(Tatsuya Noaki)

© Tatsuya Noaki

 © Tatsuya Noaki

(Tatsuya Noaki)

(Tatsuya Noaki)

© Tatsuya Noaki

 © Tatsuya Noaki

(Tatsuya Noaki)

这是一个三口之家住在东京郊区的住宅区。被世世代代细分的财产包围着，这个网站保持了它原来的状态。虽然相对于其他土地来说有大量的土地，但六处毗邻的不同物业，加上紧挨着边界而建的房屋，使工程场地有了一个条件，使工程无法充分享受与河流有一条深街道正面的优势。

This is a house for a family of three in a residential neighborhood of suburban Tokyo. Surrounded by properties subdivided through generations of time, this site maintains its original state. Albeit having plenty of land relative to others, six different adjacent properties with homes built tightly to the boundary leaves the project site with a condition, which limits the project from fully enjoying the advantage of having a deep street frontage with the river.

(Tatsuya Noaki)

© Tatsuya Noaki

 © Tatsuya Noaki

(Tatsuya Noaki)

在从持续增长到扩张的过渡时期，这种语境不均衡的细腻状况，无疑会在居住小区中大量出现。因此，这个项目的主题是建筑的方法和外部空间的接收起伏的周边密度。这里设定了三个规则，特别是关于外部空间。第一条规则是不把自己限制在周围环境之外。与其像法院一样在房产单元内自我结束，不如创造一个与相邻的大小外部空间相协调的环境，在共享空间开放性、循环空气和自然光的同时，使这些变化的密度更加平滑。

Such meticulous condition of uneven contextual grain at a time of transition from continuing growth and expansion, it shall undoubtedly be emerged in mass in the residential neighborhood. As such, the theme for this project is the approach to architecture and exterior space that receives undulating peripheral density. Here, three rules particularly regarding the exterior space were set. The first rule is to not confine itself from its surroundings. Instead of self concluding within the property unit much like a courthouse, create a coordinated environment with adjacent exterior space of large and small, buffing those varying density while sharing the spatial openness, circulating air, and natural light.

(Tatsuya Noaki)

© Tatsuya Noaki

下一条规则是避免创建一个Cul-de-sac。换句话说，拥有一个没有停滞的外部空间，这也部分地承担了项目的一个重要的视觉和物理元素。这个空间不是内部的剩余空间，而是房屋的一个活动部分，作为邻里的一个整体部分同时存在。最后，最后一条规则是把这个外部空间想象成一个体积，而不是一个平面。重新构思通常在上层平面图中留下空白的空间作为一个概念性的“花园”，它将外部空间具体化，形成另一个无形的空间。

Next rule is to avoid creating a cul-de-sac. In other words, having an exterior space free from stagnation that also partially takes on an important visual and physical element of the project. This space is not a residual space of the inside, but an active part of the house that simultaneously exists as an integral section to the neighborhood. Finally, the last rule is to conceive this exterior space as a volume, and not a plane. Re-conceiving the space typically left blank in upper floor plan drawing as a conceptual "garden", it materializes the external space forming another invisible volume within the property.

一楼图则

1st floor plan

这三条规则所推断的是一种布局和一种形式，其内部和外部的风量在水平/垂直两个维度上交替，命名与其起源的古典风格有着明显的联系。使用城市词汇的原因在于我们对日本郊区住宅区的未来结果的预期。如果外部形式似乎是一栋房子和一座住宅综合体之间的中间部分，那就不是巧合。(明天Aida

What these three rules deduce to is a layout and a form with an approximating interior and exterior air volume that alternate in both horizontal/vertical dimensions. The naming has obvious connections to the classical style it originated. The reason for using the urban vocabulary is in our anticipation towards to the future outcome of a suburban residential area in Japan. It is no coincidence if the exterior form appears to be an intermediate between a single house and a housing complex. (Tomoro Aida & Toshimitsu Kuno)