东京郊区“外环境”住宅，打造共享室外空间_家装空间_设计案例作品

发布时间：2012-07-20 05:36:00 {{ caseViews }} {{ caseCollects }}

设计亮点

利用建筑布局，打造一楼开放有遮阴的院子，与周围环境紧密协调，形成独特的共享室外空间。

这是位于东京郊区的一个三口之家。建筑濒临一条河，周围是密集的住宅区。这个项目希望在这样的密度之下探讨建筑与外部空间的关系。

不局限于常规，建立起一系列大大小小的与周围协调的开放的“外环境”，这里是共享的室外空间，有着自然光和流通的风。避免将这样的空间形成如同道路般的过境空间，这个空间不是房屋周边的剩余空间，而是建筑本身的组成部分，并积极有效的影响建筑。建筑布局是一楼的三个卧室和入口分别位于4个小体量建筑中，这四个小体量建筑将起居室和餐厅空间挑至2楼，空开的一楼空间(“外环境”)是一个开放的有遮阴的院子，这个院子又与一楼四个小体量建筑形成的小外院相联系，进一步再与外面的大公共环境联系。这个外环境介于内部和外部之间，是建筑师所设想的未来日本郊区建筑的一种走向。这种出现在住宅区和单个房子之间的“外环境”是必然的。

▼建筑濒临一条河，周围是密集的住宅区。

Portico

Aida Atelier + Kuno Lab.

This is a house for a family of three in a residential neighborhood of suburban Tokyo. Surrounded by properties subdivided through generations of time, this site maintains its original state. Albeit having plenty of land relative to others, six different adjacent properties with homes built tightly to the boundary leaves the project site with a condition, which limits the project from fully enjoying the advantage of having a deep street frontage with the river. Such meticulous condition of uneven contextual grain at a time of transition from continuing growth and expansion, it shall undoubtedly be emerged in mass in the residential neighborhood. As such, the theme for this project is the approach to architecture and exterior space that receives undulating peripheral density.

Here, three rules particularly regarding the exterior space were set. The first rule is to not confine itself from its surroundings. Instead of self concluding within the property unit much like a courthouse, create a coordinated environment with adjacent exterior space of large and small, buffing those varying density while sharing the spatial openness, circulating air, and natural light. Next rule is to avoid creating a cul-de-sac. In other words, having an exterior space free from stagnation that also partially takes on an important visual and physical element of the project. This space is not a residual space of the inside, but an active part of the house that simultaneously exists as an integral section to the neighborhood. Finally, the last rule is to conceive this exterior space as a volume, and not a plane. Re-conceiving the space typically left blank in upper floor plan drawing as a conceptual “garden”, it materializes the external space forming another invisible volume within the property.

What these three rules deduce to is a layout and a form with an approximating interior and exterior air volume that alternate in both horizontal/vertical dimensions. The naming has obvious connections to the classical style it originated. The reason for using the urban vocabulary is in our anticipation towards to the future outcome of a suburban residential area in Japan. It is no coincidence if the exterior form appears to be an intermediate between a single house and a housing complex. (Tomoro Aida + Toshimitsu Kuno)