架构师提供的文本描述。藤井龙美和佐藤幸子为一位艺术鉴赏家和业余艺术家设计了这座房子，他们想要一座“像博物馆一样的房子”。经过仔细考虑空气流通以及日本海沿岸恶劣、多雪的气候，这个结构是由不同规模的白色盒子组成的，像图片这样的空间。

Text description provided by the architects. Ryumei Fujiki and Yukiko Sato/F.A.D.S designed this home for an art appreciator and amateur artist who wanted a “house like an art museum.” Planned with careful consideration for air circulation as well as for the harsh, snowy climate of the Japan Sea coast, the structure is composed of white boxes of varying scale that frame spaces like pictures.

 Courtesy of Ryumei Fujiki

玉梅藤基

无缝空间组合

Seamless Spatial Composition

你可以在这个房子的空间里流通，看看主人收藏的艺术品，就像你穿过博物馆里的画廊一样。该结构满足了客户的要求，即行人不能看到内部，同时也让新鲜空气和阳光，并实现一个良好的顺序，多层空间组成。虽然家庭是由许多不同大小的立方体组成，我们试图创造一个尽可能无缝的结构，空间形成一个单一的连接单元。此外，客户希望能够同时在花园和工作室，所以我们包括一个庭院，可以直接从北面的工作室。

You can circulate through the spaces in this home looking at the owner’s collection of artwork just as if you were passing through galleries in a museum. The structure fulfills the client’s request that passersby not be able to see inside, while also letting in fresh air and sunlight and achieving a well-sequenced, multi-layered spatial composition. Although the home is made up of a number of cubes of different sizes, we tried to create a structure that was as seamless as possible, with the spaces forming a single connected unit. In addition,  the client wanted to be able to draw in both the garden and the studio, so we included a courtyard that could be accessed directly from the north-facing studio.

 Axonometric

客户收藏

Client’s Collection

不用说，我们的首要任务是满足客户的愿望。我们首先测量了客户多年来创作和收集的许多艺术品。接下来，我们举行了一些计划会议，讨论在哪里展示每件艺术品，以及其他问题。例如，我们根据可以容纳1.5×1米的油漆的墙壁大小来确定起居室天花板的高度。除了艺术收藏，客户还拥有大量的旧唱片，大多是爵士乐。重要的是，我们要想出一种方法来展示他们，这样他们的夹克就会显得最有利。

It goes without saying that our top priority was fulfilling the client’s wishes. We began by measuring the many works of art that the client had created and collected over the years. Next, we held a number of planning meetings to discuss where to display each work of art, among other issues. For instance, we determined the height of the living room ceiling based on the wall size that could accommodate a painting measuring over 1.5 x 1 meter. In addition to the art collection, the client also has a large number of old records, mostly jazz. It was important for us to figure out a way to display them so their jackets would appear to best advantage. 

 © Hiroshi Ueda

(C)上田浩史(Hiroshi Ueda)

应对环境(自然)

Response to the Environment (Nature)

我们很好地考虑了对环境的反应和与环境的相互作用。第一件事是处理雪。在大雪地区，屋顶的形状非常重要。许多房屋都是建立在这样的假设之上的，那就是有人会把屋顶上的雪铲掉，但这是一项繁重的工作，而且很危险。我们最初的建议是建立一个预算意识强的木框架结构，有一个倾斜的屋顶，自然会下雪。最后，然而-部分是由于客户的投入-我们决定建一个没有护栏的平顶，由于风的作用，它将保持相对无雪。

We considered very well the response to and interaction with the environment. The first thing was dealing with the snow. In regions with heavy snow, the shape of the roof is very important. Many homes are built on the assumption that someone will shovel the snow off the roof, but that’s a lot of heavy work, and dangerous. Our initial proposal was for a budget-conscious, wood-framed structure with a gently-sloping roof that would naturally shed snow. In the end, however—and in part because of the client’s input—we decided on a flat roof with no parapet that would stay relatively snow-free because of wind action. 

 © Hiroshi Ueda

(C)上田浩史(Hiroshi Ueda)

我们的第二个挑战是想出一个计划来创造结构内良好的气流。为了鼓励自然通风，我们通过设计两个花园创造了温差，一个在南侧，可以很容易地加热，另一个在北边，可以保持凉爽。这是京都联排别墅采用的传统设计方法(见附图)。

Our second challenge was coming up with a plan that would create good airflow within the structure. To encourage natural ventilation, we created a temperature differential by designing two gardens, one on the south side that would warm up easily, and one on the north side that would remain cool. This is a traditional design method used in Kyoto townhouses (Please see the attached images). 

我们的理念

Our Philosophy

在这个项目中，我们的首要任务是满足客户的愿望，但我们不相信架构师的角色就在这里。建筑师还必须以大胆的想象力应对各种社会问题。例如，我们需要从根本上重新考虑建筑实践，以应对世界上日益恶化的环境问题。我们正在寻找自然，或自然系统，以暗示如何做到这一点。这不仅仅是为了找到减少能源消耗的聪明方法，还在于建筑本身越来越接近自然。要在一个项目中完全实现这个理想是不可能的，但是我们在未来的工作中希望做的是稳步地尝试各种方法，并通过这个过程来接近一种新的架构。

In this project, our first priority was fulfilling the client’s wishes, but we don’t believe the architect’s role stops there. Architects must also respond to various societal problems with bold imagination. For example, we need to fundamentally rethink architectural practices in response to the world’s worsening environmental problems. We are looking to nature, or natural systems, for hints as to how to do that. It’s not simply about finding clever ways to reduce energy use, but rather about architecture itself growing closer to nature. It’s impossible to fully realize this ideal in a single project, but what we hope to do in our future work is to steadily experiment with a variety of approaches, and through that process to approach a new kind of architecture.

 © Hiroshi Ueda

(C)上田浩史(Hiroshi Ueda)

Architects F.A.D.S.

Location Fukui, Japan

Category Houses

Architect in Charge Ryumei Fujiki, Yukiko Sato

Area 137.0 sqm

Photographs Hiroshi Ueda