An intricate three-dimensional lattice of narrow timber slats forms a cloud-like mass around the exterior of this pineapple cake shop in Tokyo by Japanese architect Kengo Kuma (+ slideshow).
Kengo Kuma and Associates was asked by cake brand SunnyHills to come up with a shop design that mirrors the careful preparation of the company’s trademark pineapple cakes, so the architects developed a volume modelled on a well-crafted bamboo basket.
Over 5000 metres of wooden strips were used to construct the precise 3D grid that wraps around around the outer walls and ceiling of the three-storey building. Some pieces were cut shorter than others, revealing multiple layers and reducing the overall linearity.
“Our aim was to create a forest in the busy city centre,” said Kengo Kuma. “We studied how lighting states would change in a day in the woods, and came up with a shape like a basket.”
The narrow slats are arranged at angles of 30 and 60 degrees, creating hundreds of diamond-shaped hollows, and were assembled by local Japanese craftsman.
“I consider that wood joints without glues or nails are the essence of Japanese architecture,” added Kuma. “What is characteristic about SunnyHills is the angle of the lattice; unlike the conventional 90 degrees, we tried 30 degrees and 60 degrees to combine the pieces.
“By designing with these varied angles, we were able to achieve a shape and a frame that evokes a forest,” he added.
An opening at one corner leads visitor into the shop, which occupies the two lower floors of the building. An assortment of differently sized staircase treads form a route between the two floors and are flanked by sprouting foliage.
Cork tiles provide flooring on the first floor, where the architects have also added a kitchen. The cork surface continues up to the level above, which houses a meeting room and staff office.
Here’s a project description from Kengo Kuma and Associates:
SunnyHills at Minami-Aoyama
This shop, specialised in selling pineapple cake (popular sweet in Taiwan), is in the shape of a bamboo basket. It is built on a joint system called “Jiigoku-Gumi”, traditional method used in Japanese wooden architecture (often observed in Shoji: vertical and cross pieces in the same width are entwined in each other to form a muntin grid). Normally the two pieces intersect in two dimensions, but here they are combined in 30 degrees in 3 dimensions (or in cubic), which came into a structure like a cloud. With this idea, the section size of each wood piece was reduced to as thin as 60mm×60mm.
As the building is located in middle of the residential area in Aoyama, we wanted to give some soft and subtle atmosphere to it, which is completely different from a concrete box. We expect that the street and the architecture could be in good chemistry.
Chunky wooden columns and beams support the sloping timber ceiling of this small pharmacy by Japanese studio Ninkipen! in the city of Ogaki (+ slideshow).
Osaka architects Ninkipen! designed the pharmacy for a plot in front of a hospital and chose to let the building’s facade signal its presence to patients, rather than employing typical neon signs.
“We considered how the architecture itself could become a symbol in the town, but unlike other pharmacies filling the streets with big, showy graphic signage,” explained the architects.
The underside of the building’s long pitched roof is clad in timber to create an expansive, warm surface that can be seen through the full-height windows and is intended to welcome visitors entering the pharmacy from the street.
The roof’s low eaves correspond to those of neighbouring buildings, while grass planted on top will eventually cover the entire surface.
A skylight in the middle of the ceiling brings additional daylight into the reception area, as well as to a raised walkway beneath the roof on the upper storey.
The exposed wooden trusses supporting the roof contrast with black metal bracing rods and the black electrical cords from which bare pendant bulbs are suspended.
The dispensing desk is also clad in timber to maintain a consistency of materials throughout the interior.
Photography is by Hiroki Kawata.
Here’s a short project description from Ninkipen!:
O Dispensing Pharmacy
This is a new construction for a pharmacy in front of a general hospital.We considered how the architecture itself could become a symbol in the town, but unlike other pharmacies filling the streets with big, showy graphic signage.
A single sloping roof you can see from the street is made of timber and it will be completely covered with grass in a few years. We lowered the edge of the eaves like the surrounding eaves and made the ceiling continue from there to the second floor with a truss with steel diagonal rods. You can look around to the sky on the other side when you enter the pharmacy.
We think the warm timber ceiling on the back of the roof will gently greet the people coming in for medicine. We are happy if citizens remember this as ‘the Wood Roofed Pharmacy’ and for them this becomes a virgin landscape of pharmacy.
