結晶質な迷宮
住宅建築はともすれば、人間の暮らしに寄り添いすぎる。それはよく計画されればされるほど、とても快適なのだけれど、概念としての生活を固定化してしまう気がしている。住人個別の要望とは少し離れたことから出発し、何らかの形式がたまたま要望にぴったり合うように考えたほうが良いのではないか。そう考えて設計を続けてきた。たとえば「比叡平の住居」では断面を操作して、50度の屋根勾配を複製して組み合わせる単純な構成で複雑な空間を創りだそうと試みた。それは単純な操作の繰り返しにより、永遠に続くような感覚を感じさせるもので、結晶質な迷宮といって良いかもしれない。そういった感覚を追い求めて最近設計中の幾つかの住居では単純な角度の交錯を試みている。直角で連なる空間は建築空間として体験し慣れているせいか空間のボリュームや関係を測りやすいのだけれど壁の交わる角度をほんの少し振るだけで空間の把握が途端に複雑になるからだ。
「北摂の住居」では要求されている部屋数が多かったので2895mm角の12個の正方形を正三角形をつなげた菱型の平面でつなぐように並べた。それは以前からモデル(fig1.2)を作って試みていたパターンで、12個の正方形がだんだんと振れて、やがては18個の正方形の連なりへと変化してく(fig3.-8)なかで敷地にぴたりと収まるものでもあり、いくつか試した中で最も動きを感じさせる配置でもあった。構造的には木造のダブルブリッドとし、それぞれの正方形平面をそれぞれ柱で支えるように構造を計画した結果、意外と穏やかな室内風景となった。クライアントの要望もあり、周囲に対して比較的閉じることにし、外周に面して3箇所、内部に2箇所の中庭を取り込むようにした。その結果、室内空間は中庭やトップライトによって意外なほど明るく、様々な光の状態がプリズムのようにばら撒かれている。プリズム状に反射を繰り返した空間が連なっているようで、ひとつながりの空間でありながら、繰り返し同じボリュームが現れる均質性と壁面や屋根の様相が異なる不均質性があり外部があまり見えないこともあって部屋に入ったり出たりを繰り返すたびに自分の居場所を見失うような独特の感覚をこの住宅にもたらしている。この住宅の平面はある意味では昔の民家の田の字プランのようにシンプルで入れ替え可能な構成で冗長性があり、動線も多様に開発できる。それが生活の変化に対応しつつ、日々発見的に暮らす助けになればと期待した。
Well-planned houses are sometimes too close to human lives. While they are comfortable, I feel that too much planning has the risk of forcing a pre-defined lifestyle onto the residents. Perhaps if we start the process from a point not too close to the client’s initial wishes, and seek an autonomous solution while considering various conditions, we will ultimately enable them to live more freely and actively.
Simply-angled, geometric spaces are one of the possible forms for the residents to pursue freedom and make full use of an autonomous space. Since we are familiar with spaces designed with right angles, it is easy to measure their spatial volumes and relationships. However, by slightly turning the corners where the walls intersect, our spatial awareness suddenly becomes complicated, and we feel as if the limited space has expanded.
House in Hokusetsu is a house for a family who wishes to enjoy a life filled with everyday discoveries, and appreciate each other’s presence. Because they wanted to have many rooms, twelve 2.895-millimeter squares were arranged to connect to each other with a rhombus composed of two regular triangles. I had been sensing potential in this pattern from earlier studies, where we had experimented by making models(fig1.2). As the twelve squares are gradually turned to become a sequence of eighteen squares(fig3-8), a position that fit nicely into the site was selected, creating a dynamic pattern out of all the different angles. The main functions were primarily placed within the square parts of the plan, and the rhombus areas were left undefined for free use.
The structure remains relatively closed to its surroundings, which was the client’s wish. There are three garden spaces along the outer perimeter, and two courtyards on the interior. As a result of the plan pattern design, both indoor spaces and courtyards are brightened by top light, and illuminated with various forms of light.
Since exposure to outdoor scenery, to which one can position himself, is limited, the space encourages the residents to travel between the different rooms to rediscover their own location.
The structure is made of wood, and each square plan is simply supported by pillars, resulting in a peaceful interior despite its unique form.
The design of this house has a simplicity similar to ‘a cross inside a square’ plan used in old houses. Each part, while representing a different quality, is also compatible and expandable, and there is possibility for various circulations to emerge. This house is filled with autonomous spaces that can accommodate changes in lifestyle; it is a crystalline labyrinth where the spaces are repeatedly reflected into a prismatic figure.
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