~~' 7-1'Y5::''''~:l. ~BiliJ:lJ.:c1.:~9lltJO)cL_:'(:mu<§!liIi' .:(l'jjui.@.lll.u L~lr-/~t LiStl.m . ::JYtt-1'--7I\-J""-_tt}Q7..tfi!i§it'i¥Hi!il'iiI(!.Q.)'~C'ibQ.t--~~LQ ~1.fU ute.t.:=mGJ)~m~c.t[.:flJ:!t!lj.~-r.5t:..::.f-::.lImiDV east e!evalim 4- !iIITliliJ/east eleYa1lon 4 177 .

This scheme was submitted to a design
Nvar Aalto. The


cor II, leI.uatirlg the centenrial ,af the birth of

s- ~l/S!9CIion
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called for a rrusic and ails aenIff of'sane 8,3JO square meters, 00.00

6-- !IIiiliiIlI2/ S!9CIion 2



corner lot aeross from a park with a cIiurcIio il centmJ Jyvaskyla, Rnland. The new building

was to renew and lio:;orporate Aalto's Defense Corps. Eluiclir1g, an existing, buildl1g on the same site. The Defense Corps Building is an importafIl work in understarn:ling Aalto's architecture. My proposa!sets out to preserve this building with minimal distuorbance to its exterior. The new

building v.oold be set ;., confrontation wi1h the Old by means of an atrium, 54 meters deep and from 20 to 30 meters high, that uIiIlzes the exterior wall t:t the exlsling buiJding. The old and bu'ldings v.oold interact within this atrium space, operWlg a d~ue the past, Within this atrium spacedefined by the gray exterior waI at the Defense Corps Buikfrng and,

between the present and

opposita, the frosted glass wall 01the music and arts I placed a ramp thal-climbs to the

concen hall and a broad starcase dascendirlg: to !he art museum. In order to arIicI.llale this space, I' inserted a reinfcreed concrete parIitioo inside the spiral of the ramp. In oontrasl, the roof and southern wall oI1he alJiJm are 01 transparent glass, aOO open this space to the pari( and ,ns

The exterior wall of the new building employs a 3-layer plane structure, combining nonlransparer1t walls of concrete, lransparent or serni-Iranspare walls of glass, and Y.OXI; louvers. Using this 3-layer plane structure, I sought to govern the building's relationship with its tIban context by responding to that context through each interior function. In this way,1 hoped to provide each part 01the interior with space at suitable quaJily.










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and the guest room units on the fourth level and up... across frOOllhe ciIy hall and a park. and OIher public fullGOOns. In IocatJng the interior functions. 184 6 185 'iW have . ft stands 40 meters high. New Mexico.tches space of tte top'f'xlor This scheme. The main element-a voItJre 9 meters wide and 125 metern long-is placed along Main Street like an ITmense wall. such as the convention center and infoonation center. and its west elevaliCKl with frosted glass louvers./genera! . so that guests inside the hotel will readily grasp ilS configuration and lheir position in it The east elevalioo of the main volume is covered with inorganic-k:Jd<ing allnlinum louvers. a city landmark. is our proposal for a tourist hotel in Roswell. a design compe~tion entry. This expression deliberately interrupted by cutting a large hole in 0 the voIlMTIB... its sIIyIine on a level with that of the txJlding north of it.:AT.y7'/. a little north of where Main Street intersects with Route 380 in lhe heart of the ciIy. giving It an overalllTlOIlOtooe expression...4 5 4-711l!.. the entrance and shops are placed on the ground level. The south pOOion or this volume curves dramatically to the west. The top level contains a restauranl-bar and an observation space with views 01 downtown Roswell. The site is 00 Main Street. The public spaces for guests are established on the secood and third levels. 5-lUrlWJi7I~exIeri:Jo 6. underground.

<:~(1::1J::>n~~llIiI~1toJv..:?'(~nr.!I<fla:t.11?l_ta::Yt~::aO~J. ~tIlllDI~l_. The CCJI.<:~I.:<<b5n~mtJi:0) I? '(t.).-p51J-b'5~ c:1.r~~C:9. ~(. lMiibEiKJ.:ilS.~~/onlBrU space 2.. MC<5b. The sne is deep with a narrow frontage. and the skylight with its tranquil light and the movement implied by its stairs-by placing these elements in confrontalion in the center 01 the bUilding.:t.j.::.~e:Lnti~i<!tTGrslJ. o<b\S3%):m±~~m5QitJ'~5jMi~~lJ {.:<:c~'<:~cMo This antique galIefy is Iocaied southeast of K~'s Imperial Palace on TeramachHlai.The court with its abstract composition and concrete materials.Irt..::~W. I placed a three-level voILrne.::rkl gfl.::. On this ffie.~AffiG)Wt¥iI. center 01 the volume-a skylight. I was pursuing was somehow excessive.:<pt.Mt:~J:~. despite the blank expression of its facade..1lere light spills silently from above on a ccmposition 01 water and stone.I!l. an avenue lined with venerable shrines and antique shops.. rel.1J-{5-{ C:Ll?r~~rej.t-{ 5-{ l------C<5:@.jij5iL:£tII.::J.tiJ'5 < ~?iTa~c®:@o '550e:-:>O:l:A:h1'5-{ t-$mcJ::'tne:jcl:i~J.lW91JtHI<!nn)~.'5~ rkl £tIM1. coot and a f'M:I!aI to the design are two vods inserted ver1ical1y in the. <.7t/J"Jl£"5 ( ~J!CAt)-{ 2 '(~b.!:~ljc!tt1i::1.d. is an inlerbr space wi!h a staircase that rises within uniform light filtered by shoji screens. in contrast.u-. fIllbWI.£ttJtJ. . I sought to orchestrate the transition of spaces from the ground-level galleiy to the second level. is almost a light eoet The skylight.::m.. v.UCc:C. a rl1aIlflE!f 01building site that is typical of Kyoto.QtJOXl).:5e:~.::jcl:iDL.:.9~ 111lW)=¥. 7?ij~~lic551J'C:l.:~I.l_.u-.A.::.II:!DV site plan 3-J1''1-I-'/facade 187 ..:¥-v51j~C®~.ti{.::[ijLft:~.t11::tGm. ~~~L. 't<:I~=l§J~'5?r~~~l_. t-f.fv~cl.::~". c~.r."5)2. •• ~T~Lt. would contain a quality 01 interior space that 1.0m]tJ:tJoY. This gallery is the result 186 a building which.J.

