这座建筑坐落在中野武的一条邻里购物巷里，就在东京中心区的南部。这个小镇是一个新旧混合的地方。一个奶奶的糖果店和一个爵士音乐节，养老金领取者和年轻夫妇，都愉快地共享同一条街道。该网站位于一个报刊亭、一个澡堂等附近。为了融入这个简陋的小镇，建筑的规模被限制在邻近建筑的范围内，4层楼，只有12个单元。
The building sits in a neighbourhood shopping lane in Nakanobu, just south to the central district of Tokyo. The town is a mixture of old and new. A grandma’s confectionary and a jazz festival, pensioners among young couples, all share the same streets happily together. The site locates itself in the vicinity of a newsstand, a bathhouse and alike. In order to fit in to this yet humble liveliness of the town, the building’s scale is restrained to those of the neighbouring buildings, 4 stories with only 12 units.
外立面上开口的倾斜排列，集中在底部并逐渐向上扩散，是为了给人一种漂浮的感觉，并减少混凝土的巨大重量。一条小路保证了与前面6米宽的繁忙小路的适当距离，给隐蔽的入口提供了隐私。
The skewed arrangement of the openings on the façade, concentrated at the bottom and spread gradually up, is to give a floating feel and to reduce massive weightiness of the concrete. A pathway secures an appropriate distance from merely 6m-wide busy lane on the front, giving privacy to the secluded entrance.
室内仅由裸露的混凝土和普通的白墙组成，并尽可能地简化细节。规划和设计的目的是彻底的简单：一组适度的独立墙代替了衣柜；一个水龙头用于烹饪和洗手。这些提出了集体住宅的最小形式，不依赖产品的生活，不拥有的丰富性。这里的极简主义与生活方式有直接联系。
Interior is composed solely of exposed concrete and plain white walls in simplest possible details. Planning as well as design aims thorough simplicity: a set of modest independent walls replaces a closet; one tap serves cooking and handwashing. These propose minimal form of a collective dwelling, life unreliant on products, richness of not having. Minimalism here is in direct connection with the way of living.
另一方面，剩下的几个元素是为了激发新的居住理念而设计的。储物墙，在用途上没有限制，可以成为一个舒适的书房的最佳选择。大的混凝土厨房柜台，是一张书桌。简洁的时候，坚决的时候，发出了新的灵活性。
每一个开口都是方形的。如果跳出现代主义风格的惯例，如垂直或水平，方形是最纯粹、最原始的开口形式。每一个内部和外部的空间都通过或跨越这些方形的、纯粹的开口有节奏地相互连接。
The few elements left, on the other hand, are designed to stimulate new ideas for habitation. The storage walls, without limitation in usage, can be a perfect fit for a cosy den. The large concrete kitchen counter, a desk. Simplicity when resolute, gives out a new flexibility.
Every single opening is square-shaped. Square is the purest, most primitive form of an opening when thinking outside modernist-style conventions such as verticality or horizontality. Every space inside and outside is rhythmically connected to each other through or across these square, pure openings.
特别是窗户的规划是为了调解或控制<内部--简单的、最小的>和<外部--活泼的喧嚣>之间的相互渗透。用方形开口修饰的购物小道的多彩活力，排列在内墙上，变成了一个消沉的、受控制的场景。城市的形体景观成为内部唯一的装饰元素。
镀锌钢窗框投下不同的阴影，在外墙上增加了一个非统一的表达，成为城市景观中的独特标志。这些都将外面的活动反射到房间里，再次为城市的景色增加了多样性。
Windows in particular are planned to mediate or control interpenetration between
Galvanized steel window frames cast varying shadows to add a non-uniform expression on the facade, emerging as distinctive icons in the cityscape. These reflect outside activity back into the room, again adding variety to the view to the city.
Architects: Rieko Okumura/Atelier O, Ryuichi Sasaki / Sasaki Architecture
Area: 331 m²
Year: 2016
Photographs: Takumi Ota, Bauhaus Neo
Contractor: Magome Construction Company
Light Design:Lighting Sou, Natsuha Kameoka
Building Management:Alpha Management & Partners Co.Ltd
Client:Shuko Kensetsu Co.Ltd.
Design Team:Ryuichi Sasaki, Rieko Okumura, Gen Sakaguchi, Michal Rogozinski
Producer:Modelia Co.Ltd.
City:Shinagawa-ku
Country:Japan