The 114th issue of JA is the first monograph devoted to architect Hiroshi Nakamura, and features 31 architectural works he has created since founding Hiroshi Nakamura & NAP in 2002. Nakamura has designed buildings of various scales and types including residence, office, commercial facility, church, and public facility, and their structures, materials as well as details are realized through various approaches taken for each. By undertaking thorough analyses of climate, industry, site conditions, and landscape, he has designed architectures that cleave to behaviors and emotions of the people, and hold strong statements through rich forms. By presenting his works over the last 17 years in chronological order, this issue sheds light on how Hiroshi Nakamura has met architectural challenges and how his thoughts on architecture will continue to evolve. 『JA114』では建築家・中村拓志を特集します。
2002 年に NAP 建築設計事務所を設立してから現在まで、31 作品を収録した初の作品集です。 中村の仕事は、住宅、オフィス、商業施設、礼拝堂、公共施設など、さまざまなスケールと 用途にわたっており、それらの構造、素材、ディテールは、それぞれに異なる多彩なアプロー チで実現されていることに特徴があります。 地域の風土や産業、敷地の地形や自然をつぶさに読み解き、そこで活動する人びとの振る舞い や気持ちに寄り添い設計した建築は、その豊かな造形力により強いメッセージ性を持ちます。 本書では、17 年間にわたる作品を時系列で見通しながら、中村がどのように建築に向き合っ
てきたのか、またその思考が今後どのように展開されるのかを示します。
Hiroshi Nakamura & NAP
1
Hiroshi Nakamura & NAP Essay 4
Towards an Architecture that Cleaves to Human Behaviors Hiroshi Nakamura
Works 6
Publisher and Editorial Director Nobuyuki Yoshida
Editor Atsuko Nishimaki Editorial Staff Misako Fujita Emiko Fujita Cover Design Shoichi Wada/ Pass
10
House SH
14
Lotus Beauty Salon
18
Necklace House
20
Gallery Sakuranoki
22
Dancing trees, Singing birds
30
House C
34
Roku Museum
42
GRAZ
46
Tokyo International Airport Terminal 1, 2
48
TOKYU PLAZA OMOTESANDO HARAJUKU
54
Optical Glass House
62
Sayama Lakeside Cemetery Community Hall
70
Sayama Forest Chapel
80
Hayama Cave
84
Nasu Tepee
92
Ribbon Chapell
100
Bella Vista SPA & MARINA ONOMICHI Erretegia
106
Bella Vista SPA & MARINA ONOMICHI THE DECK ／ Maisonette Spa Suite
SHINKENCHIKU-SHA CO., LTD. Kasumigaseki Building 17F 3-2-5, Kasumigaseki, Chiyoda-ku, Tokyo 100-6017, Japan
Established in 1925 tel.: +81-3-6205-4380 fax.: +81-3-6205-4386 http://www.japlusu.com International Business Department (Sales) tel.: +81-3-6205-4380 fax.: +81-3-6205-4386 e-mail: ja-business@japan-architect.co.jp http://www.japlusu.com “JA”volume 114 Price (outside Japan): ¥3,200.All prices are subject to change without notice. Methods of Payment □Credit Card (Visa, Master, Amex) □International postal money order Account no. 00160-5-345865 □Banker’ s check payable in Tokyo Make payment payable to: Shinkenchiku-sha Co., Ltd. □Bank Transfer The Hongo Branch of Mizuho Bank, Ltd. Tokyo Account no. 2738696 ISBN 978-4-7869-0307-6 Copyright© 2019 Shinkenchiku-sha Co., Ltd. Printed in Japan
2
Hiroshi Nakamura & NAP
Lanvin Boutique Ginza
108
Bird’ s Nest Atami
112
Sarugaku Cyclone
114
Cockpit in Wild Plants
118
Kamikatz Public House
120
Glass Jewelry Box
122
Balloon Glass Office
124
Finding Rainbows
128
Radiator House
132
House of Glittering Leaves
136
GORA BREWERY & GRILL
140
Lath House
148
Half Cave House
154
Data
158
Profile
Essay:
Towards an Architecture that Cleaves to Human Behaviors Hiroshi Nakamura (Architect)
This book brings together 17 years of projects undertaken since Hiroshi Nakamura & NAP was established in 2002. Laid out in chronological order, these buildings demonstrate a diversity of structures, materials, styles, and atmospheres ̶ a trajectory that traces how I, by thinking about the users, have explored what optimal architecture is for the environment and regionality of each place. I aspired to be an architect when I was in an upper grade in elementary school. I used to love tree houses and secret hideouts made of cardboard boxes, and the comfort that I felt in them. Every weekend, my parents took me to temples and shrines where I was moved by the masterful way that the architecture was integrated with nature and the gardens. These all became my primary experiences of architecture. As I learned how architecture takes shape by building connections between various elements ̶ local history and tradition, materials and craftsmanship, and human lives and philosophies ̶ I decided to pursue architecture for living. When I started my own firm at the age of 28, I sought to remain faithful to the philosophy and methodology of my mentor, Kengo Kuma, while aiming to create architecture that cleaves to human body, which induce us to develop an affection for them. In my early projects, such as the show-windows that invite you to peek in, the experience similar to being enveloped in a cave, or the space that gives you a completely different impressions depending on whether you are sitting or standing, my strong wish for an intimate relationship between people and architecture is evident. The project that became a turning point as to incorporate nature as the medium between people and architecture was Dancing Trees, Singing Birds, completed in 2007. It is a housing complex