山田誠一建築設計事務所

Illustrations at Prismic Gallery｜プリズミックギャラリー図版

House in Nishichiyoda-cho｜西千代田町の家｜2021

静岡市の中心部、駿府城へ続く街区の住宅地に建つ自邸の計画である。築城の際に資材運搬に利用した小川が近くを流れ、蛙の鳴く田園が残る。伝統的な日本家屋への尊敬から、開放性と奥を起点として様式や伝統を更新し、郷愁に陥ることなく、これからの日本の家の構築を試みている。

3×6間角の外周面に柱を900mmピッチで立て、切妻屋根の形状に結ぶ．1,800mmピッチに組んだ平たい格子梁を900mmずつ左右にずらして積層させ、梁架構をつくる。材のすべてを90mm角ヒノキ材としてコストの合理性を図り、柱材を抱き合わせることで、断熱層を設けつつ細長比をクリアする。こうして、階段室を中心としたワンルームに土間を含めて4つの床が生まれ、架構は建物内部に雲のように浮かぶ躯体となる。

3×6板を基準とした縦3層の壁は水切りと窓の役割を果たし、段状の陰影が外観の輪郭をつくる。壁を閉じると、前面を通過する人、揺らぐ植物、水盤などが、銀色の外壁に反射して浮かび上がり、家の存在を滲ませる。内部では階段室により各階の床が垂直に繋がり、架構を通過した小さな光が土間を照らす。壁を1枚開くと、外観に暗い穴のようなものが現れ、内部にはひと筋の鋭い光が差し込む。壁をすべて開くと、土間は街と連続し、水盤を反射した光が上部の架構に揺らめく。壁の開閉によって内や外から見えるものが切り替わる。その繰り返しによって、壁の向こう側にある見えないものを表象させるこの家は、どこか寺院のようでもある。朝夕、僧侶が建具を開閉することで領域が変化するように、日々のささやかな営みが、街角と暮らしをつくる。

This is a project for the architect’s own house, located in a residential district in central Shizuoka, on an urban block leading towards Sunpu Castle. A small stream, once used to transport materials during the construction of the castle, flows nearby, and traces of rural fields where frogs still call remain in the area. Out of respect for the traditional Japanese house, the project seeks to renew its forms and conventions through the ideas of openness and spatial depth, and to construct a house for contemporary Japan without falling into nostalgia.

Columns are set at 900 mm intervals along the perimeter of a 3-by-6-ken rectangle and are brought together beneath the form of a gabled roof. Shallow lattice beams, arranged at 1,800 mm intervals, are stacked in layers, each shifted 900 mm to the left and right, to form the roof structure. All members are made from 90 mm square hinoki timber in order to achieve a rational cost balance. By pairing the column members, the structure provides an insulation layer while satisfying the required slenderness ratio. Through this system, four floor levels, including the doma, are formed within a single-room space centred on the stairwell, while the timber frame becomes a cloud-like structure floating inside the house.

The walls, composed of three vertical layers based on standard 3-by-6 panels, serve both as weathering elements and as windows, creating a stepped shadow that defines the outline of the exterior. When the walls are closed, passers-by, swaying plants and the water basin appear as reflections on the silver exterior, allowing the presence of the house to emerge softly. Inside, the stairwell connects the floors vertically, and small fragments of light passing through the timber frame illuminate the doma. When one wall is opened, a dark aperture appears in the exterior, and a sharp line of light enters the interior. When all the walls are opened, the doma becomes continuous with the street, and light reflected from the water basin flickers across the structure above. As the walls are opened and closed, what can be seen from inside and outside is continually transformed. Through this repeated act, the house begins to suggest what lies beyond the wall, becoming, in some sense, like a temple. Just as the opening and closing of fittings by monks in the morning and evening changes the territory of a temple, the small rituals of everyday life shape both the street corner and the life within.