2021年12月，Yutorie热海在日本静冈作为一个gasshukujo，或日本的 “宿舍 “开业。这是一个由业主、建筑师和室内设计师Naoshi Kondo进行的改造项目–但不是你所期望的通常的gasshukujo或改造项目。它体现了近藤的创作态度，他活跃在多学科的设计领域，并总是将独特的幽默感和优势结合到他的作品中。他还质疑 “翻新设计 “的标准，认为这是一种以最好的方式留下 “原来的东西 “的手段。Yutorie的身份是通过直觉决定的自发痕迹建立起来的，这是在结构性创意逻辑或考虑必要性的情况下无法实现的，从而导致了一种令人惊讶的精致平衡的积累。

In December 2021, Yutorie Atami opened at Shizuoka, Japan as a gasshukujo, or a “dormitory” in Japanese. It is a renovation project by Naoshi Kondo, the owner, architect, and interior designer – but not the usual gasshukujo nor renovation project you would expect. It embodies the creative attitude of Kondo, who is active in multidisciplinary design fields and always combines a unique sense of humor and edge to his works. He also questions the “renovation design” standards that are thought a means to leave “what was there” in the best way possible. Yutorie’s identity is established through spontaneous traces of intuitive decisions, something that could not be realized within structural creative logic or consideration of necessities, leading to a surprising accumulation of exquisite balance.

主体的独栋木屋建于20世纪50年代，是近藤的祖父的第二栋房子，有一个天然温泉浴场和一个专注于绘画的工作室空间。它被废弃了十年，直到2021年初项目建设开始。除了主楼之外，还有一座两层楼的附属建筑，它被用作住宅，正对着陡峭的山坡。经过翻修，前一栋建筑成为一个带有一个客房的工作室空间，而后者则是一个带有三个能够容纳六个人的客房的小屋，另外在二楼还有一个咖啡馆空间。

The main one-storied wooden house was built in the 1950s as a second house for Kondo’s grandfather-in-law, with a natural hot spring bath and a studio space to focus on paintings. It was abandoned for a decade until the project construction started at the beginning of 2021. Besides the main building, a two-storied annex which was used as a residence is facing the steep slope. After renovation, the former building became a studio space with one guest room, and the latter a lodge with three guest rooms capable of six persons, plus a café space on the second floor.

首先跳出来的是一个旧式的木屋，在附属建筑对面的一个堆满石头的院子里，以粗暴的方式用灰泥块半埋着。在设计时，近藤想出了一个不合逻辑的想法：”用灰泥填满房子”。最终，木屋的所有侧面都被100厘米宽的砂浆块紧紧贴住。从里面看，砂浆块沿着墙壁填充，让客人去寻找它的功能或如何与它互动。回顾这个过程，近藤说他 “仍然在寻找理由来调整他的做法”。尽管目的或功能在一开始甚至直到现在都与意图相去甚远，但砂浆块对空间的特性起到了最大的作用。此外，当从木制房屋向后看附件时，我们看到的是透过玻璃幕墙的现代内部，与正面的特征相矛盾。

What jumps out first with strange impact is an old-style wooden house amid a court filled with stones opposite of the annex, half-buried with mortar mass in a brutalist manner. Upon designing, Kondo came up with an illogical idea of “filling the house with mortar”. Eventually, all sides of the wooden house were clung with 100 centimeters width mortar block. From the inside, the mortar mass fills along the walls and leaves the guest to find its function or how they could interact with it. Recalling the process, Kondo says he is “still finding reasons to adjust what he did”. Though the purpose or function was far from intention in the beginning or even until the present, the mortar mass plays a maximum effect on the identity of the space. Furthermore, when glancing back at the annex from the wooden house, what we see is the modern interior through the glass façade, contradicting the frontside features.

与一般的平淡无奇的gasshukujos不同，Yutorie的客房是半豪华的。在内置的架子、床头板、开口部分和家具中，有一些在日本老房子中很少见的圆形元素；镀金的细节让我们对外观的期望落空。交叉结构的扶手并不遵循功能，但在某种程度上使形状和材料的场景有了视觉上的节奏，这对近藤也活跃在平面设计领域是有意义的。

Unlike averagely bland gasshukujos, Yutorie’s guest rooms are semi-luxurious. In the built-in shelves, bed headboards, opening parts, and furniture are round-shape elements rarely seen in old Japanese housings; the gold-plated details fail our expectations brought by the exterior. The cross-structured handrails are nothing that follows function but somehow makes a visual rhythm to the scene speaking of shape and material, which makes sense to the point that Kondo is also active in the field of graphic design.

在工作室的空间里也采取了类似的方法，凡人将空间一分为二。上面的部分仍然是一个古老的民房，聚氨酯绝缘材料和天花板结构暴露在外，它是在拆除过程中留下的。相反，下面的部分完全是极简和现代的单色方案。视觉上的连续性可能会被突然切断，而三根木柱被留下来，使天花板到地板的部分连续性。厨房区边上的白色混凝土墙并不与天花板或其他墙壁相邻，而是作为一个物体站出来。总的来说，新与旧的对比，不同的材料，以及它的安排是通过一个二维的剪贴，分层/贴图的想法来适应空间–游客在Yutorie享受一个棘手的，但精致的和鼓舞人心的逗留，以触发他们的感觉。

A similar approach is made in the studio space, too, where the mortal bisects the space. The upper part remains as an old folk house with urethane insulation and ceiling structures exposed, left as it is from the dismantling process. On the contrary, the lower part is completely minimal and modern in the monochrome color scheme. The visual continuity may be abruptly cut, while three wooden pillars were left to make partial continuity from the ceiling to the floor. The white concrete wall by the kitchen area does not adjoin the ceiling nor other walls, rather standing out as an object. Overall, the contrast of old and new, differing materials, and its arrangement is adapted to the space through a two-dimensional cut-and-paste, layering/zapping idea – visitors are left to enjoy a tricky, yet refined and inspirational stay at Yutorie to trigger their sense.

Architects : Naoshi Kondo studio
Area : 152 m²
Year : 2021
Photographs :Yujiro Ichioka
Lead Architect : Naoshi Kondo
Engineering : Mutsuki Architect Crafts
Client : Yutorie Atami
Architects : Naoshi Kondo studio
City : Atami
Country : Japan