It was the summer of 2013 when our friends -a married couple who are a photographer and a lacquer artist- asked us to design their home and studio, which will also be their new operating base at Tokyo. Other than their own bedroom and living space, they specifically requested to have a separate guest room, a photography gallery, an atelier and a rooftop terrace with a good view of the surroundings. Towards the north of the site, there is a small artificial hill that was constructed during the Edo period called Nakazato-Fuji, and for a home that sits beside this cultural heritage that was built based on religious faith and appreciation towards natural landscapes - we simply wanted it to embody a primitive shape as if it was something that grew naturally from the land or something that is unearthed from archeological sites.
The finishing materials of the interior were chosen in terms of how the residence came about. Specifically, the exterior of three cuboids that represents walls and roof are built with gypsum boards that are painted white, which is obviously different from the wood that is used for the partition walls and floor (plywood for the walls and ceiling and an oak timber flooring). By choosing the finishing materials on the principles of how the architecture was formed instead of focusing on the purpose and size of the rooms, we thought that it would be possible to explicitly show the geographical characteristics (like the distance from the ground or the difference in space that is determined by the direction of the window) that each place in the house have.
Inside, there are a limited number of doors. By joining the rooms with stairs that come in various sizes in a spiral form, the indoor space is not only connected horizontally but also vertically. Based on this structure, the gallery -the most important space in the house- is not isolated from the living room, dining room or bedroom, and it was our intention as designers to achieve a design where the architecture can naturally play its role in the daily lives of the two artists.
名称：AREA PARK STUDIO 施主：個人 所在地：東京都清瀬市 用途：戸建住宅 面積：114.36m2 竣工：2015年7月 基本・実施設計：カスヤアーキテクツオフィス（粕谷淳司・粕谷奈緒子・古橋一真） 監理：カスヤアーキテクツオフィス（粕谷淳司・粕谷奈緒子・古橋一真） 構造設計：小西泰孝建築構造設計（小西泰孝・円酒昴） 照明デザイン：ソノベデザインオフィス（園部竜太） 施工：株式会社クラフトホーム（阿部浩久） 撮影：Kim Yongkwan、土橋一公
Project name：AREA PARK STUDIO Client：Personal Project site：Tokyo, Japan Function：Private House Size：114.36m2 Design & Supervise：Atsushi+Naoko Kasuya, Kazuma Furuhashi(KAO) Structural Design：Yasutaka Konishi, Noboru Enshu(KSE) Lighting Design：Ryuta Sonobe(Sonobe Design) Contractor：Krafthome Co.,LTD.(Hirohisa Abe) Photo：Kim Yongkwan, Kazumasa Dobashi
GREEN HAT 2030 は、屋上に庭(菜園)と創エネシステムの帽子をかぶせた「新しい、庭付き一戸建」 を目指したモデル住宅の提案である。 ZEH を目指すとき、外壁・屋根・間仕切壁・縁側、そして各種の設備など、住宅のそれぞれの部 分が持つべき、「新しい役割」とは何か。ZEH によって、私たちの生活はどのように変わるのか。 私たちの提案の本質は、この問いかけにある。高価な設備機器や、特殊な材料だけに頼らず、 伝統的な知恵や、既に存在する技術の潜在的価値にも注目し、それらを適材適所に組み合わせた、 新しい「普通の家」のありかたを、常識にとらわれない自由な発想で提案した。
“GREEN HAT 2030” is a proposal for a ZEH (net zero-energy house), which has a “hat” or energy generating system and a garden (farm) - on its roof. When we think about a prototype for ZEH in the near future, we must consider what is to be the new role of each part of the house (the outer walls, roof, partition walls, verandah and facilities’ equipment and so on)? What will change in our life when living in a ZEH? The essence of our proposal is based on these questions. In this project, we wanted to create a kind of “normal house in 2030’s” made from a combination of ideas focusing on traditional wisdom and the potential value of technology that already exists. We utilized free thinking, without being bound by “common sense”, and avoided relying on only expensive equipment or special materials.
