Between House and JOHANA
The sequence of environment and the sequence of architecture.
A young couple decided to move to the Jonhana area of Nanto City, purchasing a 50-year-old private house to renovate, with a view to running a guesthouse in the future. Nanto City flourished as the gateway to Zentokuji Temple and still retains its historical townscape. The road from the station to the private house was impressive. Passing through a street lined with machiya houses, we climbed a slope, passed the gate of Zentokuji Temple with its beautiful wood carvings, and walked down a narrow alley. One sees a succession of quaint houses, old silk textile factories, and the surface of the river, and suddenly one's gaze is drawn to the mountains in the distance. The idea was to create an architecture that is connected to this varied sequence.
The house was uninsulated, had large areas of glazing, and had deteriorated over time. The first-floor renovation, which involved retrofitting the house with insulation and to be earthquake resistant, was designated as a living space for the couple and common area for the future guesthouse. The couple plan to renovate the second-floor to house guest rooms in the future.
In order to retrofit the building with insulation and to be earthquake resistant as effectively as possible with a limited budget, we decided to leave the exterior walls as untouched as possible and renovate the interior. The interior, worn with the traces of daily life, was redone. The external tin walls had developed a patina, blending in with the landscape. This quality was retained and integrated into the house renovation.
The existing aluminum sashes, which had poor insulation properties, were replaced with bay windows of the same size. By using bay windows, the glazing area can be reduced and the interface with the existing exterior wall can be simplified. The triangular shape of the bay window faces the surrounding environment from various angles and expands the interior space. As a result, new functions were discovered in the relationship with the surrounding environment, such as the showcase facing the approach, the headboard of the bed with a view of the old city, the bench in the dining room connected to the garden path, and the veranda with a distant view of the mountains. These functions seek to establish "ways of doing things that are unique to this place" that bring joy and comfort. The bay window was covered with cedar clapboard. The new cedar clapboard bay window dances on the aged tin exterior wall, creating a variegated appearance of texture and time.
The plan is divided into three spaces: the entrance hall, the common dining room, and the private room, with the only change being the thinning out of the partition walls. These three spaces are designed to be circular, and the repaired Yukimi shoji screens and sliding doors are rearranged. The excellent modal system of the minka allows the use of the same size fittings. Surplus fittings are stored in the warehouse, quietly waiting for their turn.
The bay windows create a unique experience that is accentuated by the connection to the town environment. The experience of this kind of architecture makes the familiar environment seem different. In this way, I wonder if it is possible to create a relationship in which architecture and environment constantly stimulate and renew each other. In such a relationship, we can play with the environment more creatively and make it part of the architecture.
*shoji with glass window behind a sliding bottom half
A young couple decided to move to the Jonhana area of Nanto City, purchasing a 50-year-old private house to renovate, with a view to running a guesthouse in the future. Nanto City flourished as the gateway to Zentokuji Temple and still retains its historical townscape. The road from the station to the private house was impressive. Passing through a street lined with machiya houses, we climbed a slope, passed the gate of Zentokuji Temple with its beautiful wood carvings, and walked down a narrow alley. One sees a succession of quaint houses, old silk textile factories, and the surface of the river, and suddenly one's gaze is drawn to the mountains in the distance. The idea was to create an architecture that is connected to this varied sequence.
The house was uninsulated, had large areas of glazing, and had deteriorated over time. The first-floor renovation, which involved retrofitting the house with insulation and to be earthquake resistant, was designated as a living space for the couple and common area for the future guesthouse. The couple plan to renovate the second-floor to house guest rooms in the future.
In order to retrofit the building with insulation and to be earthquake resistant as effectively as possible with a limited budget, we decided to leave the exterior walls as untouched as possible and renovate the interior. The interior, worn with the traces of daily life, was redone. The external tin walls had developed a patina, blending in with the landscape. This quality was retained and integrated into the house renovation.
The existing aluminum sashes, which had poor insulation properties, were replaced with bay windows of the same size. By using bay windows, the glazing area can be reduced and the interface with the existing exterior wall can be simplified. The triangular shape of the bay window faces the surrounding environment from various angles and expands the interior space. As a result, new functions were discovered in the relationship with the surrounding environment, such as the showcase facing the approach, the headboard of the bed with a view of the old city, the bench in the dining room connected to the garden path, and the veranda with a distant view of the mountains. These functions seek to establish "ways of doing things that are unique to this place" that bring joy and comfort. The bay window was covered with cedar clapboard. The new cedar clapboard bay window dances on the aged tin exterior wall, creating a variegated appearance of texture and time.
The plan is divided into three spaces: the entrance hall, the common dining room, and the private room, with the only change being the thinning out of the partition walls. These three spaces are designed to be circular, and the repaired Yukimi shoji screens and sliding doors are rearranged. The excellent modal system of the minka allows the use of the same size fittings. Surplus fittings are stored in the warehouse, quietly waiting for their turn.
The bay windows create a unique experience that is accentuated by the connection to the town environment. The experience of this kind of architecture makes the familiar environment seem different. In this way, I wonder if it is possible to create a relationship in which architecture and environment constantly stimulate and renew each other. In such a relationship, we can play with the environment more creatively and make it part of the architecture.
