kenchicjunreiのブログ2nd

狭いからこそ、可能になることがある。あの利休の茶室=宇宙のように。

狭くても、とてつもなく豊かな住空間。現代の都市のど真ん中の、ミニマム狭小住宅というもの。



●ミニマム(狭小)住宅の先駆的作品　名作「塔の家」　建築家 東孝光

1966年竣工、東京渋谷区神宮前に建てられた東孝光の自宅(兼事務所)


●ミニマム(狭小)住宅の傑作　建築家 保坂猛

2019年 LOVE2 HOUSE
2015年 LOVE HOUSE


●ミニマム(狭小)住宅の傑作　建築家 原田真宏 + 原田麻魚

2017年 間口2メートルのskinny hous　architects Masahiro and Mao Harada




●1966年「塔の家」

https://ja.wikipedia.org/wiki/東孝光 より

建築家 東孝光
打ち放しコンクリート」「狭小住宅」の先駆けで建築史に残る「塔の家」をはじめ、「都市型住宅」を多く手がけ、1995年に日本建築学会賞作品賞を受賞した。日本万国博覧会では三井グループ館を設計している。

出世作となった「塔の家」は
都心のわずか6坪弱(20平方メートル)という狭い敷地に、地上5階・地下1階を塔状に積み立てた鉄筋コンクリート造。玄関を除けば、トイレも浴室も含め扉が一切なく、間仕切りもない。吹き抜けで開放的な空間設計が、狭さを感じさせない。同じく打放しコンクリート・狭小住宅で10年後に建てられた安藤忠雄の「住吉の長屋」などに与えた影響は大きく、後にDOCOMOMO JAPAN選定 日本におけるモダン・ムーブメントの建築にも選ばれている。



■ミニマム(狭小)住宅の先駆的名作 「塔の家」 建坪面積12㎡・敷地6坪(20㎡)　
　建築家 東孝光一家の50年

https://youtu.be/xasKnR95r4g


日本建築師東孝光的家，至今仍是行業神話 Japanese Architect Takamitsu Azuma’s House, A 50-Year-Old Legend
974,622 回視聴?2018/09/05
6:51
一条
チャンネル登録者数 66.2万人
1966年，建築師東孝光在東京澀谷區，設計了一棟外觀呈三角形的自宅“塔之家”。房子雖然有6層，但室?面積卻僅有12㎡。 東孝光一家三口在這裡一住就是50年。如今半個世紀過去，“塔之家”依然那麼前衛，不愧是留名建築史的經典。

In 1966, architect Takamitsu Azuma built a triangular house ? The Tower House, in Shibuya, Tokyo. Although the house has 6 levels, the indoor floorage is only 12 square meters. The Azuma family lived here for 50 years. Half a century later, the Tower House is still an avant-garde building. It’s indeed a masterpiece in architectural history.






建築家 保坂猛
2019年　LOVE2 HOUSE
2015年　LOVE HOUSE


■The 6坪(18㎡) House　2019年　LOVE2 HOUSE　建築家 保坂猛

https://youtu.be/hOyM1DqZOuo


東京市中心18㎡的夫妻之家 The 18㎡ House of a Japanese Couple in the Heart of Tokyo
388,980 回視聴?2019/10/28
3:38
一条
チャンネル登録者数 66.3万人
日本建築師保坂猛，擅長設計小住宅，保坂夫婦在東京市中心的新家只有6坪(18㎡)，大小堪比停車格，但家裡卻放進了300本書、300張黑膠、雙門大冰箱，還有一座露天浴池......為了減少壓迫感，他們在屋頂開出兩扇天窗，使日光、月光照進屋?，“這房子所有東西都比正常尺寸小，但使用上完全沒有困擾，讓我感到非常幸福和滿足。

Japanese architect Hosaka Takeshi is specialized in designing mini-sized houses. The new house of the Hosaka couple located in the heart of Tokyo covers a floor area of 18 square meter, which is not much bigger than a garage. In the house they squeezed in 300 volumes of book, 300 vinyl records, a two door refrigerator… To ease the sense of crowding, they have two curved skylights which let in light day and night, and they have an outdoor bath. “Everything in the house is smaller than the regular size, but they are just as easy to use and that makes me very happy with my life.”






