© Hiroshi Ueda

(C)上田浩史(Hiroshi Ueda)

架构师提供的文本描述。该遗址位于千叶县名为Sotobo(外博索半岛)的一处名为Sotobo(外博索半岛)的地区，位于松村附近的一座小山的较高一侧。这个斜坡不够陡峭，不足以使它成为壮观的观察点。这一地区是为拥有宽敞地段的度假屋而开发的。当地的规定禁止围墙，这使得整个地区看起来像是一个舒舒服服的住宅区。此外，由于从东京驱车三小时车程从东京经东京湾高速公路(横贯东京湾高速公路)，它的便利吸引了相当多的退休人士，他们决定在这里度过余生。至于我的当事人，他已经退休了，在东京享受着城市文化生活，并把业余时间花在千叶当陶艺家。这所房子是他的第二个家。

Text description provided by the architects. The site sits on a higher side of a hill that gently climbs up from the Pacific Ocean near Katsuura, located in a region called Sotobo (Outer Boso Peninsula) in Chiba prefecture. The slope is not steep enough to make it a spectacular lookout point. The area has been developed for vacation homes with spacious lots. The local rule prohibits the fences, which makes the whole area look like a comfortably stretched residential quarter. In addition, as it is under a three-hour drive from Tokyo via TokyoWan Aqua-line (Trans Tokyo bay Expressway), its convenience has attracted a considerable number of retired people who decided to spend their remaining lives over here. As for my client, he has already retired from work, is enjoying an urban cultural life in Tokyo, and spending his hobby time as a ceramist in Chiba. The house has been planned as his second home.

客户并没有要求太多：他想要一个制陶工作室，直接从他的车到入口处，他的工作室不被雨淋湿，一个平静的内部环境，而不是一个好的风景，以及三个卧室。我们提供了3个设计方案，他选择了一个非常接近于这本书中的成品设计的设计，这是一个罕见的经验，客户接受了我们的布局计划，而没有经过太多的思考。

The client didn’t ask too much: he wanted an atelier for his pottery making, a direct approach from his car to the entrance and his atelier without being wet in a rain, a calm inner environment rather than a good view, and three bedrooms.  We offered 3 design plans, and he chose one which was very close to the finished design presented in this book.  It was a rare experience that the client accepted our layout plan without much pondering.

 © Hiroshi Ueda

(C)上田浩史(Hiroshi Ueda)

该计划的主要特点是在入口处有一个大型画廊，这是房子交通的中心。这个计划是为了让居民们在房间之间移动时经常穿过这个区域。从地板到天花板的整个画廊都涂上了更深的红色，也被用在每个房间的凹顶上，产生了一种效果，就像夕阳一样。透过窗户过滤。画廊特别令人印象深刻，整个空间充满了更疯狂的红色，天花板非常高。当人们进入房子或在房间之间移动时，它有很强的能量来刷新人们的感觉。

The key characteristic of the plan is that there is a large gallery next to the entrance, which is the hub of the traffic in the house.  The plan has been made so that the residents frequently pass through this area when they move between the rooms.  The entire gallery from the floor to the ceiling is painted in madder red which is also used on the coved ceiling of each room to create an effect as if the glow of sunset is filtering through the window.  The gallery is especially impressive as the entire space is filled with madder red and the ceiling is very high.  It has strong energy to refresh people’s senses when they enter the house or move between the rooms.

 © Hiroshi Ueda

(C)上田浩史(Hiroshi Ueda)

自从我在世纪之交成为一名独立的建筑师以来，我就一直渴望通过建筑和城市设计来给人们带来新的感觉。过了一段时间，我开始认为，建筑只是一种固定的实物，每天都有相同的外观，在外部环境中有更多的非建筑物体，比如植物，人和天空，以及建筑里的居民和宠物。我想知道一座建筑是否像一个开放的框架，其中占据主导地位的非建筑元素被出人意料地、奇思妙想地设计出来，给居民的生活带来了新的惊喜。这一假设促使我写了一本书，书名为“建筑作为框架”(Architecture As Frame)。这种想法基本上没有改变，但我的另一面是认识到建筑有一定的影响力。

I have had a desire to bring about the re-freshening of the senses to people by way of architecture and urban design since the time I became an independent architect around the turn of the century.　After a while, I began to think that a piece of architecture is merely a fixed physical object that shows the same look every day, and there are more dominant non-architectural objects such as plants, people, and skies in outer environment, and the dwellers and the pets inside the architecture.  I wondered if a piece of architecture is like an open frame which dominant non-architectural elements are unexpectedly and whimsically framed in to give fresh surprises to the residents’ lives.  This hypothesis led me to write a book titled “Architecture as Frame”.  The idea still hasn’t changed basically, but there is another side of me that recognizes that the architecture has some influential power.