that aimed to acquire as much floor area as possible while preserving the existing trees by carrying out high resolution studies and simulations with tree doctors and surveyors. It was an experiment to achieve two seemingly contradictory objectives of tree preservation and economic rationality, by turning a lifestyle situated in close proximity to trees into an added value while sharing the forest by levying a monthly conservancy fee to maintain the trees. At the same time, this concept, which perceives the trees as the prior existence while humans live quietly alongside them, was my small resistance against anthropocentrism. Upon completion, when sounds of birds resonated and the dappled sunlight flickered through the leaves, I was convinced that the nature will create a strong connection between people and the architecture. Subsequently, I had begun to shift towards the design that serves to draw out nature and the unique elements of place, so that the architecture itself would remain as the subordinate role. Optical Glass House, completed in 2012, was the defining project that inspired me towards an architecture that connects with human psychology. At any given time of the day, the client could be called into work where electronic sounds resounded. For such client, I wanted to design a dwelling with tranquility like a mountain retreat despite of being in a city, thus we designed a front courtyard with a optical glass facade, behind which cars pass without sound. True tranquility is to be found not in a closed room with a complete absence of sound, but rather within your mind when no sound is heard in a place that ought to have been filled with them. 4
Hiroshi Nakamura & NAP
人の振る舞いに寄り添う建築を目指して 中村拓志（建築家）
The Sayama Lakeside Cemetery Community Hall and Sayama Forest Chapel, completed in 2014, I was even more conscious of an architecture with relationships mediated by human behaviors. In order to cleave to those in mourning whom words could not completely console, the emotions of those who had come to visit the deceased, or the behaviors such as lowering eyes, putting hands together for prayer and communicating with the deceased, we designed low-hanging eaves that lowered the level of s gaze, a chapel with sloping roofs that resemble hands put together one’ for prayer, and a lounge area where one would feel as if the deceased is speaking to you through the trees and wind. By incorporating local materials and craftsmanship into the nature and scenery of the place, I believed that it would be possible to create an architecture with composite relationships where the architecture and human body exert a reciprocal influence on each other.
本書は、2002 年に NAP 建築設計事務所を設立して以来、17 年間の仕事を
祈りの手に相似する合掌造りの礼拝堂、故人が木々や風となって話しかけ
Today, the world is becoming increasingly homogenized, and the uniqueness of place and regionality continue to diminish. While the development of information technology and virtual spaces have opened up new possibilities for the human race, I feel that direct exchanges among people and the relationship between humans and nature have become tenuous. On the other hand, we are also seeing a movement that seeks to recover a sense of real relationships, through the concept of local production for local consumption, for instance, or community activities at a local level. Through my own work, I also wish to contribute to this movement.
ようになりました。
これまでの設計論では、人の心理は主観的なもので、定量化できないこと
28 歳で独立した時、師である隈研吾の思想や手法を継承しながら、人間の
を理由に積極的に言及されてきませんでした。しかし、行動主義心理学や
身体になじみ、愛着を持てる建築の設計を志しました。初期の仕事には、の
認知心理学が明らかにしたのは、人が感情を持って行動するだけでなく、
ぞき込む行為を誘うショーウィンドウや、洞窟の中で包まれるような体験、
行動があることで感情や認知が生まれるという、もうひとつの事実です。
座位と立位によって印象が変わる空間など、人と建築の近しい関係に対する
振る舞いは、行為の模倣を意味する「振り」と、反復を意味する「舞い」と
想いが強く表れています。
いう漢字から成ります。人は生まれた時から、社会と文化の中で行為の模
Past theories of design did not actively make references to human psychology, on the basis that it is a subjective matter that cannot be quantified. Another insight that has been revealed by both behavioral and cognitive psychology, however, is that while people act based on emotions, emotions and cognitions are engendered through certain behaviors. The Japanese term“ furumai,”which means behavior, consists of two Chinese characters: the first one means to imitate an action while the second one means to reiterate. Human beings have woven the web of empathy by repeatedly imitating and reiterating actions within the context of society and culture.“Furumai”is a cultural system that can foster empathy even without verbal intervention. Through architectures that analyze and cleave to human behaviors, I have s hearts. This is not just sought to realize architectures that touch people’ to create intimate relationships between people and architecture, but also an experiment in creating architecture that can foster better relationships among people, between people and the local communities, and people and nature. In the future, I hope to pursue an architecture that can devote itself to society in an even wider context.