Architect: Yasuo Imazu / ninkipen! Stractual engineer: Yosiki Mondo Use: dispensing pharmacy Location: Ogaki city, Japan
Site area: 177.00m2 Building area: 106.50m2 Total floor area: 172.14m2
Japanese architect Shimpei Oda has reworked the dark interior of a humble 1920s house in Kyoto to bring natural light into living spaces and create a small gallery that opens to the street (+ slideshow).
With a width of just 4.1 metres, House in Shichiku is typical of the long and narrow houses built in many of Japan’s dense urban districts, nicknamed “eel beds”, and the challenge for Shimpei Oda was to work out how to bring daylight inside.
“Because the next building was way too close, the inside of the house was so dark, even in the daytime,” said Oda.
The two storeys of the house were re-planned to ensure each of the main rooms received natural light, whether from a window or through openings in the walls or ceilings.
According to Oda, the house had suffered several poor quality renovations in the past, so missing walls and pillars had to be replaced.
“The existing structure was arbitrarily shifted and newly inserted structures and reinforcements were painted with white colour,” he said.
The small gallery is located on the ground floor and is fronted by a square grid of nine windows, some of which fold open to provide a direct access from the street.
The main entrance sits alongside and leads through to a generous open-plan space that functions as a living room, dining space and kitchen.
Bathroom and toilet facilities were considered least in need of natural light, so are grouped together in the space between the living room and gallery.
A lightweight steel staircase with a zigzagging profile leads directly up to a home office with bedrooms on either side. Exposed wooden columns and joists support the roof, while large openings help to bring light through each space.
Photography is by Shinkenchiku-sha.
Here’s the project description from Shimpei Oda:
House in Shichiku
This was the renovation of a house which was built in the 1920s and the house was surrounded by old rows of houses. The house with a frontage of 4.1 metres and depth of 12.8 metres was like so-called “sleeping places of an eel”.
Because the next building was way too close, the inside of the house was so dark even in the daytime. The house had been illogically renovated at several times before so that important pillars and walls were missed.
A resident hoped to live with furniture and paintings. A studio, sanitary, and home office were inserted as volumes of the structure. Those intended not only to reinforce the house but also to softly divide spaces to up and down and left and right.
The whole image was glimpsed from openings and slits which were widely opened and the volumes itself were painted with white colour so that the texture could visually stand up to indicate the depth and extent.
The front of the studio opened to alley was changed from a shutter to windows. To change to the well reflective material of lean-to roof, it functioned as a reflector and could get the natural lightning to the inside so it diffused to bright all. Also, it was concerned the transition of brightness by time.
The existing structure was arbitrary shifted and newly inserted structures and reinforcements were painted with white colour. Those were created the context of time but functionally which meant to indicate those things mixed naturally without any conflicts. The softly divided space may be able to use by any discoveries for the living, studio, and home office as extension with the factor of furniture and paintings which may increase in the future.
Project name: House in Shichiku Location of site: Kyoto, Japan Site area: 83.50 sqm Building area: 53.60 sqm Total floor area: 91.00 sqm Type of Construction: wood Program: house
Yo Shimada of Tato Architects decided to base the two-storey House in Kawanishi on the archetypal Australian dwelling known as “The Queenslander” after coming across photographs of the buildings in construction.
“Since then, I have been interested in the form of this style of house,” said Shimada, explaining how he was later able to visit Australia and see the houses for himself. “It’s a design solution that mirrored my own thinking,” he added.
The stilted structure of the house, comprising a system of exposed steel I-beams, allowed Shimada to recess part of the ground floor to allow ample room for a public walkway that runs alongside the property.
The first floor still continues to the edge of the site, sheltering part of the walkway but also framing the house’s entrance lobby – a transparent glass box containing a cabinet for storing shoes before entering.
According to Shimada, this space is intended to highlight the boundary between the public space of the walkway and the privacy of the domestic interior. “It sits reminiscent of a bus stop containing furniture brought there by neighbours,” he said.
Square in plan, the house has a non-symmetrical grid that defines the sizes of rooms contained within. Living, dining and kitchen areas occupy a large open-plan space on the ground floor, but are loosely separated by a boxy white bathroom.
Two large voids in the ceiling allow views up to the floor above. One of these openings also functions as a stairwell and ascends up over a storage area at the front of house.