4 6 4- -:Jl'tj-l"/faI.adQ 5-l!IlOO/sectim 6-11fiiiii/ secIicrl 5 188 7- :A'7~ T /sketctoes 7 189 .

il5:it~§tO)ilffiO)Jt. to realize dwelling wilhina 'f9l<Wa:C::. 1t!l iIDILmLt.:p:~O:>(r-frC:iP511. ~~ILC? ~2.:~(. ®XLtn. and the exterior space with courts. 190 191 . tfl~~ffl:9MtI>!>IL~ILP"lgs~ McRC:o)OOffiIL[~. L"O)i!li-iU:1fJ.. t:cc: Gr.:~t<!ttL\.ft.LiClPJiim1Jil5110)1JS. To these ends.P"lmltJ\5$'1. whose interior and exterior spaces enjoyed mutual permeation.:~ljl..'J. tL.::L'c~. Jocated: ina residential district of central Tokyo. which meant so.:~G =AT -( ~?IL<!~~ll.r[. and a garden between these el€m.:IM*~J. 'I:J~C:~ if I could revive the spirt! of the traditional Japanese we knew until recently.j:**~IL®ll~I<:V. 2ti1J'S1Jll~:..ftO)I.mts.:: what has b9COOle an anachronism In doing LC..e1fJ.. \5*"it~liffl the usual soluuon in non-cornbustible to deSigning materials-I wood ""91<Ib"5C<1J'SB~~Mlucrrt.c~'1J!il511cL..:CI. {Pi.::l. who has continually lived on the site.).tJ'S"t:il511.-?D L..tllCL.\ L"(])iifflO)3aI0)!:>.t.5-nfJ~ ~1..:>T5Af->.?!tttdJ'5 "t:3511o clll!l environment: a one-story character with a court.j:A-$1-t--L.::o !!!~::f!1UtL.t.t1)ilC:1J.trr:.::±ftMi:Ii~~It!ftl!i. for a metropolitan adopted house setting-the high-rise residence in today's an built an .0tJ\SLo)~I. \t.:m::>tE~cLLtlM ~1d:CLb\:r.. tL.00*Z:i..~::J- H \"ACL. 113:l.QD M~mIL 3:ftif1J'5.f.. This design domicile Avoiding encased urban emerged from my wondering t!1JL.:t:IL®-::>r. I was also attempting city.Q.z:~mtlGtl!. I was pursuing of closely inheritance townhouses environment o! the site's and history.L. **cC:W:IWl"J[. the ambiance that has . filling·tl\e interior and exterior with a gradual transition of spaces from court to terrace to to preserve as much as possible existing things in which the residents' reside-trees and shrubs.::~a(l'){fIJ:mr~riLt.attt.:.QtJo)ld:iCiJWJmfJJi9 Lt. terraces.J:. 't:.::1J\?r.VJ'C~.j:51.l:t5 L. '5~c~o far the mother.~c:tt. I gave special care to the relationship distance plantings.t:L.always characterized for ground-level the Japanese high-{!ensity city.. ~(~J!l!itJ\±:tI!!O) f L. a residence for her daughter and son-in-law. !tqtJ"j).tL \.. The house is composed Lt:j:I.::~. a garden lantern or washbasin-wanting to give care to the continuity of memory a city place holds for the people who live there. accommodates 01 a residence a and their single parent in separate IMng quarters. L~rC~d:~~iCl.t. L2ft(<:£\':3:fl ~f1'lllil~llllc~~c L.-::. t:J50c:JI<I.qc:pct:JiCiJfmtJ. ThtS one-story couple wood house. memories between I sought of the interior spaces to the yard.gjl*r'O)~c:pm)5T5A.

. t::::1 (0 GG e 192 193 . 1.e e o e I I <:> 0 0) G e e b--L~~ 08 0 __ 1_ '.1 00 I". I.'.

