Mecenat Art Museum / naf architect & design

Posted on julio 26, 2012 by :: noticias arquitectura ::

Architects: naf architect & design
Location: Hiroshima, Hiroshima Prefecture, Japan
Design Team: Tetsuya Nakazono
Project Year: 2010
Photographs: Noriyuki Yano

Project Area: 99.55 sqm
Site Area: 344.57
Total Floor Area: 191.24

Interview provided by naf architect & design

1a. How did you obtain this project? Who is the client and what did he ask you?

The name of the client is Mr. Kanji KATO who owns a dental clinic in Higashi Hiroshima city and studies Japanese-style painting as a hobby. His teacher is Mr. Kakudo GOAMI, a Japanese-style painter and a honorary president of Hiroshima Japanese-style painting Association, who has received numerous awards. Mr. KATO had been planning a museum of Kakudo GOAMI with the hope of exhibiting the works of Mr. GOAMI to a greater public. Mr. KATO had seen my project, FLAT FORM, a commercial complex built several years ago, and considered that I was a optimal candidate for the architect of the museum.

1b. Is it a private museum or open to everybody? What exactly is on show inside?

This is a museum funded and owned personally by Mr. KATO, but anyone can come and see. All the works exhibited there are those of Mr. Kakudo GOAMI, owned either by the artist himself or Mr. KATO, thus, many of which had not been exhibited in public museums.

2a. Please tell about the design proces. How did you come to this final shape?

The works of Mr. GOAMI give striking image of various lights, thus, I decided to design the building focusing on natural light. Soft diffused light from top light, direct light pouring from top light through white cylinder for condensation of light spreading on the first floor, soft light from slits on the walls reflecting on the exterior green, fragments of graphical lights pouring through 432 plate glasses on the concrete walls; the space is filled with various kinds of lights. As an exhibition space, there was no need for structure such as columns and beams but as large wall as possible. The important factor of the museum was to incorporate natural light and wind, so corners are sliced with slits to the extent which would not interfere the exhibit. This idea would have left the building structurally fragile, so we studied a rational shape, which was structurally stable like folding one sheet of paper, origami, many time to make several corners, with models and three-dimensional structure analysis by computer.

2b. What is the relation between the museumbuilding and its surroundings? What kind of neighbourhood is this museum standing?

The site is found in a calm and peaceful rural scene, where it became completely dark at night with no streetlights. This building is automatically lit up when it becomes dark, softly casting light to the surrounding. It became a landmark of the area.

3. What is the relation between the object on display (Japanese-style painting) and the architectural space?

Please refer to the response of 2a.

4. What makes this museum different from a regular museum?

I focused on taking in as much factors from natural environment as possible in the exhibition space. Artificial lights in the exhibition space are limited to the minimum. The works are basically viewed with natural light which changes throughout the year, giving different impression by the weather of the day and time of the year. The exhibition space is intentionally designed to be susceptible to the natural environment.

5. What impression do you hope the visitors obtain after visiting the building?

I would like the visitors to feel, with their entire bodies, through this building, atmosphere of profundity and gentleness created by the paintings of Mr. Kakudo GOAMI, which is based on noble spirit of Orient in the changes of four seasons unique in Japan.

Mecenat Art Museum / naf architect & design originally appeared on ArchDaily, the most visited architecture website on 26 Jul 2012.

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Glass House for Diver / naf architect & design

Posted on julio 23, 2012 by :: noticias arquitectura ::

Architects: naf architect & design
Location: Etajima-shi, Hiroshima, Japan
Project Team: Tetsuya Nakazono
Project Area: 104.46 sqm
Project Year: 2011
Photographs: Noriyuki Yano

This building is based on a simple system of stacking large concrete blocks of 1.0 m x 1.0 m x 1.5m like building blocks on top of one another to make a structure with big undulation like breakwater or wave-dissipating blocks. These large concrete blocks are manufactured at any cement factory in Etajima city, Hiroshima, at a very low price as excess cement is reused and often used for surface of retaining wall or anchors of rafts for cultured oysters. These large concrete blocks are manufactured from leftover concrete whenever there is an order of concrete at cement factory, as there will always be a surplus, and sold as a product instead of discarding. As concrete blocks are manufactured at such a rate, according to the operation situation of the factories, the construction progressed according to the pace of the manufacture of the concrete blocks. The construction of this building was not based on the time schedule, as in standard construction progress, but waited for the stock of large concrete blocks to continue the work; a “slow architecture” perceived ridiculous in modern construction work.

Groove is cut on the surface of these blocks to have them lifted by cranes. By stacking blocks to make vertical line of this groove, reinforcing steel can be placed through the blocks to secure quake resistance. This method of stacking is made standardized to give variation of direction and intervals; at a place giving view and making passage of the wind and at another place securing the privacy.

Overall composition of the building consists of roof and transparent glass to enclose interior space with the aforementioned concrete block structure. There is no roof over the concrete blocks. Therefore rays of the sun pour over the blocks, and the reflection of the light shines inside the house. Furthermore, vines of various flowers will be planted along the block, changing breakwater-like structure to a hill of flower and greenery in the future.

Plan

Mass of stacked large concrete blocks is far too enormous as a structure of a building, and the silhouette is far from ordinary. The building also has a function of landscape which controls wind, light and green, leading these factors interior and giving freedom to the interior space which exceed the form of conventional architecture.

Glass House for Diver / naf architect & design originally appeared on ArchDaily, the most visited architecture website on 23 Jul 2012.