A landing halfway up the stairs creates a sunken seating area for a study above, allowing the floor surface to be used as a desk.
The entire first floor is lined with lauan plywood. Internal windows allow views between rooms on this level, while skylights bring extra daylight in through the sloping roof above.
The house’s balcony stretches across the entire south facade. A garage is positioned underneath and can be accessed by sliding back an industrial metal door.
Concrete-block walls with occasional perforations enable a system of natural ventilation, with hot air released through a chimney at the rear.
Photography is by Shinkenchiku-sha.
Here’s a project description from Tato Architects:
House in Kawanishi
Layered Boundaries
The project presented an unusual challenge: A public walkway ran adjacent to the western boundary of the house. It narrowed awkwardly from a three metre-wide road on approach from the north to a mere seventy centimetres on the eastern border to the southern corner of the site. If walls had been built to the boundary of the site to protect the residents’ privacy from the many passers-by who used this path, the path would narrow oppressively and become more difficult for the area’s residents to use.
Instead, the ground floor was set back from the boundary to give space to the path and to give the impression that the full width of the path continued through. Then the second floor of the house was built back over the path, out to the boundary of the site and its border with the road. There is a glazed entrance area containing a shoe cabinet that appears to sit beyond the border between the public and private spaces. It sits reminiscent of a bus stop containing furniture brought there by neighbours.
This theme of crossing borders between road and site is carried through the entire house design. Using the line of the neighbour’s concrete block wall, a new block wall has been built through to the south, crossing an interior space to become the wall of a storage space. This harnesses the height differences originally found in the site.
The area above the storage space then forms a landing for the stairs, and the level of the first floor has been adjusted to function as a desk sitting over the landing. This creates a space that is partly a border between a floor and partly a desk. Seen from the street, the ground floor, the first floor, and the interior and the exterior all appear to cross over.
The interior walls of the upper volume are all lauan plywood, which creates a singular space that lives in clear contrast to the ground floor, which contains a variety of materials and features. The whole design suggests an evolving living space with features that appear to cross beyond boundaries yet control them at the same time.
Gaining anonymous knowledge
The house style called a “Queenslander” is a stilt house with a wooden structure and a balcony design specific to Queensland in Australia. While some researchers in Japan have studied it, I had little knowledge of it until I encountered photographs of Queenslander houses being lifted during their conversion and renovation from one to two-story structures. Since then, I have been interested in the form of this style of house.
By a curious coincidence, last year I received a request from an Australian man to design his house. I flew there in June in 2013 for the site research, where I found the city space was surprising. Most of the Queenslanders I saw had hipped roofs with overhangs that covered all of the exterior space of the house. These roofs were clad in corrugated iron, painted white or silver to reflect the heat. To facilitate ventilation, which is normally difficult with a hipped roof, ventilators were installed on top. During their conversion to their two-storey form, various additional house features were being built in under the lifted volumes.
It’s a design solution that mirrored my own thinking in the design of this house, which was under construction at that time. While I design my architecture, I am sometimes encouraged by the knowledge I gain from anonymous predecessors who have had to deal with similar matters beyond time and regions. It is a wonderful moment to be able to touch an unbroken line of history in architecture and accumulate knowledge from it.
The plan is defined by a grid, with four squares slightly shifted off centre, and a modified square hipped roof formed by raising it at the centre. The simple, slim rigid joint frame structure consists of 125mm×125mm square steel columns and 200mm×100m H section steel beams. It realises its strength through its stiffness, by the low ceiling height and by the column bases buried in the foundation.
On the edge of the eaves, small section flat steel pipes are inserted to channel the steel rafters around the structure. The concrete block wall on the ground floor stands without counterforts through the support of flat steel bars inserted into some of the block holes.
Location of site: Hyogo, Japan Site area: 120.54 sqm Building area: 59.84 sqm Total floor area: 107.73 sqm Type of Construction: steel Program: house Project by: Tato Architects Principal designer: Yo Shimada Structural engineer: S3 Associates Inc.
This Tokyo house by Japanese office Atelier Tekuto features a huge triangular window that angles up over the rooftops of surrounding houses to bring daylight in from above (+ slideshow).