まとめたものです。時系列順のレイアウトから見えてきたのは、構造や素材、
てくるような休憩室を用意しました。そこに地域の素材や職人の手による
そして建築が纏う空気も形式もさまざまな建築群です。それは利用者のこと
技術とその場所の自然や景観が加わって、建築と身体が影響し合う複合的
を想い、それぞれの場所の環境や地域性ごとに最適な建築とは何かを模索し
な関係性の建築ができるのではないかと考えたのです。
てきた軌跡です。 今日、世界は均質化を強め、場所の個性や地域性が失われつつあります。 建築家を志したのは小学生高学年の頃でした。ツリーハウスや段ボールの秘
情報技術や仮想空間の発達は人類に新しい可能性を拓いていますが、人と
密基地が好きで、包まれるような居心地のよさを感じたことや、休日のたび
人の直接的なやりとりや人と自然の関係は希薄になっているように感じま
に両親に連れられて寺社を訪ね、自然や庭園と融合する建築のすばらしさに
す。しかし一方で、地産地消や地域ごとのコミュニティ活動など、リアル
感動したことが、私の建築の原体験です。そして、建築が地域の歴史や伝統、
な関係性の回復を求める動きも見られます。私も自分の仕事を通して、そ
素材や職人の技能、そして人びとの生活や哲学など、さまざまなものを結び
の担い手のひとりになりたいと願っています。
付けて成り立つことを知るにつれ、建築をつくることを生業にしたいと思う
倣と反復を繰り返して共感を紡いできました。振る舞いとは言葉を介さず 両者の関係の媒介要素として自然を取り入れるきっかけとなったのが、2007
とも共感を紡ぐことができる文化的体系なのです。
年竣工の「Dancing trees, Singing birds」（22 頁）です。樹木医や測量士と共
私たちは人びとの振る舞いを分析し、そこに寄り添う建築によって、人の
に解像度の高い調査やシミュレーションを行い、既存の林を残しつつも極力
心に触れる設計を目指してきました。それは、人と建築が近しい関係を結
容積を獲得した集合住宅です。木々に近い生活を付加価値にして、樹木の維
ぶだけでなく、人と人、人と地域、人と自然がよりよい関係を結ぶ建築へ
持費用は毎月の管理料として徴収することで森をシェアするという、相反す
の試行です。今後さらに広く、社会に尽くすことのできる建築を追求した
ると思われがちな緑の保存と経済的合理性を両立させる試みでした。同時に、
いと考えています。
樹木が主役で人間はその隣にそっと居させてもらうという考え方は、人間中 心主義へのささやかな抵抗でもありました。完成後の空間に鳥の声が響き、 木漏れ日が揺れ動いた時、自然が人びととその場所や建築をしっかりと結び 付けてくれることを確信しました。これ以降、建築が極力脇役的な存在とな るように、自然やその場所の個性を引き出す設計にシフトしていきます。
2012 年竣工の「Optical Glass House」（54 頁）は、人の心理に繋がる建築を 目指すきっかけとなりました。建主は電子音が鳴り響く仕事場から昼夜問わ ず呼び出される状況にありました。そんな建主に、都心であっても山居のよ うに静かな住宅を設計したいと思い、光学ガラスの壁の向こうで車が音もな く行き交う前庭を設けました。本当の静寂とは無音の密室にあるのではなく、 音がするはずの所でそれを感じない時にこそ、心の内に現れると考えました。
2014 年竣工の「狭山湖畔霊園の連作」（62 頁、70 頁）では、人の振る舞いを介 した関係性の建築をより強く意識しました。言葉では慰めきれない悲しみの 中にいる人、故人に会いに来る人の心情や、目を伏せる、手を合わせて祈る、 故人と語らうといった振る舞いに寄り添うために、目線を落とす低い軒や、
Hiroshi Nakamura & NAP
5
Essay:
Towards an Architecture that Cleaves to Human Behaviors
Hiroshi Nakamura (Architect)
This book brings together 17 years of projects undertaken since Hiroshi Nakamura & NAP was established in 2002. Laid out in chronological order, these buildings demonstrate a diversity of structures, materials, styles, and atmospheres ̶ a trajectory that traces how I, by thinking about the users, have explored what optimal architecture is for the environment and regionality of each place. I aspired to be an architect when I was in an upper grade in elementary school. I used to love tree houses and secret hideouts made of cardboard boxes, and the comfort that I felt in them. Every weekend, my parents took me to temples and shrines where I was moved by the masterful way that the architecture was integrated with nature and the gardens. These all became my primary experiences of architecture. As I learned how architecture takes shape by building connections between various elements ̶ local history and tradition, materials and craftsmanship, and human lives and philosophies ̶ I decided to pursue architecture for living. When I started my own firm at the age of 28, I sought to remain faithful to the philosophy and methodology of my mentor, Kengo Kuma, while aiming to create architecture that cleaves to human body, which induce us to develop an affection for them. In my early projects, such as the show-windows that invite you to peek in, the experience similar to being enveloped in a cave, or the space that gives you a completely different impressions depending on whether you are sitting or standing, my strong wish for an intimate relationship between people and architecture is evident. The project that became a turning point as to incorporate nature as the medium between people and architecture was Dancing