 © Hiroshi Ueda

(C)上田浩史(Hiroshi Ueda)

在回顾我最近设计的三栋房子时，我注意到我把一个空间放在了一个能带来强烈感官影响的地方，就像疯狂的红色画廊一样，在中心区域，居民们在房间之间移动时经过。用抽象的方式来说，我试图通过创造空间的不连续性来赋予建筑多方面的功能。这种不连续性应该给出什么样的描述呢？整个房子就像一个框架，对内外环境开放，并与它们保持着各种关系。在房间之间造成不连续性的空间是孤立的，独立于其他房间。并充当房屋的重心和精神核心；如果整个房子是一个框架，它是重新框架的框架，因此，空间是一个重新设计的空间。

When reviewing each of the 3 houses I designed recently, I noticed that I had put a space that brings about a strong sensuous impact, just like the madder red gallery, in the hub area where the residents pass by when moving between the rooms.  Putting it in an abstract way, I tried to give versatility to the architecture by creating discontinuity to the space.  What descriptor should be given to this discontinuity?  The house as a whole is like a frame, open to environments inside and outside, and maintaining various relationships with them.  The space that creates the discontinuity, which sits in between the rooms, is isolated and independent from the other rooms, and acting as the center of gravity and the spiritual core of the house; if an entire house is a frame, it is re-framing the frame.  Therefore, the space is a reframed space.

让我简要地介绍一下最近的3种情况。

Let me provide brief descriptions of the 3 recent cases of the reframed space.

第一个是2009年建成的“高低矮屋”。这座房子由3个不同类型的连通空间组成。狭窄的走廊里，灯光从屋顶灯(照片的右侧)、黑暗和低矮的天花板空间(照片的中心)倾泻而下。有一个高天花板的明亮房间(照片的左边)。在这种情况下，每个空间都有独特的特征，在整体上造成了不连续性，中间的空间是被重新设计的空间。

The first one is the “High Low House” completed in 2009.  The house consists of 3 connected spaces of different types.  The narrow corridor where lights pour down from the roof light (right side of the photo), the dark and low ceiling space (center of the photo), and the bright room with a high ceiling (left side of the photo).  In this case, each space has distinctive character that creates discontinuity as a whole, and the space in the middle is the reframed space.

 © Hiroshi Ueda

(C)上田浩史(Hiroshi Ueda)

第二个案例是2010年建成的“三廊屋”。顾名思义，它有三条走廊，从东侧到西侧，连接着三间卧室、一间纹身房、一间书房、一间客厅、一间餐厅和潮湿的地区。中央的天花板很高，给人留下了强烈的印象，因此这座房子的空间被重新规划了。

The second case is the ‘Three Corridors House’ completed in 2010.  It has, as the name indicates, 3 corridors that span from the east side to the west side of the house, connecting 3 bedrooms, a tatami room, a study, a living room, a dining room, and the wet areas.  Among the three, the central one has a high ceiling and creates a strong impression, hence the reframed space in this house.

 © Hiroshi Ueda

(C)上田浩史(Hiroshi Ueda)

最后一间是2013年完工的“豪宅”。4间独立的房间紧贴在一个白色的空隙周围，居民们在房间之间移动时不可避免地穿过这里。白色的空隙与下面的黑色大厅和它旁边的灰色卧室截然不同，构成了房子的结构。类似于这里描述的三个空间。在这本书中，疯狂的红色画廊，位于房子的中心，也是一个重新设计的空间。这四种空间的共同特征是，与“建筑作为框架”的概念相反，它是一种反映空间。

The last one is the “House House” completed in 2013.  4 individual rooms are laid out closely around a white void, and the residents inevitably walk through here when moving between the rooms.  The white void is distinct from the black-colored hall underneath and the grey bedrooms adjacent to it, reframing the house.  Similar to the 3 spaces described here, the madder red gallery featured in this book, located in the center of the house, is also a reframed space.  The common characteristic of the 4 reframed spaces is, contrary to the concept of the house of “Architecture as Frame” which indicates openness, it is the space for reflection.

目前，在我的设计中，我将努力平衡建筑本身的力量和非建筑事物的力量。

For the time being, I will try to balance the power of architecture itself and that of non-architectural things in my designing. 

Architects O.F.D.A.

Location Katsuura, Japan

Category Houses

Architect in Charge Taku Sakaushi, Yusuke Sagawa

Area 148.35 sqm

Project Year 2016