The four-storey house is located within one of the city’s many dense residential areas, so Atelier Tekuto tried to make the most of natural light by framing a view of the sky and clouds, hence the project title Framing the Sky.
“We realise that skylights are the most important openings in urban houses,” said the architects. “It is because the sky is the only element of nature left in the urban context, and the skylight serves as an interface between people and nature.”
The huge window is positioned above a double-height living room on the second floor. It is set at an angle to bring light right across the space, and through to a kitchen and loft bedroom just behind.
“When you stand under this large skylight, you feel plenty of sunlight showering onto your body,” said the architects.
The two lower levels of the house both meet the ground, which allowed the architects to separate the main entrance from the garage access.
A small study sits behind the garage and has a ceiling of glass blocks to bring light in from above. These become the floor of the entrance corridor, leading residents through to a staircase that features wooden treads and a balustrade made of vertical pipes.
Wooden joinery features throughout, from the shelves and cupboards in the kitchen to desks, sideboards and seating areas elsewhere in the house.
This house is situated in an urban residential district at Aoyama in Tokyo. The polygon-shaped site has a 2.7 meter gap therefore we located the garage entrance on the basement floor on the south side and the main entrance to the house on the first floor on the west side.
The program requested by the clients are as follows; garage and bicycle parking space on the basement floor; main entrance, bathroom and master bedroom on the ground floor; Living room /dining space with kitchen on the second floor; and children’s room in the loft space. The main design concept of this house is “framing the sky”.
We focus on the relationship between nature and people in the city. We realise that skylights are the most important openings in the urban houses. It is because the sky is the only element of nature left in the urban context, and the skylight serves as an interface between people and nature.
The volume of the house is decided according to height restriction lines, and the size of the skylight is determined according to the maximum glass size.
When you stand under this large skylight, you feel a plenty of sunlight showering onto you body. It makes you feel that you are a part of nature in this blue urban sky.
Location: Tokyo, Japan Building use: private house Site area: 69.15m2 Building area: 38.72 sqm Total floor area: 77.44 sqm
Construction: Reinforced concrete (basement) + steel Architectural design: Yasuhiro Yamashita – Atelier Tekuto Constructional design: Jun Sato – Jun Sato Structural Engineers Construction management: Takahiro Watai – Nissho Kogyo Co.Ltd.
This house by Japanese architect Shogo Aratani clambers over a steep rocky site in Hyogo, so it was named Krampon after the spiky devices that strap onto shoes to improve grip for climbing (+ slideshow).
Shogo Aratani designed the two-storey house for a site with an 11-metre change of level from front to back, so he divided the building into a series of blocks that stagger up to follow the slope of the hill.
“We decided to place volumes along the sloped ground to minimise excavation,” said the architect. “We designed the spatial sequence in relation to the landscape by placing three volumes along contour lines.”
The three rectilinear volumes fan out around a triangular central section that accommodates the houses’s main staircase, but which also functions as a small library. Books can be stored on shelves around the three edges of the space, as well as within the gaps between treads.
The living rooms are all positioned on the upper floor of the house to offer the best views of the surrounding neighbourhood, and open to a large wooden roof deck.
A skylight above the living room reveals the branches of a camphor tree and cherry tree at the top of the site, while the kitchen features a stainless steel countertop and glass doors leading out to a narrow balcony.
Black powder-coated metal panels clad the exterior walls. There’s also a concrete retaining wall framing a driveway at the lowest level of the site.
Photography is by Yutaka Kinumaki.
Here’s a project description from Shogo Aratani:
Krampon
This is a residential area where the magnificent nature still remains. The site is situated on a sloped land among natural forest. Two large trees with beautifully shaped branches (one is a camphor tree and the other a cherry tree) stand on top of the site. These trees are integrated into the residential design.
The entire site is steeply sloped, and the gap between the top and the bottom is as large as approximately 11 meters. And the ground composed of a rock bed is extremely hard. Considering these landscape conditions, we decided to place volumes along the sloped ground to minimise excavation.
In order to provide the best view, the main spaces are located on the top floor and the other interior spaces are connected along the slope down to the street level. We designed the spatial sequence in relation to the landscape by placing three volumes along contour lines.