Trees, Singing Birds, completed in 2007. It is a housing complex that aimed to acquire as much floor area as possible while preserving the existing trees by carrying out high resolution studies and simulations with tree doctors and surveyors. It was an experiment to achieve two seemingly contradictory objectives of tree preservation and economic rationality, by turning a lifestyle situated in close proximity to trees into an added value while sharing the forest by levying a monthly conservancy fee to maintain the trees. At the same time, this concept, which perceives the trees as the prior existence while humans live quietly alongside them, was my small resistance against anthropocentrism. Upon completion, when sounds of birds resonated and the dappled sunlight flickered through the leaves, I was convinced that the nature will create a strong connection between people and the architecture. Subsequently, I had begun to shift towards the design that serves to draw out nature and the unique elements of place, so that the architecture itself would remain as the subordinate role. Optical Glass House, completed in 2012, was the defining project that inspired me towards an architecture that connects with human psychology. At any given time of the day, the client could be called into work where electronic sounds resounded. For such client, I wanted to design a dwelling with tranquility like a mountain retreat despite of being in a city, thus we designed a front courtyard with a optical glass facade, behind which cars pass without sound. True tranquility is to be found not in a closed room with a complete absence of sound, but rather within your mind when no sound is heard in a place that ought to have been filled with them. 4
Hiroshi Nakamura & NAP
人の振る舞いに寄り添う建築を目指して 中村拓志（建築家）
The Sayama Lakeside Cemetery Community Hall and Sayama Forest Chapel, completed in 2014, I was even more conscious of an architecture with relationships mediated by human behaviors. In order to cleave to those in mourning whom words could not completely console, the emotions of those who had come to visit the deceased, or the behaviors such as lowering eyes, putting hands together for prayer and communicating with the deceased, we designed low-hanging eaves that lowered the level of s gaze, a chapel with sloping roofs that resemble hands put together one’ for prayer, and a lounge area where one would feel as if the deceased is speaking to you through the trees and wind. By incorporating local materials and craftsmanship into the nature and scenery of the place, I believed that it would be possible to create an architecture with composite relationships where the architecture and human body exert a reciprocal influence on each other.
本書は、2002 年に NAP 建築設計事務所を設立して以来、17 年間の仕事を
祈りの手に相似する合掌造りの礼拝堂、故人が木々や風となって話しかけ
Today, the world is becoming increasingly homogenized, and the uniqueness of place and regionality continue to diminish. While the development of information technology and virtual spaces have opened up new possibilities for the human race, I feel that direct exchanges among people and the relationship between humans and nature have become tenuous. On the other hand, we are also seeing a movement that seeks to recover a sense of real relationships, through the concept of local production for local consumption, for instance, or community activities at a local level. Through my own work, I also wish to contribute to this movement.