*shoji with glass window behind a sliding bottom half
Between House and JOHANA
The sequence of environment and the sequence of architecture.
A young couple decided to move to the Jonhana area of Nanto City, purchasing a 50-year-old private house to renovate, with a view to running a guesthouse in the future. Nanto City flourished as the gateway to Zentokuji Temple and still retains its historical townscape. The road from the station to the private house was impressive. Passing through a street lined with machiya houses, we climbed a slope, passed the gate of Zentokuji Temple with its beautiful wood carvings, and walked down a narrow alley. One sees a succession of quaint houses, old silk textile factories, and the surface of the river, and suddenly one's gaze is drawn to the mountains in the distance. The idea was to create an architecture that is connected to this varied sequence.
The house was uninsulated, had large areas of glazing, and had deteriorated over time. The first-floor renovation, which involved retrofitting the house with insulation and to be earthquake resistant, was designated as a living space for the couple and common area for the future guesthouse. The couple plan to renovate the second-floor to house guest rooms in the future.
In order to retrofit the building with insulation and to be earthquake resistant as effectively as possible with a limited budget, we decided to leave the exterior walls as untouched as possible and renovate the interior. The interior, worn with the traces of daily life, was redone. The external tin walls had developed a patina, blending in with the landscape. This quality was retained and integrated into the house renovation.
The existing aluminum sashes, which had poor insulation properties, were replaced with bay windows of the same size. By using bay windows, the glazing area can be reduced and the interface with the existing exterior wall can be simplified. The triangular shape of the bay window faces the surrounding environment from various angles and expands the interior space. As a result, new functions were discovered in the relationship with the surrounding environment, such as the showcase facing the approach, the headboard of the bed with a view of the old city, the bench in the dining room connected to the garden path, and the veranda with a distant view of the mountains. These functions seek to establish "ways of doing things that are unique to this place" that bring joy and comfort. The bay window was covered with cedar clapboard. The new cedar clapboard bay window dances on the aged tin exterior wall, creating a variegated appearance of texture and time.
The plan is divided into three spaces: the entrance hall, the common dining room, and the private room, with the only change being the thinning out of the partition walls. These three spaces are designed to be circular, and the repaired Yukimi shoji screens and sliding doors are rearranged. The excellent modal system of the minka allows the use of the same size fittings. Surplus fittings are stored in the warehouse, quietly waiting for their turn.
The bay windows create a unique experience that is accentuated by the connection to the town environment. The experience of this kind of architecture makes the familiar environment seem different. In this way, I wonder if it is possible to create a relationship in which architecture and environment constantly stimulate and renew each other. In such a relationship, we can play with the environment more creatively and make it part of the architecture.
*shoji with glass window behind a sliding bottom half
A young couple decided to move to the Jonhana area of Nanto City, purchasing a 50-year-old private house to renovate, with a view to running a guesthouse in the future. Nanto City flourished as the gateway to Zentokuji Temple and still retains its historical townscape. The road from the station to the private house was impressive. Passing through a street lined with machiya houses, we climbed a slope, passed the gate of Zentokuji Temple with its beautiful wood carvings, and walked down a narrow alley. One sees a succession of quaint houses, old silk textile factories, and the surface of the river, and suddenly one's gaze is drawn to the mountains in the distance. The idea was to create an architecture that is connected to this varied sequence.
The house was uninsulated, had large areas of glazing, and had deteriorated over time. The first-floor renovation, which involved retrofitting the house with insulation and to be earthquake resistant, was designated as a living space for the couple and common area for the future guesthouse. The couple plan to renovate the second-floor to house guest rooms in the future.
In order to retrofit the building with insulation and to be earthquake resistant as effectively as possible with a limited budget, we decided to leave the exterior walls as untouched as possible and renovate the interior. The interior, worn with the traces of daily life, was redone. The external tin walls had developed a patina, blending in with the landscape. This quality was retained and integrated into the house renovation.
The existing aluminum sashes, which had poor insulation properties, were replaced with bay windows of the same size. By using bay windows, the glazing area can be reduced and the interface with the existing exterior wall can be simplified. The triangular shape of the bay window faces the surrounding environment from various angles and expands the interior space. As a result, new functions were discovered in the relationship with the surrounding environment, such as the showcase facing the approach, the headboard of the bed with a view of the old city, the bench in the dining room connected to the garden path, and the veranda with a distant view of the mountains. These functions seek to establish "ways of doing things that are unique to this place" that bring joy and comfort. The bay window was covered with cedar clapboard. The new cedar clapboard bay window dances on the aged tin exterior wall, creating a variegated appearance of texture and time.
The plan is divided into three spaces: the entrance hall, the common dining room, and the private room, with the only change being the thinning out of the partition walls. These three spaces are designed to be circular, and the repaired Yukimi shoji screens and sliding doors are rearranged. The excellent modal system of the minka allows the use of the same size fittings. Surplus fittings are stored in the warehouse, quietly waiting for their turn.
The bay windows create a unique experience that is accentuated by the connection to the town environment. The experience of this kind of architecture makes the familiar environment seem different. In this way, I wonder if it is possible to create a relationship in which architecture and environment constantly stimulate and renew each other. In such a relationship, we can play with the environment more creatively and make it part of the architecture.
*shoji with glass window behind a sliding bottom half