Oukikyo by Atsumasa Tamura Design office

four seasons-themed building renovation

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“月下绽放的樱花”|“Yozakura Gekka” Cherry Blossoms under the Moon”

该项目的设计概念始于一幅画作。这是一幅由千住博(Hiroshi Senju)创作的传统的日式画作,被称为《月下的樱花》,它描绘了月光下的美丽垂枝樱花。而这幅画的主人希望创造一个特有空间来欣赏这幅画作,感受花瓣落下的美景,同时他也可以在那里度过安静的时光。他还希望设计师能为他的起居室/书房和卧室赋予简约却又如豪华酒店般优雅的氛围。

It began with one painting.This traditional Japanese style painting is called “Yozakura Gekka” (by Hiroshi Senju), featuring an exquisite weeping cherry tree in blossom lit by the moon light.It was for this painting that the owner wished to have a private space to admire – where he could spend his time quietly and feel the beauty of falling petals. He wanted to create simple but elegant atmosphere like luxurious hotel for his living room/study and bedroom.

▼整个房屋的设计都围绕这幅《月下的樱花》展开,the design of the entire house revolving around this “Yozakura Gekka”

该项目位于一栋建于40多年前的66平方米的单层木结构建筑内。设计师保留了其原有的主体结构,将房屋的西侧改造成了一个宽敞的单人间,这里涵盖了起居室/书房和卧室空间。而两个区域之间的存储室将房间分隔,但仍保持各个房间的开放性。厨房和浴室位于房屋的东侧。为了体现主人对画作和樱花的热爱,设计师将整个房屋的设计都围绕这幅画展开,而不仅仅是为它创造一个展示的空间。

The building was a one-story wooden structure of 66 square meters that was build more than 40 years ago. Upon this renovation, the original main structure was kept unchanged but the west side of the house was made into a large spacious single room containing the living room/ study and the bedroom area. Storage unit between those two areas separates the room but does not close off the space, leaving openness. Kitchen and a bathroom are placed in the east side.To incorporate the owner’s love for the painting and cherry blossoms, the concept for this project was proposed that the painting was to become the center of the house, rather than creating a space to exhibit it.

▼改造前改造后平面图对比,the comparison of plans after renovation (before & after)

 

门厅与小花园|Foyer and Roji-Niwa (small garden) 

设计师改变了东侧入口的位置,并减小了其尺寸,在入口和主要房间之间创造了一个带花园的小门厅(Roji-Niwa),它旨在为房屋的进入者营造一种期待感。由托多隆( Todo Raon)创造的雕塑被置于门厅花园中,其中玻璃部分被镶嵌在玄武岩石上,以此将大自然和工艺品和谐结合起来。

The east side entrance had to be moved and became smaller. The foyer was thus created between the entrance and the main room, with a small foyer garden (Roji-Niwa). It was designed to provide the sense of anticipation before entering the suite. The sculpture by Todo Raon was placed in the middle of the foyer garden, which has a glass part set into its whinstone body, producing the atmosphere where the nature and the artifacts were quietly in harmony.

▼改造前的建筑庭院,building courtyard before renovation

  

▼改造后的东侧入口位置被改变,并减小了尺寸,the east side entrance had to be moved and became smaller after renovation

▼翻新后的木质建筑立面一览,the view of renovated wooden building facade

 

四季为主题|“Four Seasons”

设计师将大自然和四季引入到该项目的设计中。《月下的樱花》这幅画象征着春天。而推拉门上的大麻叶子图案(Asanoha Monyou)作为夏季的象征,阳光从房屋南侧透过玻璃门上的手工吉野鹰纸(Yoshino Washi)照进房间,也将这门上的大麻叶子凸显了出来。优雅漆画面板上描绘着红色和金色的枫叶图案(Momiji Monyou),以此来代表秋天的景色。樱花会在冬天发芽,经过严寒到春天开放。冬季的设计概念也对《月下的樱花》的美丽进行了补充编织着松针图案(Shiki-Matsuba Monyou)的丝绸作为曲面天花板的饰面,同时也体现了冬季的含义。带漩涡的流动图案(Kawari-Kanzesui Monyou)代表着水流,被绘制在浴室的推拉门上。此外,设计师选用柏木(hinoki)作为家具和其他内饰材料,其特有的木材纹理给人带来精致的感觉,并与意大利大理石铺装相结合,让整个住宅都展现出现代和日本传统风格兼具的感觉。

As “Yozakura Gekka” symbolizes Spring, the nature and its four seasons were introduced into the design. Summer is represented in “Asanoha Monyou (hemp leaf pattern)” on the three-parted sliding doors. The sunlight from the south side would be softened by the hand-crafted Yoshino Washi-paper that lined the inside of glass doors, leaving the pattern to emerge.Autumn is pictured in the elegantly lacquered panel of the Byakudan finish, with “Momiji Monyou (maple leaf pattern)” in scarlet and gold.Winter is expressed in “Shiki-Matsuba Monyou (pine-needle covering pattern)” that was woven into the Nishizin silk covered the curved ceiling. Cherry buds would awake in winter and endure the cold until the spring blossom time. To complement the beauty of Yozakura Gekka, the winter essence was essential to the place.“Kawari-Kanzesui Monyou (flowing pattern with swirls)” on the sliding Karakami-paper door represents water, suggesting bathroom facilities laid behind.Additionally, hinoki cypress was used for newly designed furniture as well as the interior, which would give refined impression with its delicate wood texture and the natural finish. Combined with the Botticino Classico (Italian) marble stones covered the floor, the place would give the impression of the modern incorporated with the traditional Japanese style.