~ffll.:. L-te. I":5:7t®J!JZi§ic ti.Cc:::r--H<:i§jL-lclm~H1!:IDrrnX1ronmC:. "/.: 3tr~ ~~SkJf<I. . \Q.:lJt:y:::.II)7'~.:ti5A1<f~IbQ GC:l'H® t21J.L(})(!~I<tjjiELIfj!~ml. rl±£J cl./ ·II) J' b1. iUu~LO)~ffiOJF<iI)lJrL~ft!ln~t>.'Iil"ltJ:Uclcl:mrL L-f.SFal~(i: ..:li.p...s" *FrPC<l5-3~O)ifuclt vb~I 1J71. IU 7'~l".:mll:9-3~!i¢a)'.'QLC~c1±rrrL" L-n~1.c V"(ro_B=tJ:J n 1-30:::r--h~:IJt::.)~ILt'L:1J'Wa9ti.:c.Q.1.b./ .5mO) ::J.1.:l(j.~flQ/b::Ulg 3--A7~7/sI<eldles to~ 'Y Y :::J...-:.)l) t::.j.t L"t.J.~lit.))1 ~:I.~.v"')!Jb~ntdtiJl!J(':fct:t:rrti.~QJ.~c®.6m.4m~c®lJ.. L:C:c L-tJ'L:OJiloo.)J.l lO)cl<l:m Y!J\ c~.>{-:..t-::1:ttc:@rdl~ =tJ~L:-t-b(L:O.J:t. c ufi:1J'ScC5tJ..'":5~=tJ:)"".ti....IB./ .Q:JHAo-3.-:.m1!:. _O.L:G) l(j. = :illI90MJ1<ft§1.. ~7.b'SI~(])J:3f<I.)ijjJffll. =:.t-:. IJt:y~ ffl:lt23.:jflllILt>tL.*/tl snn ~(j.=:. OJttJ.:3~-30:-C~ l'iIIcJ.. lA:J'lA~gijnt.Hj*~9'tltcjtOOU:i¥illliJq)IIJ7'~:)~YJf.QbitJ vI.-f$:c.. -$I.D'51~\tJ~~~ )-3c.!::)< IJ tf:j9t.A:l. ~tlc.ju mljr~c:urc(l)I<t. ::J-I-I<:i§j L-tt.:~.M(jr.:(<®~M!lJi:jtii!r-9C:~75 ~v t:'~ns~I.:tJ' Sc(lj-3. ~3 'l"tc~flll1Jisl(j.murcH~=tJ?. *t...:jmlIL::J-I-1if~:$~~~~l"rC.:*l:jltr~~t§<!t!-3L.:~ L miffl!1)$'I. 2.:~WIct.l". lc~5L HO:l ~ c.... IIJ7'c.."tl. l-lIl2lliVeast..:) n)-3.~1<:jA'5rc?i!lillc ~39Q 9-llJ:1J=tJ.QAA~.iZi1!~fUiJr. 9. t./ .:/tl.tI. tJ\ AIillIi:~c! l 111>< L.c~13il':I<t®a< b l':tJjE-~c vrcUb~!UtJ'-3~mt'®Q~ ~LI.Co -t-n(j-~~~~JlLMlL:. L"1.:.f$1!:~Jima<c/J\¢ < Giet.-:. JIr. 194 .c~il!i{$c=tJ:)1JIt._ 2.T47-J(.

HOU~E IN FU(AYA 01 HOUS~ IN FUKAJA 02 ~ ~4 196 1q7 .

.-a. so that 1hey are free from windoN sash as well as from wall structure. I SttJgll! to minimize the dimensions of the intervening structure.6 meters east to west and 23.and l'MJ levels. A court wiIh a pOd is plaCed between them in the center of !he bUlding. pkln 8. 01 malerials and slructures thaI proliferate in !I1e = E::.5 meters.JJldi:lgs. semi-urban Sl..I . for it is designed 10 form a unity 'With the Iivingldinlng area To give 1hiscourt cantil1.I)'i ~IJ ~~V 'I'iIV seam... P-' 4- ruli 7?:J. . The north pari.This house is kx:a!ed in RAlaya.80 exterior rIVing room.J :-' I i .1 If . typical or oorth :KaIlto-a selling.f.hI. was needed.1he way to cooIroot Ih:tse s!all<. Yet.em far removed Iran the images usually associated with a doolio1e. alrnospt.~/2FpI.rI 7-1~1IlI/1Fpkln I 198 c9 199 .surroondings." and For !his 811 location I proposed a house having a closed attitude towards ils SUTOlI'IIdlngs interior oourt I chose a closed configuratioo because I lei! in 'these surroondings a slall<.!'Ffl. was a bUIlding closed to such surromd"lI1QS while yet open in its QeOOr space. By using faclo!y materials and leaving visible the stark structural details. thaI discoo.IIO. The 00tJrt also luncIionsas .lity wi1h the IMng/dining area. t-IJ ~? / exonometric Ir-~Sit9p1an If l(~ If l eIe\Ialioo. The glazing is attached directly to Ihese posts. ~ Prefectae 00 Itte rDlI1 Kanlo pieri.. was by presenting rlJt a space replete with the warmth 01 congenial materials but ralher an aggressive deployment surroundings. L':::-.oooect !he south and nar1h parts. yet separating' Ih€m. which is a halfbel' higher in eIevaOOn. can!ai:ls !he living/dining area-a large space with a ceililg height of 4. the building obtains architectural character.H fi ii~il:f.4 metersnorth to south-Iha! is tripartite in functioo.. By placing Ihe horizontal !arO€' on 1he exterior wall structure. The court serves to c. while... axtlnOIJleUi: ~ 7 5-U. !he site is encompassed by rooootcnous.7?:J . I felt.ges description as a •city subwb. Which may sound paradoJ<ical. 1 COUld provide ireest8llding 6OTm-by·l00mm posts.. YIIha:t. Despite its proxinity to megalopolitan Tokyo. The muse rasa rectangularplan-mearu'ng bedrooms-on 9. whida are ~gered in elevalioo.:~J . I IOOu!. 6. The south part cmtains theprivale elemenls-Ihe garage.