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Japón: ‘Light Stage House’, Hiroshima – FUTURE STUDIO

Posted on enero 14, 2012 by socializarq

Japón > ‘Light Stage House’, en Hiroshima, diseñada por FUTURE STUDIO – Bunzo Ogawa [designboom]

Casa en Fukawa – Suppose Design Office

Posted on enero 7, 2012 by socializarq

La casa está situada en los suburbios de Hiroshima, Japón y está diseñado por cuatro miembros de una familia con dos hijos.
Debido a que hay una gran cantidad de tráfico en toda el área, se consideró una casa cerrada desde el exterior.

La gente puede sentir un lugar más grande cuando no pueden saber el tamaño de éste, lo mismo sucede con el océano y el cielo. En otras palabras, la gente piensa que un espacio es grande cuando sintió el área como si continuara para siempre.

Hay una escalera en el centro de la casa, rodeada por las paredes como si fuese otra construcción, construída hasta el techo. Se destaca como el núcleo principal de la casa. Los espacios están ubicados al azar con varios niveles y ángulos.
El interior de las habitaciones dan la sensación de estar en un árbol con hojas o en una cueva en la montaña.

Por otra parte, en la parte superior, cada habitación también puede reunir a las personas como si fuesen terrazas.

La casa está separada del ambiente exterior, sin embargo dentro de la casa se crean espacios que continúan para siempre con el centro de la construcción como un gran árbol. Creemos que los residentes puedan disfrutar de vivir en la casa con un confort como en un entorno de natural, que la gente puede sentir e imaginar la magnitud del espacio.

Arquitectos:Makoto Tanijiri / Suppose Design Office
Ubicación: Hiroshima, Japón
Área proyecto: 50 m2
Año proyecto: 2009 – 2010
Fotografías: Cortesía de Suppose Design Office

Casa Toda | Kimihiko Okada

Posted on diciembre 29, 2011 by socializarq

Con sede en Tokio la oficina kimihiko okada ha completado recientemente la mac as Toda, una vivienda unifamiliar en Hiroshima, Japón. Colocado en una posición como un nido de pájaro, esta vivienda se levanta sobre pilotes para acentuar panorámicas al mar interior y horizonte en la distancia al techo de una casa vecina. Situada en el borde de una zona residencial, los pisos interiores elevados aumentan la seguridad, dejando espacio para los habitantes para abrir una pequeña tienda de debajo de la casa en el futuro. Rodeada de una serie de columnas de acero inclinadas, un patio con un camino de entrada, área de juegos y jardín se sitúa por debajo la estructura.

Acceder a través de una escalera de acero exterior, el interior se abre a la vista y está protegido contra el medio ambiente urbano. Una disposición lineal se crea como la circulación en espiral a través de los espacios de vida que envuelve alrededor de un vacío central. Una suave inclinación de la pared oculta una serie de pasos que pueden acomodar a las plataformas en aumento, mientras que una escalera adicional se conecta directamente a la más baja y más alta losas de piso.

Japón: Toda House, Hiroshima – Kimihiko Okada

Posted on diciembre 18, 2011 by socializarq

Japón: > Toda House, en Hiroshima, diseñada por Kimihiko Okada [Kimihiko Okada] fuente > dezain.net

AD Classics: Hiroshima Peace Center and Memorial Park / Kenzo Tange

Posted on agosto 29, 2011 by socializarq

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Photo by hairyeggg – http://www.flickr.com/photos/hairyegg/

On August 6th, 1945, a B-29 bomber dropped the first atomic bomb in history over Hiroshima, Japan, targeting the intersection of bridges over the Honkawa and Motoyasu rivers. The bomb devastated Hiroshima within a radius of 5 km, resulting in 140,000-150,000 deaths by December of that year. Kenzo Tange was commissioned with the challenge of designing the reconstruction of Hiroshima. By designing the Hiroshima Peace Center and Memorial Park, Tange expressed the solidarity of human kind as well as symbolizing a commitment to peace. More after the break.

An undeniable Modern style is expressed in one of Kenzo Tange’s first buildings in the postwar period. Inevitably suggesting Le Corbusier influences, the museum is supported on pillars, like Le Corbusier’s patented piloti. Furthermore, the building is articulated with reinforced concrete, a natural convention of Corbu. Tange loved what Le Corbusier represented and was convinced that Japanese architecture would become enormous in scale, pursuing that large architecture built in social human scale was in demand.

Photo by faithmonsoon – http://www.flickr.com/photos/faithmonsoon/

Tange combined Le Corbusier’s five points with elements drawing from Japanese traditions, such as the sun-screens and the modular arrangement of the facade. Moreover, the parabolic shaped sculpture in the garden resembles a saddle, evoking the way of the Haniwa, the habitual tombs of former rulers of Japan.

Photo by RinzeWind – http://www.flickr.com/photos/rinzewind/

Inside, the museum succeeds in transporting the visitor into the catastrophe of the blast. The exhibition ranges technical data about the bomb to dramatic testimonies of victims, all in theatrically prepared halls.

Hiroshima made it a rule to continue using the building as much as possible by maintaining it properly. Most modern Japanese architecture built in the 1950′s has been demolished, but this building still survives, pioneering all modern architecture in Japan. The best way to know the real value of the park is to attend the Peace Memorial Ceremony, held on August 6th each year. The ceremony attracts a variety of politicians, religious organizations, and artists.