项目地点位于千叶市西船桥历史地段的千叶街道,靠近山上的森根神社,山上有茂密的松树林。客户是一位经营房地产业务的艺术收藏家,计划在他父母的房产上建造一栋新楼,以容纳他家的住宅和他公司的画廊及办公室。除了他父母的房子在房产的北端,靠近公路的线性场地的大部分区域都是相对没有规划的,在茂盛的植被中混杂着一栋旧仓库和停车场。因此,我们的第一个方法是组织整个场地,使两个家庭的生活和工作空间舒适地共存,安排场地循环,开发一个倾斜的花园,缓和两座建筑之间的水平差异。

The project site locates along Chiba-Kaido Avenue in the historical part of Nishifunabashi, Chiba, near the Sengen Shrine on the hill with lush pine forests. The client, an art collector operating a real estate business, planned to build a new building on his parents’ property to accommodate his family’s residence and his company’s galleries & offices. Besides his parents’ house on the northern end of the property, most areas of the linear site closer to the road were relatively unplanned, with an old warehouse building and car parks mixed in the lush vegetation. Thus, our first approach was to organize the entire site so that the two families’ lives and the workspaces coexist comfortably, arranging site circulation and developing a sloped garden moderating the level differences between the two buildings.

新建筑在GF的中间容纳了车库,而住宅则在安静的北侧面向花园。画廊和办公室被垂直整合在南侧,面向国道,成为建筑的主面。解释客户对这个地方的愿景,如对社区的文化承诺,对外部游客的吸引,以及对郊区潜力的利用,我们的目标是将公共性和多功能性与有吸引力的设计一起纳入新建筑,就像 “有房子的博物馆”,而不是 “有画廊的房子”。

The new building accommodates garages in the middle of GF and the residence on the quiet northern side facing the garden. The galleries & offices are vertically consolidated on the southern side towards the national road to be the main face of the building. Interpreting the client’s visions to this place, such as cultural commitment to the neighborhoods, attraction to external visitors, and utilization of suburban potentials, we aimed to incorporate publicness and versatility into the new building together with attractive design, like ‘museum with a house’ rather than ‘house with galleries.’

根据他的祖父母那一代人对旧仓库建筑的记忆,定制设计的Kawara(传统的屋顶瓦片)被用于外墙覆面。Kuroibushi kawara,一种抗盐害的发黑类型,形成一个坚实的外观,以保护藏品和居民的生活。定制的卡瓦拉瓦被设计成用一种形状实现两种立面类型,即瓦片和百叶窗,通过改变其方向和装置。Kawara百叶窗部分打开了实心瓦片的立面,将过滤后的日光和视野与道路上的隐私控制结合起来。

Following the memories of the old warehouse building that had existed from his grandparents’ generation on the site, the custom-designed kawara, traditional roofing tiles, are used for façade cladding. Kuroibushi kawara, a blackened type resistant to salt damages, forms a solid appearance to protect the collections and the residents’ living. The custom kawara tile is designed to achieve two façade types with one shape, shingles and louvers, by changing its orientation and fixture. The kawara louvers partially open the solid shingle façade to incorporate filtered daylights and views with privacy control from the road.

在卡瓦拉体量的顶部,朝向神社的松树林的北向锯齿形屋顶将丰富的北方日光带入建筑的艺术空间。错落有致的建筑体量通过木材结构被抬高到类似于城堡底座的水洗混凝土块之上。两个结构网格的扭曲,木材结构面向真正的北方,而混凝土结构则遵循场地的几何形状,创造了各种间歇性空间,如分布在整个建筑中的雨篷和露台,使空间体验成为特色。

On top of the kawara volume, the north-facing sawtooth roofs towards the pine forests of the shrine take abundant northern daylights desirable to art spaces into the building. The staggered building volume by timber construction is elevated above the washed concrete mass resembling a castle base. The twist of the two structural grids, timber structure oriented to the true north over the concrete structure following the site geometry, creates various interstitial spaces such as canopies and terraces distributed throughout the building and characterizes the spatial experiences.