r-J\-.I':~ lL:J:.j:.l:.:1c~itl~ll§::> n\.\Q.:~~k.t?:I<tIJ:<.::miiiG n)61. generating variafuns in 1heir interior and exterior spaces. DttjfjJ1-::>< IJl±Ig-iW9: ~WJJ5fCJ(C::::::-::>I. g~"CV.L~8J'Ic. metalcoated glass. while inside Is a ceiling 01 semi-transparent fabric.@rm§1!:r~:l!::)< IJt!l9 CC"L-HM:c u "C~tili1Jl. K5Z ~f. t-J \'Y? V:A:7. ~"'ft.:~ft.5IC::~lJ:G..' ::I-!-' .:7. the stepped landform produced by the flOOr.:}EI~ J't:l!:*Wlc::ml. ~-<7(])R9 Qnl<t~~[C::ifb bit"Lll[it. Our proposaJ seeks to merge the building with the landscape by terracing rt with the slope while respectil1lg 1he contour line.(l).. however..:J'{.P€fB~LI t.1J~pql':1!B<J:31. which values natural fighting instead of relying entirely on arfflcial light sources.:m. JJ5A<W31]IC::Id:mc S . :%'IC::-~OJ*:l!:Ii:IWi<:~QJ. The roof having Ihree layers for diffusing light.c5:. ~~~11QL:cc::'.t. Because the galleries contain objects vulnerable to damage by Ilght. n.iWIlc::abtt'"C 5:.~ttQL:c. I chose to reflect this theme of Neolithic culture in the art museum's design. Prefectural General This is our design competition scheme for an art museum sited wilhin J\cm:)rj Art Park.g. ::>"Ctiql.lb1i1.r. Lighting is a critical issue for an art museum.QDJlhitO))["-J \ -:l!:~11.J1.~ ~fIt~1<nl~r:c®Q'g1\'i'tii1iS~~bif)'lJcu"C.l>.T.G)(Y% u"L~~Q. -Y'-ftiJmuc::J.9Qc{"'5n).Q)it. so that the Hoor level changes as the slope progresses.\5~ ~5b'c~Gt. F=Or this.):@. !-7.:ll.. the building is roofed with multilayered.~~k.:~It9'QJ.tii§i~rrc<l.I<l:f.. metaJcoated glass of multiple layers. ~ft~:sQ3'3:tulJ_ -'{:L:"l:.B5J::5ta:l!fGlIlI1S:tl. "C{. =~lc::~g-£'~~~~-?~I. t:'::J. 201 .~~a~j.3fiO)'7. ~!l5J::5rc::mr:t5:tl"LSI).L. Aomori Prefectural General Art Park is oriented in concept to 1he large-scale Neolithic village under excavation at the SannaiMaruyama Site.• -. \~MtJ'5CD1*J't:>a:l*mGn )61. JI.:t'tJ rmtJ 1!:.:5}~c!trLt...\(c::. Our design.!luLId:.:~. which are applied to housing the multiple lunctions of the art museum.1.:Jl5AO)~m lliiO"J7l. $80)(-$')[.j/~-?Id:... which folJaw.. Computer-controlled mov8bla lOuvers are added outslde the glass.BNeolithic ~the pit-<lwelling-we proposed an art museum that is partially' inset in its sloping site.:1lc::.. L:O)mlirC::I~.WI. ~WimOJ~mc3D~d(.'I.L:OJ"7DYI? H. "L. is divided in three sections in the direction oI1he contour ~ne..:HfEW ~"'J1)~®.{:VC'fflc. J't1J~cta:.lj5A .l. The roof.iilH .. u1J1u.:~ 1.Qo M. employs daylight entering throoghthe roof. The Ihree volumes bend to embrace the landscape as they climb the slope.lOuvers.H_.5r.f. and fabric-a stable Ught softly permeates 1he interior..:JB:J~1!i!~~u f. adjacent to the Sannai-Maruyerna Archeological Site. it was lleCessary to continually maintain a fixed volume of illum'mtion. ~rC::J.~Ji.i:tpJ[. Taking example from the predominant bllilding type of th. t--~tl.tL':l -b..F-<7rC::i?:':1 U""C9i~n.!:m~I.

\5.J~tf5 '!'m/ p<an 3-_Vaerial. t--·ti5:AcL.:::t:iO)C®Q.L~Id:~I1'i!lO)ffiIl:IIMti.f. as well as !he urban sprawl thaI may encroach in the future . \ 5. 20 meters by 22 metershas four inner courts and a.J t-I.. TO:><PMI~Lrl<t~%-rn!llc9QbO)O).. greenery and distant mountains. wI1ich is cantilevered above the ground. 1r_.lib\._ 2--' VaetiaJ.::fBl!llm.rmO'f-l7-}[jtcJ:cld:9"'""("~.j:..:::llrIilImJ ctcJ:9D'bGnJJ:\. these walls will reduce the exterior landscape-the.!:I!IiWl9ILI9( Llli9~CtcJ:QJ: \ =¥JMflO)$>j.fJ1Snn:'f:(1)':1::tI).::I.:Id:2t.~I. \c $>j.lmblffi:1J~J cld:\. lor a major road has recently opened to IraIfic here.. ~id[<rLnBl illl1J16ti!!iiC-1l n\QLC bi5b. If:I~b~. I!!1t -to) '3 1. ~b\S~Qc~-~(b. scheduled for construction nearby.9~OO'). The hwsea Of1e.1jb!a!llt trn\Q. -tfu~mc®'Q..'3~m~~tjli~13-:Yji~~L4:JO) n\.. All extemal walls are of frosted glass.2 ..:1-b..j: Dc~~~. 7-)['-1.I)7v?T 3 .:~Lft::.r.:Id. in a rural area of north Kyoto.. li<ILWtt[b.. Jl. L-f.. encompassed by farmland under distant InOU1tain views.lJtb'L Y:)~cbffff 2()nx22mc\. These external walls.-7. o'J . :AOJmloctf57. 1. Reflecting pools are arranged around the volume. ~rC~VYT4' . ~UQ)t:prL~t:iO)ci5Q. When viewed from an abstract presence at play on their surface..i. and an industrial park is. '<tffit-". 1 GT. This house is planned fa" a bucolic setting..::J.fIoor plan that opens to these Ct::JLm. apertures.\Qfj.'iJ(7)9I<t9""'"L:1O:A -tLr~[.'~~L-.. The only apertures in these walls are glas8lOuvered ventilation openings and two transparent glass openings. and 202 203 51.O)fqI(1ilI.. howevaf. -t-3L-r. The site's paSlOfai scenery may not remain indefinitely.J\-c~~.{Y$'-7I"':AcLLU9QJ:5IL~.[tQCIam!Stcl\.f1kJli"VCI. and pools are devised to function as an interface between !he pastoral errvirOM1E!r1t !he artificiallntericf space.stoIy rectangular volume.mCO).

