a+u Architecture and Urbanism 21:07_610

a+u - Architecture and Urbanism - is a monthly architectural magazine established in 1971. Since its inaugural issue, a+u has been widely celebrated by architects everywhere as Japan's only monthly periodical that provides in-depth reporting of architecture worldwide. Each issue is edited from a unique perspective, with essays penned by renowned architects, critics, and historians to guide the direction of tomorrow’s architecture, within and beyond Japan. Text is bilingual in English and Japanese. 1971年1月創刊。創刊以来、海外の建築情報を伝える日本唯一の月刊誌として、広く建築界に親しまれています。a+uの取材ネットワークは全世界に及び、100余カ国を網羅しています。これら各国の建築家を直接取材し、毎号独自の視点で編集することにより、生の動向をいち早く読者の皆様にお届けしています。また、建築家・評論家・歴史家による書き下ろし論文を掲載し、明日の建築のあり方を考える指針として国内外の建築界に多大な影響を与えています。

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12 期号


feature: house looking into the world

a+u’s July issue features the work of 6 architectural practices from around the world, each providing a statement on the meaning of life, place, and form. In addition to our guest editor, Go Hasegawa, who is based in Tokyo, they are: 6a architects (London), Vector Architects (Beijing), MOS (New York), adamo-faiden (Buenos Aires), and HARQUITECTES (Barcelona). These practices belong to the same generation and share a similar attitude toward the house and its relationship to the world beyond. In her keynote essay (pp. 146–150), Giovanna Borasi discusses the evolving concept of lifecycle and work, new models of co-living, and “the misalignment between new societal needs and the architecture that houses them,” upholding the attitude of the architects featured. She describes these practices as advancing “an architecture that is not overly…

consciousness of “roots”

I have designed a variety of residences, from small houses in Tokyo and multigenerational houses in the suburbs, to weekend houses in the forest – exploring new formats for residential buildings in a variety of environments. What I sought to achieve was a new sort of universal quality, while simultaneously also creating a unique house for a specific owner and location. I thus paid particular attention to the scale and proportions of the conventional elements of a house that everyone knows (attic, table, door, balcony, pilotis, and so on), the physical and phenomenal heaviness and lightness of the materials, and the sensation of time contained in the elements and typology of the building in question. By reexamining all of these things, I have pondered the question of how to open…

villa beside a lake

A huge soil cylinder with a diameter of 20.6 m sits in the center of the house. Soil that would ordinarily be under the floor is instead piled high next to it. The floors are sloped, following the terrain, and the house’s inhabitants live side by side with the earth. The top surface of the soil cylinder is a flat courtyard, and the view outward from the living / dining room farther up the slope – a large circular hole in the gradually sloping roof – frames the scenery of the lake.…

roof on a ridge

We designed 2 small guesthouses perched on the topmost edge of a mountain ridge. However, while people are always impressed by the panoramic view at first, they soon become accustomed to it. Perhaps because of the vast difference in scale between the body and the mountains – and the distance between them – we unknowingly divide the 2 into “in here” and “over there.” How can the mountain remain connected with the body and not turn into something “over there,” in sight and yet out of mind? Standing next to a hairpin curve in the road, the main house has an arched roof that follows the contour line of the ridge, its eaves kept low to minimize noise from cars. A concrete roof could be expected to block noise effectively,…

seatless chair

lamp cable lamp

A lamp usually consists of a shade, a supporting structure, and a base, as well as cables and light bulbs, each of which is treated separately and differentiated by the shade design. While electricity flows through the lamp, it is not at all visible to the eye. By contrast, this lamp consists only of cable wound up into a conical solid with a 30-degree gradient, using the cross-sectional shapes of commercially available transparent cable to form the shade, the supporting structure, the base, and the cable itself. When the lamp is turned on, soft light shines through the transparent cable, and when it is turned off, it appears as a silver conical object.…