Renewal-Zone：石上純也新作 ︱ 純粹厚重的洞穴感餐廳居所
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項目是為一位法式餐廳主打造的住宅兼餐廳建筑，這位業(yè)主是我的一位老朋友，“餐廳餐桌（Tables for a Restaurant）”項目也是應他的委托打造。
?? junya.ishigami+associates
?? junya.ishigami+associates
?? junya.ishigami+associates
他對建筑的需求是設計一座盡可能厚重的建筑：“我想要一座重量會隨著時間變化增加的建筑，不要人為的平整，而是體現(xiàn)自然粗糙感。這樣的空間對于正宗的美食來說必不可少?！?/span>
?? junya.ishigami+associates
?? junya.ishigami+associates
courtesy of maison owl
他還表達說：“這座建筑應該看起來似乎一直存在，并且在漫長的歲月中繼續(xù)存在?！彼南敕ㄊ谴蛟煲蛔碌摹袄献痔枴辈蛷d，渴望一座既是住宅又是餐廳的建筑，能夠傳承給子孫后代。
? YASHIRO PHOTO OFFICE
? YASHIRO PHOTO OFFICE
? YASHIRO PHOTO OFFICE
現(xiàn)在他邀請客人來餐廳，就像邀請朋友到家里，特別的賓客還會被邀請進入客廳甚至留宿在此。餐廳不營業(yè)的時候，家人在此共度時光，孩子在這里學習。
?? junya.ishigami+associates
?? junya.ishigami+associates
?? junya.ishigami+associates
設計將餐廳布局在北面，住宅位于南側。三座庭院位于兩者之間，可以選擇其一在不同的空間中穿行往來。
? YASHIRO PHOTO OFFICE
?? junya.ishigami+associates
?? junya.ishigami+associates
建造方面，我們構思了一個不斷分享、接納和參考現(xiàn)場發(fā)生的偏差和意外的流程，來打造一個將自然扭曲和不確定性內化的架構。具體來說，我們在地上挖坑澆筑混凝土形成建筑結構，并固定上玻璃來營造室內空間。
?? junya.ishigami+associates
?? junya.ishigami+associates
經過無數次修正的結構模型被轉換為3D數據，之后3D坐標數據被輸入到全站儀 (TS) 測量儀器中，并利用導航系統(tǒng)確定錘樁的位置。
courtesy of maison owl
courtesy of maison owl
courtesy of maison owl
為了確保精確度，建筑工人手動挖洞，同時在iPad上不斷確認位置和形狀，并盡可能兼容長草、土壤塌陷或手工誤差?；炷聊毯笸诰虻慕Y構上沾滿了泥土。
courtesy of maison owl
土壤的性質和外觀隨著地質變化有所不同。我們原本計劃沖刷掉泥土，讓灰色的混凝土結構顯露出來，然而它在土壤中的外形令我們印象深刻，因此決定保持原樣。就在那時我們感受到了洞穴的氛圍，決定以新的形象重新設計這座建筑。
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Photo Ikko Dobashi
我們在設計內部空間時，在3D圖像中對設計圖紙與實際挖掘結構的表面坐標之間的偏差進行了可視化，這一過程展示出了重疊差異，產生了一個意想不到的新空間。我們發(fā)現(xiàn)了這些地方并相應地更新了建筑的居住方式。因此建筑的設計流程被翻轉，參考了挖掘結構來確定設計內容，其中包括玻璃片的數量和布局形式、家具的布置尺寸，以及MEP設施的位置和細節(jié)。例如，根據現(xiàn)場實際測量調整玻璃的固定位置，使用3D掃描數據測試保證玻璃在施工過程中不會碰撞到結構或因打開和關閉而破裂，并進行了鉸鏈位置調整等工作。
為簡化水管路線，給排水被設計為直線穿過三個院落，并安裝水龍頭、排水管、通風管道等，穿過玻璃窗進入房間。
?? junya.ishigami+associates
?? junya.ishigami+associates
?? junya.ishigami+associates
接納不確定性并反復實驗的過程中，混凝土體量逐步成為了建筑。業(yè)主將在這里生活和經營餐廳，并繼續(xù)更新這個地方。
?? junya.ishigami+associates
?? junya.ishigami+associates
?? junya.ishigami+associates
項目首次刊載于GA Houses 182, A.D.A. EDITA Tokyo
?YASHIRO PHOTO OFFICE
?YASHIRO PHOTO OFFICE
?? junya.ishigami+associates
English text translator: Fraze Craze
The project is a residence/restaurant for a French restaurant owner. He is an old friend of mine, and he was the one who commissioned the Tables for a Restaurant. I was asked to design a building as “heavy” as possible. “I want an architecture whose heaviness would increase with time,” he said. “It cannot be artificially smooth but rather something with the roughness of nature. Authentic cuisines require such a place.” He also told me that “it has to look as if it has been there and will continue to be there for the longest time.” His idea was to create a brand-new long-established restaurant. He was longing for something that is both a house and a restaurant, something he could pass on to his children and grandchildren. Now, he invites guests to the restaurant as he would invite friends to his house, and with someone special, he would let them into the living room or even stay overnight. When the restaurant is closed, the hall serves as a place for the family to spend time or for the children to study. The plan is arranged with the restaurant on the north and the residence on the south. To go back and forth between the spaces, they can walk through any one of the three courtyards that separate them.