7 B 9 204 205 .

03-1991.qJoPrer.73sQm. nel "Emilia.'I!I BOIc:IingArea588. IMIlIl §1t!iiHilII Site Area 311XXXl.00sqm.00sQ"n.!i!lJ:3II!Ii3~ Design rern 1994.92sqm.1994.13sqll.o)i! ~-t~F.45sqm.iIffi'1Jm Ilm rui1<t~ ~.1001.1997.I'IClioo mei'l'lOIiaJhall three--sIoried sleel .04 1989.09 209.06-1968. Site Area 55.. 192. ~ ~ ..1!4sqn U\i'a 3800sq:n ~'<:iiliIII 69. 35. Hakooe-dlo.69sqm.07-1989. _ JII.42sqm.t3m Design Term Building 1994. f\Iag(lOO Pre!.03sqn.05 2B091.1900.28sQ"n..03sqm.2Ilsqn_ 59.04-1993.04 IU!miIiI: I!!.02 1995.12-1!l901l! 1900.74sqm.11 1994.03 s*.. 42.04 Location Fu1ctia1 SlructLre Naniwa-l<u.00sqn.qrn.1'1-1900..37sqm.19'i15J12 195.57sqrn JIBiiI 9O. Kanagawa Pre!.lIl!.a.~ Design 1967.06 874.frama oonstruction with rei.34sqm. looaIioo Ctiyoda-ku. K)IOID resel¥ch offioe two-mried ~Ii!~ .00 UJ:D~ MemOJrial . Kyoto one-fMlIy l.onstruction 6!H4sqm. Design Term Floor Area 1968.6Osqn.t2Ii1i 1967.13sqm concrete/Sleel-lrame consIrucOOn e 1Il~ WIllll'i'O .11sqm.iIU1!1! Design Tem1 1009. ReggiO fflRil if~ lGHililli tJ:1llJ:::J::'<?IJ-l"-ifU alit ~. Fbrrt Area Location FiJnction .l.1'1-196!'H16 1989. Kunaroo1o Pref. entry) StruC!l.00 Site WOO 189J. Roar hea OesignTerm Building Term Site Alea. Area 1900. 32.02-1993.'l&yn.03sqn.f:-f::.00sqn. 198ROO-1989.1996..OJ.03 1996.00-1989 Tatesllna..g·.06 BuiId"IOQT6fTT1 1989.0Js!Jn. MtJtlllllll ~ ~ Hou se in Rakuhoko 105.! rutil!i.1Ssqrn.. Term M Office Complex (:::J/rqs. lSOO.. KyolO house (4 persoos) steel-ITame fflRil~ ~ ~~ 329.12·1994.onabe ~-tm Office 1991.B7sqm. 1m..12 19'i15.lI!!.12-1967.1992.Q4.!iOsQ'n.t constructi:ln 209. ~m ~ Building /vea House in Nakagyo Total Fkxr Area Locatico FiJnction Structure 1992.03 1993.a . 90.07-1992.19!l9."3-JIr-b.11-1900.03-19'i15. 626.05 1988. _ DesignTerm tl. Kyoto with shop mWtll ~ IIllt WIIlfl'i'i m.lnn Build"'9 Term 35.04 Bridge Site Mea.08 55.03-100603 1986.~ ~ ~~ Sakyo-ku.5Osqn.12-1994. SakyIJ-lqJ. 8 buikflTlgs 227 226 .71""" TcmJ Rca Area Loca!ial ~ ~ 1992.45sQm.04 92631..71sqm.cho.02 7B43. t\JJlj:::J::'<?I)-I"-~/lli" ~.00sqrn..H~ I rHIt u ~.. Hali in Yamaguchi 1994.03 199iiOO-I997.05 31{1XXl.34sqm &il<fng Area T0lBI Roar Area Locatico Function house IUIOO!JI l~X)'OO.00-1997.00St"fIl. construction ifiru!l iR~ .~ TOIa! Aoor Area looaIioo FuIctioo Sbu::lure Kizu.. i!:'<:iiliIII :ms. 147. 32.96sqn.).e t-la I tJ:1t mn ~~ ii!i~ ~ lfiwttlli!:~ 22O.11-1989.>.')-HlOltI:.00 1lIt_ :oIi:IIIlQ ~ iUi1lilI :mill! ~ ~: Structtxe ifiM J?.887.0Cr1994.03-1989:04 B·_ Mli·ItILl:~ DesignTenn 19OO.aJsqm.2205Osq"n 220.O.4OSQm.03-1995.77sqm..05 1968.~ Research lnstituee AUTO LAB 1989..l"e \Y. &iIIlWlgAlea TotaIFbrrtArea ILacaOOA Fmc!ioo Stn.64-1992.02 7843. Functi!rr1 ane-farrily boose (6 .enght Width Fu1ctia1 SlructLre Location 4O.tnn 3. IffWl!l jj>Jl1Ii1l~'i'l[ hea ~ 1ffWt!! ~ ~ 66aJsqn. 112.l!'Ii:::JY? ')t-~ I ii!i\1t F<.02 121.10 House in Takaruuka 1994. 124.77sqm !R WRlMl R'. n0l. V~:J3I.~ m!mijf 1994.06 1969.02-1993. 4654. 945.l!!Lt2I!fI 1991.03 INfoll . il''''lI!Rl 148. . 30084.ign T()mI ~TEIII1l Site A!oo 1994.tioo (X)rlt:I"elewaBs III! flat ~ ~ ~ House in Nipponbashi TSUZUKI Flat iIlItllllll I$~ ~ ImlIiiII 1990.00-1992.06 ImIi ~1/i!I!.J! ii!i\JIlj:::Jy?Ij-I"-~la~ 191:!7.00-1989.99sqm. 945...01 1994.196!iOO 1!1B6. 141.!J3.11-1993.07sqn lJkyI:HqJ. Fkxr Area IIllt ~ ~ 59. II!!.1ttll:4m11 IJesgl Tem Site Area 1996.JCOCIl li£'""i!lill 124.