在城市结构中,包含三层画廊/办公室的建筑南侧非常突出,而建筑体量则按照建筑规范向北递减,并向花园过渡到住宅规模。七个锯齿形屋顶单元的屋顶间距根据每个高度和内部用途的不同而变化,以纳入适当的日光灯。北部窗户周围的结构框架形成了Vierendeel桁架,使木制建筑的跨度异常的大。

While the southern side of the building containing three floors of the galleries/offices stands out in the urban fabric, the building volume steps down towards the north following the building code and transitions to the residential scale towards the garden. The roof pitch of the seven sawtooth roof units varies according to each height and internal usages to incorporate appropriate daylights. Their structural framing around the northern windows forms Vierendeel trusses to allow unusually long-span spaces as timber construction.

南部的三个陡峭的屋顶作为天窗,为3F画廊提供了充足的日光。北部的三个平缓的屋顶扮演着住宅窗户的角色,除了像艺术家工作室一样稳定的亮度外,还提供朝向天空和花园的视野。中央的室外屋顶覆盖了2楼的多功能露台,可用于各种用途,如画廊的展览/活动空间或儿童游乐场,其功能是作为从客厅到工作空间的捷径,以及保持公共和私人之间舒适距离的门槛。

The southern three steep roofs function as skylights filling full of daylights into the 3F Gallery. The northern three gentle roofs play the role of residential windows providing views towards the sky and the garden besides stable brightness like an artist’s atelier. The central outdoor roof covers the multi-purpose terrace on 2F for various usages such as an exhibition/event space for the galleries or a kids’ playground, which functions as a shortcut path to the workspaces from the living room as well as a threshold to keep a comfortable distance between public and private.

随着结构体系和日照条件的过渡,空间特征从GF上的洞穴一样的粗糙封闭空间垂直过渡到屋顶下向天空开放的明亮空间。考虑到客户的收藏范围很广,从当代艺术到古董,以及未来可能的运作,除了主展厅之外,还规划了各种间歇性空间,用于灵活使用和潜在的展览空间。将旅程延伸到宽敞的室外露台和外部景观,参观者将享受到漫步的乐趣,并体验到具有不同物质性和日光的动态空间序列。

As the structural system and the daylight condition transition, the spatial characters vertically transition from the rough and closed spaces like a cave on GF to the bright spaces open to the sky under the roof. Considering the wide range of the client’s collection from contemporary art to antique, and possible operations in the future, various interstitial spaces are planned for flexible usages and potential exhibition spaces in addition to the main galleries. Extending the journeys to the spacious outdoor terraces and the external landscape, visitors will enjoy strolling around and experiencing dynamic spatial sequences with various materiality and daylights.

这个新的集群与河原立面和锯齿形屋顶一起开始了这个历史遗址的新时代,作为一个慷慨的领域,舒适地混合艺术作品、居民和游客。令我们高兴的是,除了最初为私人收藏而建造的想法之外,受到鼓励的客户最终利用这栋建筑开展了新的艺术业务,为更多的游客和公众带来了机会。我们希望这个建筑能成为吸引世界的艺术和文化的可靠基地,除了支持快乐和丰富的日常生活,就像生活在一个博物馆里。

This new cluster with the kawara façade and the sawtooth roofs begins a new era in this historical site as a generous field to comfortably mix artworks, residents, and visitors. To our delights, beyond the original idea of building just for the private collection, the encouraged client ended up launching a new art business utilizing this building to bring more visitors and public exposure. We hope this architecture to be the reliable base for art and culture appealing to the world, besides supporting joyful and abundant daily life like living in a museum.

Architects : KOMPAS
Area : 585 m²
Year : 2021
Photographs :Vincent Hecht, Munemasa-Takahashi
Manufacturers : Studio Akane Moriyama
Landscape : N-tree, N-tree, Takeshi Nagasaki
MEP : MOCHIDA
Lighting : Tokosha, Tokosha, Takumi Fujiwara
Structure : yasuhirokaneda STRUCTURE
Client : Nishiji Inc. + Kanda & Oliveira
Curtain : Akane Moriyama
Contractor : Aoki koumuten
Architects : KOMPAS
City : Funabashi
Country : Japan