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photo by Ken’ichi Suzuki

日本静冈县伊豆山南面朝着太平洋的山坡，樱桃树与橡树林之间，有一所形体单纯抽象的周末别墅。这所别墅没有跪拜于参天大树和复杂的地形，而是傲然又安静的位于自然之间，抽象，自我。

别墅由两个垂直交错的长方体组成，下层是浴室和卧室，上层是厨房，客厅还有露台。两个长方体形成两天轴线，一条朝南向着大西洋，一条着对着山上的橡树和白桦林。下层的卧室都能看见广袤的海天之景，而树林，轻轻的环绕在旁。建筑通体使用了白色抛光大理石，大理石的反光与环境发生着微妙的互动，一端融入海天，而另一端消隐于树林。

抽象并非自然的对立，提炼也是从自然而来，乃是自然的一部分，这种相对的对立本质依然是自然，状态也是和谐。这是建筑师从这个抽象建筑中所表达的。

Title: PLUS
Function: Villa + Petit hotel
Location: Shizuoka, Japan, 2009
Site area: 988.58m2
Building area: 232.77m2
total floor area: 380.44m2
number of stories: 2 story + 1 basement
Structural system: Reinforced Concrete

The site locates on mountainside of Izu-san, where Pacific Ocean can be looked down on the south. The untouched wilderness, covered with deciduous broad-leaved trees such as cherry trees and Japanese oaks, gives little level ground. But we saw faint glimmer of architectural possibility along the ridge. The architecture would be used as villa for weekends.

I didn’t want to just form the undulating landscape dotted with great trees as normal, nor design an elaborate architecture bowing down to the complex topography. What sprang to my mind is a blueprint for an architecture which is perfectly autonomous itself, at the same time seems to emerge as an underlying shape that the natural environment has been hiding. It’s abstraction of nature, to say.

The architecture was realized by crossing two rectangular parallelepipeds at very right angles. The lower one contains private rooms and bathroom, and sticks half of the body out to existing narrow level ground. The upper one incorporates salon and kitchen, and lies astride the lower one and the mountain ridge. It almost seems like an off-centered cross pinned carefully on natural terrain.

One axis of the cross stretches toward the Pacific Ocean on south, and the other, the forest of Japanese oak and some white birch on west. The rooms in the lower structure and terrace on it enjoy broad vista of the sea and blue sky. And gentle shade of natural forest embraces the space in the upper one. Water-polished white marble (cami #120) was chosen as interior finishing material. It glows softly like Greece sculptures to blend blue light from the south and green light from the west gradationally, thus creates delicate continuous landscape of light which suggests the character and usage of the space. Exterior is also finished with white marble. The surface get smoother as it approaches to the southern/western end till it takes mirror gloss (cami #1000) at the ends. The southern end of white cross melts into the blue of sky and sea, and the eastern end to the green of forest.

Abstraction is nothing to conflict with nature here.

Carved out of nature, it never stops being a part of nature itself, however highly abstracted. Never relativizes the nature with its foreignness, nor generate contradiction to settle for being “artificial nature” by giving up being abstract and mimicking the nature.

The abstraction inspired by Mother Nature defines the nature itself, and still, stays natural.

That’s what I wanted from this abstraction and architecture.

(Harada Masahiro / Mount Fuji Architects Studio)

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