~ 9O.11sqn lICl> •• mtJIIlI!!II ~ n~iI ~m ~ Murasaldno Wakuden loon 1994.04 1001.sloried stooI-fra:ne constructi:ln ifiWl!l~ i!~ IIlI!! SD $. 103.01 1994.J--2Wj Design Tenn BuJldingTerm 1992. cxn:rete c..· mMl~ 'i't.52sqm.02-1994.B9sqrn..t7.00 104. Design =~ ScnJbe.73sqm..1992. BO. 588:00sqm.1993. weekend house (1 persons) OI"Ie-£Iortectwoc)(i-trama COIlS1!I. 5i:fI!!*.H l001.07&pl.< SD Office Building Area Total FIoorArea Loca!iOn Function Structure OO.04 1001.05-1994.53sqm.07-1989. &ti1g IBll11 BUIdng hea ToIa! 1Il* ~ ~.11-1001.B7sqm 103.00-1992. Td<yo Ftn::tim hooIe and WOJ!(iJg space Yunokabashi 1969. BO. 147.5On truse (4 pernans) m1f1l!!~ fflRil~ R·_~·1tILl:1M Design Tann Site Area Building Area.98sqm.03-1989_11 106. Area 192.02 . 626.!J3.nforcad crncrete 00'l$IIUC1ion oobui~) 1991. Locatico Structure Yamaguchi Pref Weekend house in Tateshina (~/projecI.00sqm. BItilg Term Site Area &iIding T((af I1IIml ~ li£"'lliilli ijfllJtlj 92631. office _CIied and one basemeI1t steel-frame and reinforced concrete constructirn ~.00 4654. 36IlI4. N Resort Project (:::JY~/projecI.11 Site Area 100.=. 329.fJOsqm.00 1900.02-1995.4Osqm.'lll ~ House in Shimog..00Sqm.IjJ'.5Osqn. Kyoto Japanese restaurant hree--storied reinforced cc.OOSqm.98sqm.~'IIII~tt::l:9 Kyoto-Kagaku iIlItlllllll! 1Il~ ElUiIII1g i'rea. 69.. -(5IIJP ~.B9sqm.11 . 541.persoos) a·_ ToIa! ·1mIi.02 1ft! 4O. OI'I9-family tw<Jcsloried Ellildng Term 989J)3. 12~1995. . Total.06 Total Roar hea Location Jlllll~ ~. trS01li~ 42.l!U3'§ CCtIlIru.01-1995. Total FI:a Area ~ 99AOsqrn.o:>-storied rena-cad coocrete/steel-frarre consttuctioo AsI""i<lta-chQ. Osaka ooebrily house (3 persons) lOur -slOOed steeI-Irame oonstn.92sqn 9O.17sqm.cho. Kyoto 8!JIDrmbIIe sI"oM"oom one--SIOried $leeUrame :il!i m1f1l!! ~l:5I fflRil !.~ 1fiID!!! 1$f<j1~ S1ructlJ"e 1I1ree--storiedreinforced coocrete De!. ~I BuilcflOg ~ffijt18: m . Italy Design Tenn BuIlding Nea Total Roar Area Loca1im Functirn Stru<:n. Kyoto Pref. 148.00sqm./prqect.145qn.17sqm.11 1.18so:fn Ilmt_ ~ ~ Ikl. mil 1IJI!i:::JY?'). BuIlding Ales Total Fkxr Area loca1ioo Functial IS 3.4~.96sQm.a.5. 1'1I!ICl>i!' M!tt_ I$lIIl.Q.74sqm.02 .<iCrete COI'lStruc6on 2Iml.J-(.08-1988. pre-stressed concrete beam with one center c:oil.37SQ111. Nal«\gy<H<u. 541.57sqm.10 Kita-ku.99sqm.IUl1i::J".6Osqrn. 1ffWt!: ~ ~l!'Ii~:/?U-~~I~1t ~.t". 22O. rei1ftroed il'~ ffillJtlj reinlcrcad health rasort Ioo'-storied llif$l1i1&ll!.12 H)93. ~ entry) Building Term Site Area 66.12 1993. 3B.07 .cIue ID.. 44. Fto>ctirn Structure ~.ft . Buildi"lgTem1 147J3sqm. 121.t7-fA -(:/71)'].4Os<:Jn fiJt!iEilI 69.03 BLiIding Term Site hea 1989. a . B74.11 II!St ~ • 1996. 1l¥i+.JIlj:::J::'<? .01-1995. pedesIrtan briQge *1:1:0). 112.diOn itii:. 44. 1995.Date of Works fl:~7-$7 KIM HOUSE ~_ 1006.11-1001.z.:t _ SiteArea 1887.ltU:2fiI!! DesignTerm 1967.03-1996.08 loon 1961112 .I-rYSl3 YJ'J. Osaka tv.12 .03 1993.~ ~:::JY?I)-~~'~ 1992. 3re3.1tti2III1i offiOO ccmpiex steeI4rameIreinforoed concrete constructi:ln.. ~house(3pe<son$) I'M:>-slDfiedsteel--fi"ame ~-MIh BiWt!i ~ !R~~ s!eeI-Irame 'vMl reR"lIofced COfISUucIioo EluidI">J lDcalion FmcIion Strudu"e e·_~·~ Desigl Te!ITl BtJIdingTerm SiteArea IBuiklingArea Total Fkxr Area Loca1ion Structure 1986.01-1989.<J.12-1995.