▼推拉门上的大麻叶子图案来体现夏天的感觉,summer is represented in “Asanoha Monyou (hemp leaf pattern)” on the sliding doors

▼天花板上的松针图案来体现冬天,winter is expressed in “Shiki-Matsuba Monyou (pine-needle covering pattern)

▼带漩涡的流动图案被绘制在浴室的推拉门上,Kawari-Kanzesui Monyou (flowing pattern with swirls) on the sliding Karakami-paper door represents water, suggesting bathroom facilities laid behind

▼木质材料与意大利的大理石铺装相结合,the wood combined with the Botticino Classico (Italian) marble stones covered the floor

 

北面的三个窗户|Three Windows in North

房屋的南侧选择更为开放的设计结构,而北侧窗户则适当地减少阳光的进入。书房内宽阔的窗户被置于书桌的上方,当窗户打开时,可以观赏外面的竹园。 较低的卧室窗户则位于地板附近,以水平方向延伸于地板附近,使居住者能够躺在床上欣赏外部的景观。而另一扇较小的卧室窗则位于床的上方,这个位置恰好可以让阳光透过白色的手工窗纸照进房间内部。屏风、玻璃门和网隔门也置于书房和卧室中,并且都采用通风良好的推拉结构。

As the south side was structurally open, north windows were designed to let in less light, with the variety of sizes and shapes. The study window is large, set at the height of the desk, and has a view of Shihou-bamboo garden just outside when the screen is open. The lower bedroom window is situated near the floor and horizontally long so that the view from the bed would be extended to the outside. The other bedroom window, which is small and located at the height of the bed, has the hand-crafted washi-paper for its screen, letting in the sunlight through softly. Both study and bedroom windows have screens, glass doors and net doors, all of which are sliding that would let wind through.

▼改造前的客厅,living room before renovation

  

▼改造后的室内空间一览,the view of interior spaces after renovation

▼书房内宽阔的窗户被规划在书桌的上方,the study window is large, set at the height of the desk

▼长条形的窗户位于床的下方,而小窗户位于床的旁边,the long window is located in the lower part of the bed, while the small window is located next to the bed

▼卧室南侧设计更为开放,与户外相连,the south side of the bedroom is more open and connected to the outdoors

 

曲面天花板|Curved Ceiling

现有房屋中的梁为2600毫米高,但设计师希望创造出高天花板的感觉,为书房/卧室视觉上创造更宽敞的空间。于是,他们用皮亚特·海恩(Piet Hein)的超椭圆算法为房间设计出了自然而优雅的曲线天花板,并与下部结构相结合,视觉上这种弯曲的天花板结构会显现高于实际的效果。

Existing beam was 2600 mm in height. It was requested to produce a high ceiling to give a spacious feeling to the study/ bedroom. Therefore the formula for the Super Ellipse “(x/a)^M + (y/b)^M = 1 M=2.5” by Piet Hein (Mathematician) was applied to give this natural and elegant curve. By combining this with the lower ceiling, it would give the effect in visual that this curved ceiling is higher than the actual.

▼自然而优雅的曲面天花板并与下部结构相结合,external view of the community

▼天花板构造图,the structure of the ceiling

 

在黄昏|“At Dusk”

黄昏时分,花园中的灯笼点亮,轻柔地照亮着鹅卵石小路。居住者沿着这条古老冬青树(Mochi no Ki)下方的鹅卵石小径走近房屋,入口处的明亮灯光仿佛邀请着主人进入。此时,翻新后的住宅变成了《月下的樱花》每日“欢迎”着主人的归来的空间。

At dusk the lantern would illuminate cobbled path softly. Coming towards the house, when following this cobbled path with the old Nepal holly (Mochi no Ki) to guide the way, bright light from the entrance screen would invite the owner to the house. Newly renovated space is now transformed into the place that would “welcome” the owner back to the place where his beloved painting, “Yozakura Gekka” awaits him.

▼黄昏时分花园中的鹅卵石小径,cobblestone path in the garden at dusk

▼入口处的明亮灯光仿佛邀请着主人进入,bright light from the entrance screen would invite the owner to the house

Project name:Oukikyo
Architect’ Firm:Atsumasa Tamura Design office
Lead Architects:Atsumasa Tamura
Builders:R Architects Atelier Co., Ltd.
Project location:Wakayama City, Japan
Construction Classification:Renovated House
Structure Scale:Single-story wooden building
Site area:234.7㎡ / sq.m
Building area:65.99㎡ / sq.m
Total floor space:65.99㎡ / sq.m
Completion Year :April 2018
Design period:April 2017 – September 2017
Construction period:November 2017 – April 2018
Photo credits:Sohei Terui

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