The upper volume is placed right underneath the two large trees. A skylight is provided in the living room to see the trees above. The volume on the north is allocated for bathroom. The volume on the lower level contains private rooms on the first floor and a wood-decked terrace on the roof, accessible from the living room. We place stairs with the same inclination as the ground at the intersection of the three volumes. The stair space is used as a library, while the stairs are designed to accommodate a large number of books.
By designing the three volumes along the landscape, diverse activities are generated and one can enjoy unique spatial sequences as they are.
A sizeable volume of rock was excavated upon construction of the garage, and it is reused as exterior finish on pavements and steps along the entryway.
Location: Hyogo, Japan Principal Use: House Structure: timber frame Site Area: 360.35 sqm Building Area: 104.53 sqm Total Floor Area: 136.65 sqm (84.05m2/1F, 52.60m2/2F) Structural Engineer: S3 Associates Inc. Construction: Amerikaya Co.,Ltd.
Aside from increasing luminosity and battery life, there is seemingly little room for innovation in headlamp design—the essential utility piece for camping, backpacking and adventures of the like. Leave it to Japan’s purveyor of intelligent outdoor products ); return…
When it comes to backpacks, often basic is best. And, in the case of the Nanamica Cycling Pack, neither bells nor whistles were needed to enhance the bag’s intelligently refined…
A bulky concrete apartment appears to hover above the glass roof of a patisserie at this combined home and workplace in Chiba Prefecture by Japanese studio Yuko Nagayama & Associates (+ slideshow).
Yoko Nayagama & Associates designed Katsutadai House to accommodate both the home and business of a family, but wanted the different functions to appear as two separate entities.
To achieve this, the architects recessed the middle floor of the three-storey building, creating a large void between the patisserie and the living and dining room of the apartment above.
They then added a glass roof over the patisserie and a window in the floor of the living room, allowing light to enter the building and letting residents peer down to catch a glimpse of the activities taking place below.
“During the daytime it will be a lightwell for a patisserie, and at night time the lights leaking from this aperture make it look like a treasure box has been opened,” explained the studio.
While the upper level has a windowless facade of exposed concrete, the walls of the patisserie have been rendered white to create a marbled effect.
Wooden doors slide back to invite customers inside the shop. A serving counter runs along the back wall of the space, while a kitchen and food preparation area are tucked away at the back.
A separate staircase leads up to the residence above, where a master bedroom and bathroom comprise the small first floor. The childrens’ room and extra bathroom are located above.
Yuko Nagayama & Associates sent us this project description:
Katsutadai House
A dwelling with shop at Katsutadai, Chiba prefecture, Japan. The outer part of 1st floor is a patisserie and the inner part is a cuisine, 2nd and 3rd floor is a dwelling for a family of four people. This house has an aerial wedge in between 1st and 3rd floor, so that the upper part of dwelling is looks like floating above a patisserie as a view on street.
This aerial wedge will be changing its character as the photic layer with different times – during the daytime it will be a light-well for a patisserie, and the nighttime the lights leaking from this aperture look like a treasure box is opened. And we can see a sole of dwelling volume in a patisserie based on its transparent glass roof. The wall of shop along the street is planned to 1.8 metres height and it is gradually being higher toward the inside. That is based on our intention to create a familiar open space like an empty-lot where is just surrounded by low wall.
This house has an inter-observing relationship between a shop and a floating dwelling space that makes different independent existence in a single building simultaneously. Each space has a particular sense of distance to the surrounding environment.
A shop space is a kind of continuous exterior with the street scape where is only surrounded by low wall. And a dwelling space is more separated form the surroundings where is floating above the street and has non-openings along the street, so that dwellers cannot see other houses directly and vice versa.
Additionally, we put a kind of wind-path in a dwelling part that brings the wind and the sounds form the outside to the inside space, and then dwellers can be feel an atmosphere of the street. When we went their previous house for the first time (1st floor was a shop and 2nd floor was a dwelling), a curtain is closed due to concerning about the eyes from street, and they also troubled with the noise of their child’s footstep form upstairs to patisserie. Therefore, we also attempted a solution of those problems in the schematic design.
The approach is planed to have an attractive appearance with long length to change the mood between a shop and a dwelling. We intended to change a sense of distance to the surroundings with the situations – such as high public patisserie space and more independent dwelling space, and those senses of distance change the flow of time between the spaces in their life.