o :3388. ~.octlJ'e 178.93scm 126.Kurakuenl 1996.70sqT1.00s<p1. Hyogo Prel. 1101B.-1997.8£m fibrary five-storied and one basemenI SUucWrs steeI-Itame mt_ Ifll@ CDI!III 1996.16sqm_ tv. ili. :J1'Y5Yt'" NsJ<agyo-ku.~m llIJ!llli'i.wl ~ 1995.32sqm.)jt ~_ IIIlIMI House in Suzaku 10 ~~ 26B-46sCJn. i'lifflt!i ~lItlZ. loc.02 H Bridge i!l!Itll1llQl' 1995.00sqrn.01-1997Jl2 TEfTTI N"lShirloniYa.J:.06 1997. unbuitt) House in Higashi-nada .00sqm.{X)s(Jn."'!I!.04 JRlIIiiliiI 3ffi.05-1996.BOsqm Roswell Hotel Project Total Floor floIea 214. Area mlt iIlJYI U.00s<p1.BOsqm.06 1996. iliU~jjj IIml ~ 11m.Area Total Floor Area Location 335. ~sIoried and one 1t!i~lmi basement reiJ1frroed COI'ICI:ate COO5Iruction Loca1:Io:x1 Higashi-Osai<a.04 Jyvaskyla MusiC and Am Center SiteArea 176. .10-1998.. D:I227.C6 322.OO.(On • 25. 4O. OI'le-famiy tnJse (5 pemons) steel-frame Function antique gallery building concrete construction G· m m*IlIi:ottt Araki 1··11 m. Nea ToIaIFiaor Area loc:alion Structure KWIO 1999.1Osqm. 33CX100sqrn. I :3547.IIt. Prel. 322.~ Design Term Site kea BuIlding Td.08 TOOII Fkxr Area I :3547. 497.~ .03..7Ils<Jn ~"'iilliII Antique Gallery 1999.00sqn mWt!! ~ Jmt ~ 32OO.07-1999.qm 322.32sqm 241. ('l"lE) Function ~ •• IAml 1!B104-2002.00-1999.11-2000.08-1996.00sqm 121.~::JY?U-~~·~~11!1l 1t!iJ:. =.08-199fW6 199607-1997.OOSqrn.08 20x22 House mllilllll~ 1999.00sqn li!-"'1iiifI 59032.stored reihfOiced Builclng W6:i~Y?IJ-Hl1iI *la· It!!~l!i!. roof frame i'lifflt!i~ Jyvaskyta. Mt_ UlIIlIIIl ~ (ffi!j¥ I projecI. Floor Area hoIei IRiIilIl 241..32sQm.1!l96.32sqn b\-:j 5 ttl. 101l56B4SCfl1._ ~1I!1i=J.06-1997.141l 2000.02 618. G·_~·'I'II: Design Term 720000sqrn. 1llliEasqrn.1~1900..04 1991>.10 2IXXl03-2001.".02 1999. Area lBR72sqn..qm.03 l'i:i!*1Il0).11-1997. New Mexico routteen-slcried and one bas<rnent .00SQm. Ftn.16sqm. Building floIoo69Z2sqrn.00sqm. 4O.~ 1997.02 176. ffiWlti ~1SIl1i iI~'M aR'~ 1995..\ • ~IBJ Kazurasei -2OXI02 ~ mBlI t2l5.iIdrgflolea Design Term Building Tarm Site Arw 8uilding Area 2000. Iproject.00sqm.caI Floor Area Locatloo Functm SlrucMe ~ ~hoose 214.tioo ~ ~ a:JI"Q"eIa sailama house Prel.s..04 11!ic71sqm_ mtm I!I!IIIII'IlI ~ 1998.::u(:l. Nara. Jiff.04 I. 277 Strocture three-sbied and one basement reinforced crncret~ coostnx.00 Bunkycrlw. ~m:Ii~y?~-~~.03-1996..08-1999. Rnland ~ ~ ~ 497.o-farrl1y house (5 persons) """.72sqm. K)'Oto Pre!. Design Temo Area.p Prel.32sQ11.08-2001.00SQITl Jl\lIljf.08-2001. 214.84sQm 14776.62sQm. .Olsqm. ~ 47BO.01-200108 277 55sqrn.Il7SCJl1.00sqm. canpetition 1999.f Site Area 71.16s<Jn.04 Total' FbT Ama 146. *'r1L- =:1->'4:"::1 ~~O).tion m. I-igashinada-l<u.1996.03-1999_00 2lXXlOI-2OOO.farriIy (3 persoos) ~ Iili~ 69.8£m 228 o .(5.4!iltil! i'liff~ ffl~ StruclUre thr ee.4Iri Design TEfTTlI996.11-2C01C6 ~I py~ 'MtG Iprojoc~ co-npetiOOn entry) 1996.rrori Pret fTlUsetJT1 ~ I :1331BOsqm.63sQnl 178.71SCJTt 186Jl8so:m Prel.l:3~ 1995. 1995.gI ~Term Site kea ooe-. 1450.lIFloo:o'Area lrealioo Functioo JUILCO.04 I Building Term lehgtII 97.55sqrn. 6320·00SCJn· 18840.!l!!..04 FuIICIiOn Iwo-famiy house (5 persons) me-stonde ~ ~ 1ij.07-1997.10 IDXl~2001.II!!!! Desig1 Term =MBtPc-~.fA Building kea Total Flu floIea Localion Functioo SIrudwe . 