The results of this research have been achieved by the introduction of “Research and demonstration project relating to Net Zero Energy Houses -Enemane House 2015-” conducted by Sustainable open Innovation Initiative, as a part of “Subsidy given to business for promoting introduction of innovative energy conservation technologies for houses and buildings”, which was led by the Agency for Natural Resources and Energy of the Ministry of Economy, Trade and Industry of Japan.
A country villa that was designed to nestle amongst the trees in a forest site situated far away from the bustle of the city. The project’s distinctive tent-like sectional form with few perpendicular walls was derived from a simple goal to generate maximum volume from a limited budget. At the same time, it also reflects an idea that what is needed most in a country villa in the present internet/networked age are not ‘material objects’ (such as books), but a ‘space’ that is spacious and allows for the leisurely enjoyment of the rich natural environment of the surroundings. This project, which contains a space that carries a primitive quality that can be described as being “in-between a hut and a cave”, proposes a future for the architecture of country villas that have previously often been designed as nothing more than miniaturized suburban houses.
Project name: STACK (Private House in Higashi-yukigaya) Client: Personal Project site:Tokyo, Japan Function: Private House Size: 90.46m2 Design & Supervise: Atsushi+Naoko Kasuya, Yuki Murata(KAO) Structural Design: Kentaro Nagasaka, Tomohiro Magami (Ken Nagasaka Engineering Network) Lighting Design: Ryuta Sonobe(Sonobe Design) Contractor:Ogawa Kensetsu Co.,Ltd. Photo: Masaya Yoshimura(Copist & the Brushworks), Atsushi Kasuya(KAO)
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The site is located among apartments and long-standing inns in a well-serviced environment with an urban atmosphere within a historical neighborhood along the old Nakasendo road. While the site is highly accessible, at the time of planning, the frontal road had relatively heavy traffic that was expected to increase when a new road nearby was completed. Due to the elevation difference between the lot and the frontal road, we began by organizing a sectional composition that has the approach and garage in the first basement level facing the road, the main living and dining spaces on the ground level, and the bedrooms in the upper level. Next, we positioned multiple courtyards, terraces, and atrium spaces in and around the building on the limited site area to create outdoor and semi-outdoor areas to draw light and wind into the rooms from various directions. e interior circulation integrates these outdoor and semi-outdoor spaces as it passes from the basement-level entrance, the expansive ground floor with the living/dining areas, and through to the upper level with the private rooms. Rather than opening the windows of the main living/dining floor directly into the street, they are directed towards the street through the courtyard and atrium space (the upper portion of the entrance vestibule below). e interior of the house is appropriately hidden from the street while an abstracted view of the landscape can be seen from the inside. By providing a moderate sense of distance between the inside and outside instead of closing it out completely, we aimed to position the street to be seen as a “world on the other side” and create a sense of intimacy on the inside. e windows of the main bedroom and children’s room on the second level face directly towards the treetops of the large trees on the neighboring site and towards the landscape beyond the street. We tried to alter the degree of intimacy of the spaces within the same house to make the role of each place within it clearer. The full three-story height of the house can be experienced from the bridge that crosses the atrium between the main bedroom and children’s room, where one can look through the main floor living room down to basement level entrance. We attempted to replicate the relationship between the house and street within the house as well to give a sense of layering and depth to the space.
In designing this house, we set for ourselves the seemingly contradictory goal to create a small but spacious house. We initially decided to make a small house in order to keep down the cost. Due to the scale of the project, rather than building a one or two story house, we could build a three-story house with the same floor area and minimize the size of the foundations and roof. By doing so, we could also reduce the surface area of the building exposed to the outside air and thereby cut not only the building cost, but also energy usage for heating and cooling. However, we thought it would be pointless if the rooms are made smaller just because the house itself is small. We thus made many small well spaces inside, while providing plenty of insulation in the outer walls, windows, and roof. e idea was to make a thickly insulated envelope that contains a porous interior space. With spaces rising to the ceiling at surprising heights of almost seven meters, and others where views cut through adjacent rooms towards the garden, the interconnected interior feels more spacious than their measurements tell. Although the materials used in the house are simple and unembellished—the ceiling is exposed and reveals the structure, uncolored cement plates cover the outer walls, raw Japanese ash is used for the floors, and wooden backing material is used to make the wall balustrades—we placed importance on their durability. ey also reflect the careful handwork of the craftsmen. We chose the materials and designed the house based on how we understand the essence of a space for living to be. The various well spaces and thin exposed-structure floors allow radiant heat from the storage heater installed on the first floor to pass to also warm the second and third stories. e residents can also speak to each other from the kitchen on the first floor and the children’s room on the third floor. We named the house the “One House” based on the concept for the house, which was to create a “single three- dimensional space containing diverse places”, and on our idea that this could be one model for the highly-insulated houses of the future.