The latest project to complete in Toyo Ito‘s Home For All community rebuilding initiative is this timber and concrete pavilion in a Japanese fishing village, designed by Kazuyo Sejima‘s protégé Yang Zhao (+ slideshow).
Home For All in Kesennuma is the ninth building in the Home For All project, which was initiated by Japanese architect Toyo Ito just days after the 2011 Tōhoku earthquake and tsunami hit Japan, and involves the construction of new community buildings in the worst-hit areas.
Photograph by Jonathan Leijonhufvud
Under the supervision of SANAA principal Kazuyo Sejima, Japanese Chinese architect Yang Zhao designed his building for the coastline of the Kesennuma fishing community in north-west Japan, creating a structure that can be used as a market hall, a meeting place or a performance area.
Photograph by Jonathan Leijonhufvud
“It’s a shelter in which fishermen can take a rest, a place where the wives would wait for their husbands to return with the catch and sometimes a marketplace,” explained Zhao.
Photograph by Jonathan Leijonhufvud
The structure was built with a hexagonal plan. Concrete walls support a large pitched roof and also frame a trio of wooden platforms that accommodate different activities.
Photograph by Jonathan Leijonhufvud
The first platform accommodates a kitchen and can be enclosed behind sliding glass doors. The second is based on the engawa, a traditional Japanese veranda, while the third includes both toilet facilities and a seating area.
Photograph by Jonathan Leijonhufvud
A multi-purpose space at the centre of the pavilion is exposed to the elements and features a timber-lined ceiling punctured by a large triangular skylight.
Photograph by Jonathan Leijonhufvud
“At night, the building glows warmly from within, like a lighthouse, waiting for fishermen to come back from the sea,” said Zhao.
Photograph by Jonathan Leijonhufvud
The floor inside the pavilion is set at the same level as the surrounding pavement so that forklift trucks can drive into the building on market days.
The home-for-all in Kesennuma is designed and built as a gathering space for a fishing community that severely suffered from the Tsunami in 2011. It is located at Kesennuma’s Oya fishing harbour that serves as a centre for the local fishing activities and community life. It’s a shelter in which fishermen can take a rest, a place where the wives would wait for their husbands to return with the catch and sometimes a marketplace.
Kazuyo Sejima and Yang Zhao at the launch event – photograph by Jonathan Leijonhufvud
Most part of the space opens to the exterior. A roof, supported by 3 “rooms”, covers an area of 117 square metres. At the centre is a triangular-shaped hole in the ceiling that allows people to gaze directly at the sky. The “rooms” with lifted benches are oriented toward the centre and, at the same time, towards views of the surrounding landscape through the three entrances from different sides. The kitchen room is glazed by glass sliding doors and can be slide open in pleasant weathers. The room nearest to the water can be enjoyed as an engawa (a space underneath the eaves, an important space for Japanese architecture and daily life). The toilets are accessed and ventilated from the outside, while oriented towards the centre and the sky through the slanted glazing. The surrounding ground will be paved to the same level as the space inside, allowing forklifts to enter in market hours.
Photograph by Hisao Suzuki
The elemental geometry of the roof creates a dome-like space underneath. Together with the plywood (Japanese cypress) materiality, it generates a warm and protective atmosphere. At the same time, the transparency of the supporting structure creates an open and welcoming character. At night, the building glows warmly from within, like a lighthouse, waiting for fishermen to come back from the sea.
Photograph by Hisao Suzuki
The project was the collaboration between architect Yang Zhao and his mentor Kazuyo Sejima during the 6th cycle of the Rolex Mentor and Protégé Art Initiative. The architects had three workshops with the local community to discuss about the design and get their approval to build. The completion and transfer ceremony took place on Oct. 27, 2013. The photos were taken on the ceremony day.
Photograph by Hisao Suzuki
Architect: Yang Zhao Advisor: Kazuyo Sejima Local Architect: Masanori Watase Design team: Ruofan Chen, Zhou Wu Structural engineering: Hideaki Hamada Site supervision: Takezou Murakoshi
Photograph by Hisao Suzuki
Client: People of Ohya district in Kesennuma-city, Miyagi prefecture, Japan Site area: 419.21m2 Built area or Total floor area: 93.45m2 Cost: 10,0000 euros Design phase: Dec 2012 – Jun 2013 Construction phase: Jul 2013 – Oct 2013
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