146.lion mI!ft . mtElt!i~ WIIIf!'i.65sqrL Hya.Area StIucrure stooI-freme cehStrucIioo T<IaJ Floor Area Locatloo FrncIloo 268A6sqm hOuSe concrete ~ li&"'lliiiI! 121.~ DesignTerm BuiloJOgTerm ~~Y?U-~~ 1!!!.07-1999.mD C!:rSru:::tion with reinforced 'House ~~ in .04-2002.89sqm.gumi new headquarters I· II t996.72sqm.A"r}l>.aoo.07-1997.2OOl. Loca1:Io:x1 Siebdlo.1t!i ~1~~ 1!l!lfl. l'.00 1997. Builcmg floIea Total Floor Area Locatloo Function SlrucMe 11725sQ11. Osaka three-storied coosIroction ~mroll I'l~ ~ p:.04 Site Area Ili.tll!1!i!!ll! Design Term IIUDY?IJ-Hl!i i!t-~ 1999.10 BlIildlng.55sqm U :338B./7U-~~' 1t!i~11!1l D .00sq11.B7sqm.72sQm.I1ction Roswel.6e offioe foox-stcried and ooe basement a::n:rete ~m ~ ~ pY~ I project. 72OO00sqrn.n. I :1331.1. ~ jg~: o :1227.00 632000sqrn.06 1iU. TOI.04 ~m ~ House in Bunkyo 1999. .08-2000.1t!iJ:2Il!i DesignTenn ~T€<TT1 1996. 186. and imt_ ~ .04 ~~1~ National library Kansai Division R .~ ~ baserrenI rei'IICJ'ced ooncrete <XlIl5IrUC!ion 117. reinforced concrete construction !.00sqm.02 618.10-1998.'1':15. ~ jg~ Site AleIa EUdilgArea 303. Structure Mtl!llll!! IUIIlI coostn.03 Fkxr floIe3 50032.55sqm.03 c:onstnJ<:OOn and reinlbrcocl ooncrete CClIlSIJUCti<Jn IAJIl I!lflmRI mff~ JIDj. ml!!: *ll!l' Jili. Q:]/?IJ-I--ll!l'~ 199IHll-I997.04-2!XXl.'lfollifitPJ?JZ~. ccmpetition entoy) 1997.f.a 1997.j! House in Higashi-O~ Ftroicn SlrucMe autDrrrtJiIe ard pedesIt!an tJOOge pr&!l!re&sed o::orue!e beam wiIIIlW<I cdHms ~303.62sqm. Total ceinfcYCed constru.65scfn TDIal Flu fVea loca!ion Fu1cIioo SIn. hUJse pY~f!l"OjeCt.08 PDmri . Td<yo tv.«R 343. 18840. Kyoto ~"WilI f4776. _ Des.._ 5ll!i::JY? IJ-I--~ilie l 343.sloried wood-trame =1!t~ 1999.~ IIli£ ~ffli±'£ mlt Music and AIls Center IOUf-stOiiedand two basement steel"frame and reinlorced concrete coostructoo ~.00s(Jn. DesignToon 71.4Os(Jn.11-1997.63sQrn.10sqm 335.04 32ll100sqm.~ Site ft·~y5'- ~~::JY?~-~~'~ ~2Iii1i1t!iJ:.(>3-1999. Nara one4anily Building Term (3 persorn) ~1Gi!I ImmilI 1900.10-199B.B9sqm. steel-frame Hou$~ in Kurakuen II 1999.02 Oesqi Term BuiIcIi'lgTerm Site Area 14233sqm 214. enlly) Location Function Flialt!! JmIlj ~ .~ malt!! ~ D. Loca1:Io:x1 ~ Okayama Pre!.CJ8.03-1998.08 Buildlng . one-lamly RiH m ~ ~tn.00sqrn.o-storied one ~~ Nea 4700.28sqm.03 1999.08-1997. 16sqm.08 32:lilCOlii 1995.D4 1996_07-1997.~1998.ron *iIIi(7. Building Term Site Area IMd1h 25. 1273.02 2000. Kobe OOI>-fa'TliIy hoose (2 persons) 1hree-s1oried and ooe basemenI rflinforced concrete coostructia1 Ittl!!iiilHIi 3700100sqn m!WII 1101B.01SCJTt 14233sqm .10-2(0101 115. Strudure rwo-stOiied steellramelreinforced coostruction ilfDM!I:~litJ'm Aoman Museum Project ~tition entry) ~. _m:li::J/?'J-Ht iI1lJ:2Ii!i Design Term Buidiog Tern Site Nea Buidiogflole3 1996!01. .56sqm.02 1997.ction House in Fukaya (:Plt) Site Area BlIkIDg 1273.t3IiI!i 1995 10-200001 10056. Total Fkxr Area Function Strvclure mm!l~ Iflll ~ D . mtIUlflIJ I. 33!Xl00scJn· 1450. Ftrdian StrucIJ. FlitEJJg~~ JIDj.12-19S6.00sqrn.21lsqm. 3ffi.12-1996.4Osqm. Localion F\.06-1997.25sqm iliWt!! 1$~ lUi WffIi±'I. Design Term Building floIea Site floIoo 37600. 229 StrucIoJre 1996.~ Design Term ~Y?~-~ll!l'~ 1998.

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