A single-family house built on an elevated site blessed with views to the town in the basin valley below and the Northern Alps in the distance. The client, who had originally lived in the area, wished for a house that takes advantage of the great location and connects their everyday life to the landscape. e Shinshu region has refreshing and comfortable weather throughout spring to autumn, but the winter brings harsh cold with temperatures that at times drop to minus 10 degrees Celsius. e client thus also requested a house in which they can live warmly even through the severe cold of winter. In response to these wishes of the client, we began by proposing interconnected interior spaces that encircle a courtyard and gently shift in height according to the topography of the site. Subsequently, we designed the rooms to relate to the landscape in different ways. e living room has a very large steel sash window that opens towards the town and mountains; the dining room draws in the scenery across the courtyard; and the gallery has many tall slit-like windows. The K House was the first house that we designed in a cold climate area and so we directed our efforts particularly towards improving the quality of the thermal environment. We gave the walls and roof a level of thermal insulation that surpasses even next-generation standards and used low-e double-glazed windows to effectively insulate all of the openings. Furthermore, we installed a sliding insulation door that can be pulled out as needed along the inside face of the large L-shaped opening that merges the spaces of the interior and the courtyard. is sliding insulation door is like a modern shoji screen that was made by the Sekisui Chemical Co., Ltd. using two acrylic panels that encase an “Air Sandwich”, a transparent insulation material developed with the aid of the New Energy and Industrial Technology Development Organization (NEDO). By pulling this door shut, a level of thermal insulation equivalent to that of ordinary exterior walls can be achieved for the window. The sliding insulation door was able to be implemented in a newly constructed house for the first time both domestically and internationally with the full support of Sekisui Chemical Co., Ltd.
Awarded the 2010 Hunter Douglas Designing Window Award (First Prize in Japan)
名称：K House 施主：個人 所在地：長野県 用途：戸建住宅 面積：177.85m2 竣工：2010年8月 基本・実施設計：カスヤアーキテクツオフィス（粕谷淳司・粕谷奈緒子・菊地臨・村田裕紀） 監理：カスヤアーキテクツオフィス（粕谷淳司・粕谷奈緒子・村田裕紀） 構造設計：小西泰孝建築構造設計（小西泰孝・金子武史） 照明デザイン：ソノベデザインオフィス（園部竜太） 設備設計：前田設備設計事務所（前田康太） 外構監修：カネミツヒロシセッケイシツ（金光弘志） 施工：松本土建株式会社（高木時浩・山本千晶） 撮影：吉村昌也（Copist & the Brushworks)
Project name: K House Client: Personal Project site: Nagano, Japan Function: Private House Size: 177.85m2 Design & Supervise: Atsushi+Naoko Kasuya, Linn Kikuchi, Yuki Murata(KAO) Structural Design: Yasutaka Konishi, Takeshi Kaneko (KSE) Lighting Design: Ryuta Sonobe(Sonobe Design) Landscape Design: Hiroshi Kanemitsu(KHDO2004) Contractor: Matsumoto-Doken Co.,Ltd.(Tokihiro Takagi, Chiaki Yamamoto) Photo: Masaya Yoshimura(Copist & the Brushworks)
Project name: YM House Client: Personal Project site: Suginami-ku, Tokyo, Japan Function: Housing Size: 59.7m2Design & Supervise: Atsushi + Naoko Kasuya , Linn Kikuchi (KAO) Contractor: Ogawa Kensetsu Co.,Ltd. Photo: Katsuya Goseki , KAO
名称：FIBERCITY TOKYO 2050／小石川プロジェクト 所在地：東京都文京区（計画案） 用途：緑地／オフィス／集合住宅／商業施設等 面積：約35,000m2（提案範囲） 主催：東京大学大学院 新領域創成科学研究課 大野秀敏研究室 プロジェクトデザイン：カスヤアーキテクツオフィス（粕谷淳司・菊地臨）
Project name: FIBERCITY TOKYO 2050 ／ Koishikawa Project Project site: Bunkyo-ku, Tokyo, Japan Function: Park, Office, Housing, Commercial, etc. Size: appx.35,000m2 (Proposal Site area) Project Director: OHNO Hidetoshi Laboratory, The University of Tokyo Design: Atsushi Kasuya , Linn Kikuchi (KAO)