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In terms of construction, we conceived a process of constantly sharing, accepting, and referencing the un-precisions and accidents that occurred on the site to create an architecture that internalizes natural distortions and uncertainties. More specifically, we dug a hole in the ground to pour concrete, excavated the volume, and fixed glasses to create interior space.
?YASHIRO PHOTO OFFICE
?? junya.ishigami+associates
First, a mass model that went through countless modifications was converted into 3D data. The 3D coordinate data was then input into a total station (TS) survey instrument to determine the points utilizing a navigation system for pile driving. At the same time, construction workers dug the hole manually for precision while constantly confirming the position and shape on an iPad. Unexpected factors such as growing grass, soil collapsing, or errors due to manual labor were tolerated as much as possible. When the structure was excavated after concrete solidification, it was caked with mud. With the range in geology, the nature and appearance of the soil differed from place to place. We originally planned to wash away the dirt to reveal a gray concrete structure. However, we were impressed by how it looked with soil that we decided to leave it as it is. It was then that we sensed the atmosphere of a cave and decided to redesign the building with a new image.
?? junya.ishigami+associates
?? junya.ishigami+associates
In designing the interior space, we visualized in 3D images the differences between the design drawings and the actual surface coordinates of the excavated structure. This process revealed new spaces that we had not anticipated to emerge from the overlapping discrepancies. We discovered such places and updated the way to inhabit the architecture accordingly. Thus the architectural design process was flipped, to reference the structure to determine the designs including the placement and number of glass pieces, arrangement and size of the furniture, and positions and details of MEP facilities. For example, where to fix the glass was adjusted based on actual on-site measurements, and 3D scan data was used to verify that the glass would not break by hitting the structure during the construction nor by opening/closing, and to adjust the position of the hinges. To simplify the plumbing route, the water supply and drainage were planned to pass through the three courtyards in a straight line, and faucets, drainage pipes, ventilation ducts, etc. were installed to penetrate the glass windows into the rooms.
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Accepting uncertainties, the concrete mass will gradually be transformed into architecture through cut-and-try. The owner will start a life here, run a restaurant, and continue to renew this place.
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Project name:?House & Restaurant
Site of the project:?Ube, Yamaguchi, Japan
Building Type:?House + Restaurant
Design team:?junya.ishigami+associates
Person in charge:?Junya Ishigami, Taeko Abe, Jaehyub Ko, Takuya Nakayama
Structural engineering
Jun Sato Structural Engineers
Person in charge: Jun Sato, Yoshihiro Fukushima
lighting/interior designer
junya.ishigami+associates
Person in charge : Junya Ishigami, Takuya Nakayama
lighting advisor
Izumi Okayasu Lighting Design
Person in charge : Izumi Okayasu
curtain
Yoko Ando Design
Person in charge : Yoko Ando
General contractor
Akita Kensetsu Co.,Ltd.
Person in charge : Masato Akita, Gaku Matsumoto, Takaki Fukuda, Takuya Nakayama, Akane Enda, Yuki Inoue
Contractors
MEP
Echo Mechanical Plumber
Person in charge : Koichi Tashiro
landscape
SOLSO
Person in charge : Yuta Itagaki
Takayama Zoen
Person in charge : Kazuya Kiryu
glass
Meiji Glass Company Limited
Person in charge : Kensuke Kashihara
fixture
Yanagiya
Person in charge : Yoshio Yanagiya
furniture
Gotanda Seisakusho Co., Ltd.
Person in charge : Shigeki Miyamoto, Ai Mizuta
RC furniture
I.D.Works
Person in charge : Hayato Takehashi
Site area:?914.69 m2
Building area:?270.72 m2
Total floor area:?195.41 m2
Design phase:?2013.7-2016.5
Construction phase:?2016.11-2022.3
Structural system:?earth formwork reinforced concrete
Major materials:?exposed concrete, tempered glass
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