■Yokohama narrow tiny house　2015年　LOVE HOUSE　建築家 保坂猛
　On a site 3.3 meters wide and 10 meters deep

https://youtu.be/6Mzj63TJYn4


Yokohama narrow tiny house "breathes" & attracts local nature
429,310 回視聴?2015/07/27
13:28
Kirsten Dirksen
チャンネル登録者数 110万人
On a site 3.3 meters wide and 10 meters deep, architect Takeshi Hosaka planned a dream home for himself and his wife Megumi. Leaving the ceiling open to the sky, the main space of the home “is not inside and is not outside”. A large tree casts shadows of the sun and moonlight on the wall, birds and rain enter the space and grasshoppers lay eggs here.

Takeshi and Megumi spend most of their time in the open air- only closing the sliding glass walls only during winter. Without the glass, there’s no wall to separate the couple from the elements and a sheer drop to the first floor.

Space in the 38 square meter home is hyper-maximized: the kitchen is wide enough for a counter and a person; the bedroom fits only a futon which folds up during the day; and the bathroom door hits the toilet and doesn’t close all the way. All this is irrelevant when life takes place in a living space with an infinity ceiling and walls.

Takeshi Hosaka Architects:
http://www.hosakatakeshi.com/








■間口2メートルのskinny hous　architects Masahiro and Mao Harada
　原田真宏 + 原田麻魚 / MOUNT FUJI ARCHITECTS STUDIO

https://youtu.be/4fEeh-8OFT8


Tokyo's impermanent skinny house made to age well with owners
6,141,013 回視聴?2017/03/19
12:23
Kirsten Dirksen
チャンネル登録者数 110万人
Inheritance taxes on land in Japan means plots often get smaller as they are passed on. This “divide and sell” phenomenon in Tokyo translates into some very tiny home sites. When architects Masahiro and Mao Harada were tasked with creating a home on a lot only 2 meters (6.5 feet) wide at its narrowest point, they chose to interpret small as “near” and use the small scale to their advantage.

On the narrowest portion of the lot, along the street, they created a “gatehouse”: used as both an entryway and offices for the clients. The lower level is a gallery for the wife’s art, which is mostly, appropriately, very tiny objects. The second floor, accessible only by a small, wooden ladder, houses the husband’s office with walls lined with books and movies (he directs commercial).

Everything in the Gatehouse is within touching distance, and this is important, and a positive thing. Masahiro calls this type of design “peach skin”. “The nearness between the materials and my eye make clear the very small grains, like a peach skin, so the resolution is richer. When you see big things from a distance you can miss details.”

Behind the Gatehouse, the lot opens up a bit to accommodate the rest of the home. To comply with building codes limiting home height, the Haradas chose to build the home a few feet underground. Again, they chose to see this as an advantage, allowing for a partly submerged bedroom and bathroom, that allow one to feel “like an animal” while having a bath in the ground or “like an insect” when lying on the bed, at eye level with the plants.

After the small, intimate room downstairs the completely open, and high-ceilinged, upstairs feels large. Here one wall is dedicated to a kitchen (partly camouflaged behind tan doors and cabinets) and the other to a full-wall bookshelf which is also structural. Masahiro explains the benefits of using vertical shelf supports that are narrow and very close to each other: the material is cheap; it can be brought in by hand; and it can be created without heavy equipment and instead, by skilled craftspeople.

For the interior finish on both the walls and the floors, they used MDF (medium-density fiberboard) both because it is very affordable, but also because it resembles the paper walls in traditional Japanese homes.

“Here we use paper and wooden materials and everything can return to the earth, so the time scale is near, or small,” explains Masahiro. “We are always thinking about scale. Scale isn’t just big or small. Scale is also time. This building has a permanent quality, but it also feels ephemeral. This house lives with people, and dies with people, and that’s a good thing.”

Mount Fuji Architects:
http://fuji-studio.jp/




== FIN ==