A house built among the mountains and valleys located an hour away from central Tokyo by train. The site looks out over a rail line towards the distant landscape on the south side and is backed by a mountain forested with cedar on its north side. There is a height differential between the front and back area of the plot that gives it a clear sense of orientation. On this site positioned where the city ends and nature begins, we aimed to create a house that offers the sense of tranquility of a sunny spot beneath the shade of a tree, and also provides a sense of openness and a comfortable thermal environment. The interior is composed with floors on differing levels that amplify the topography of the site. The second story that contains the main living areas with good views extends outwards beyond the first story on the north and south sides of the house. In order to make the open interior environment comfortable for withstanding the severe temperature gradients of Ome, double-glazing is used on all of the openings and the outer walls and roof are filled with spray-on foam insulation to suppress temperature shifts due to heat gain. This allowed the house to achieve a level of insulation and air-tight efficiency 1.5 times greater than next-generation standards. Regular natural ventilation is also achieved by the various windows that are positioned to generate a continuous soft breeze through the rooms. The interior finishing comprises of natural Japanese ash tree stained red-brown for the bedroom flooring and a contrasting greenish natural stone (Towada stone) that is used on the entrance and bathroom flooring. Lauan plywood is used on some parts of the walls. The exterior walls are finished with sheet copper of a reddish shade. The red of the walls and the greenery of the mountain behind the house are intended to mutually accentuate each other.
Received the 19th Total Housing Award (Second Place)
The winning entry of a design competition held for a site within the historic Japan Women’s University campus. e project is located atop a hill in central Tokyo in the former site of a symbolic academic building of the Mejiro Campus. e competition called for a design of a new plaza that would provide a symbol for the university while preserving the numerous trees existing on the site.
We employed four key ideas for the design:
Trinity Circle A loose triangular ring encircling the entire plaza. It gives shape to the whole site while maximizing the area of preserved greenery. e shape represents the three founding principles of the university and also reflects the shape of the campus that forms a triangle bounded between the Mejiro-dori and Shinobazu-dori roads.
Green Carpet A large central lawn. e horizontality of the space presents a contrast to the verticality of the large volume of the new academic building tower nearby. e line of deciduous tall trees along the lawn traces the shape of the old building that formerly existed on the site and serves as a foothold for carrying the past into the future.
Symbiosis with the existing trees In addition to preserving the existing vegetation, we made subtle changes to the terrain, adjusted the shapes of the trees, and introduced mid-sized trees and ground plantings to transform the greenery into a copse of mixed trees thinned to allow for views through to the other side.
Minimal Intervention / Maximum Effect is describes the stance that we held in approaching the design and relates to all of the three previous concepts. Even while our plan was the most minimal among the competition proposals, by reading carefully into the existing structure of the site and giving the space a new framework, it presented the possibility to implant clear meanings and unique identities to each of its different areas.
First Prize for the Mejiro Campus University Square Design Proposal Competition Selected for the Japanese Institute of Landscape Architecture Selected Works 2008 Landscape co-designed by Hiroshi Kanemitsu (KHDO)
Project name: University Square, Japan Women's University Client: Japan Women's University Project site: 2-8-1, Mejiro-dai, Bunkyo-ku, Tokyo, Japan Function: University Square Size: appx.2500m2 (Site area) Design: Atsushi Kasuya + Naoko Kasuya (KAO) Landscape Design: Hiroshi Kanemitsu (KHDO) Contractor: Hibiya Amenis corp. Photo: Makoto Yoshida