This is the second post today looking at the radical houses of Makoto Tanijiri of
Suppose Design Office. In some ways this house is the opposite of the other. Where the House in Miyoshi appears to be a black box from the exterior with no windows, this house is all window, although they are translucent rather than transparent. Where Miyoshi is heavy Tousuien is light, and so on.
So what would explain so many of the tactical moves in Miyoshi being overturned in Tousuien? The context appears to be the obvious answer, but I made it fairly clear that the response to context in Miyoshi was to turn its back on the site virtually ignoring it.
With the translucent envelope of Tousuien, there is arguably a similar sentiment, but the communication between street and interior is also acute if rather mysterious. There is no direct looking out or looking in, but there must be a sense of performing for an audience if your every bleary shadow can be seen from outside. Again, the house asks something from its occupants for the privilege of living there.
The house is simplicity itself. A steel frame with concrete floors and core. It has a translucent cladding with a single concession to warmth in the form of blonde-wood, wide-board floor finish at the lounge level. Everywhere else the floor finish is concrete.
On the ground floor, the parking garage is more like a gallery space with its collection of exotic looking motorcycles, and is treated as an important room of the house, afforded the same level of finishes. Save for the exposed plumbing, all painted silver, there is nothing to suggest it is back of house.
Makoto Tanijiri sees his task as contributing to “new architecture” in seeking answers to ordinary life.
Visit the
Mitoshi house.