ようになりました。
これまでの設計論では、人の心理は主観的なもので、定量化できないこと
28 歳で独立した時、師である隈研吾の思想や手法を継承しながら、人間の
を理由に積極的に言及されてきませんでした。しかし、行動主義心理学や
身体になじみ、愛着を持てる建築の設計を志しました。初期の仕事には、の
認知心理学が明らかにしたのは、人が感情を持って行動するだけでなく、
ぞき込む行為を誘うショーウィンドウや、洞窟の中で包まれるような体験、
行動があることで感情や認知が生まれるという、もうひとつの事実です。
座位と立位によって印象が変わる空間など、人と建築の近しい関係に対する
振る舞いは、行為の模倣を意味する「振り」と、反復を意味する「舞い」と
想いが強く表れています。
いう漢字から成ります。人は生まれた時から、社会と文化の中で行為の模
Past theories of design did not actively make references to human psychology, on the basis that it is a subjective matter that cannot be quantified. Another insight that has been revealed by both behavioral and cognitive psychology, however, is that while people act based on emotions, emotions and cognitions are engendered through certain behaviors. The Japanese term“ furumai,”which means behavior, consists of two Chinese characters: the first one means to imitate an action while the second one means to reiterate. Human beings have woven the web of empathy by repeatedly imitating and reiterating actions within the context of society and culture.“Furumai”is a cultural system that can foster empathy even without verbal intervention. Through architectures that analyze and cleave to human behaviors, I have s hearts. This is not just sought to realize architectures that touch people’ to create intimate relationships between people and architecture, but also an experiment in creating architecture that can foster better relationships among people, between people and the local communities, and people and nature. In the future, I hope to pursue an architecture that can devote itself to society in an even wider context.
まとめたものです。時系列順のレイアウトから見えてきたのは、構造や素材、
てくるような休憩室を用意しました。そこに地域の素材や職人の手による
そして建築が纏う空気も形式もさまざまな建築群です。それは利用者のこと
技術とその場所の自然や景観が加わって、建築と身体が影響し合う複合的
を想い、それぞれの場所の環境や地域性ごとに最適な建築とは何かを模索し
な関係性の建築ができるのではないかと考えたのです。
てきた軌跡です。 今日、世界は均質化を強め、場所の個性や地域性が失われつつあります。 建築家を志したのは小学生高学年の頃でした。ツリーハウスや段ボールの秘
情報技術や仮想空間の発達は人類に新しい可能性を拓いていますが、人と
密基地が好きで、包まれるような居心地のよさを感じたことや、休日のたび
人の直接的なやりとりや人と自然の関係は希薄になっているように感じま
に両親に連れられて寺社を訪ね、自然や庭園と融合する建築のすばらしさに
す。しかし一方で、地産地消や地域ごとのコミュニティ活動など、リアル
感動したことが、私の建築の原体験です。そして、建築が地域の歴史や伝統、
な関係性の回復を求める動きも見られます。私も自分の仕事を通して、そ
素材や職人の技能、そして人びとの生活や哲学など、さまざまなものを結び
の担い手のひとりになりたいと願っています。
付けて成り立つことを知るにつれ、建築をつくることを生業にしたいと思う
倣と反復を繰り返して共感を紡いできました。振る舞いとは言葉を介さず 両者の関係の媒介要素として自然を取り入れるきっかけとなったのが、2007
とも共感を紡ぐことができる文化的体系なのです。
年竣工の「Dancing trees, Singing birds」（22 頁）です。樹木医や測量士と共
私たちは人びとの振る舞いを分析し、そこに寄り添う建築によって、人の
に解像度の高い調査やシミュレーションを行い、既存の林を残しつつも極力
心に触れる設計を目指してきました。それは、人と建築が近しい関係を結
容積を獲得した集合住宅です。木々に近い生活を付加価値にして、樹木の維
ぶだけでなく、人と人、人と地域、人と自然がよりよい関係を結ぶ建築へ
持費用は毎月の管理料として徴収することで森をシェアするという、相反す
の試行です。今後さらに広く、社会に尽くすことのできる建築を追求した
ると思われがちな緑の保存と経済的合理性を両立させる試みでした。同時に、
いと考えています。
樹木が主役で人間はその隣にそっと居させてもらうという考え方は、人間中 心主義へのささやかな抵抗でもありました。完成後の空間に鳥の声が響き、 木漏れ日が揺れ動いた時、自然が人びととその場所や建築をしっかりと結び 付けてくれることを確信しました。これ以降、建築が極力脇役的な存在とな るように、自然やその場所の個性を引き出す設計にシフトしていきます。
2012 年竣工の「Optical Glass House」（54 頁）は、人の心理に繋がる建築を 目指すきっかけとなりました。建主は電子音が鳴り響く仕事場から昼夜問わ ず呼び出される状況にありました。そんな建主に、都心であっても山居のよ うに静かな住宅を設計したいと思い、光学ガラスの壁の向こうで車が音もな く行き交う前庭を設けました。本当の静寂とは無音の密室にあるのではなく、 音がするはずの所でそれを感じない時にこそ、心の内に現れると考えました。
2014 年竣工の「狭山湖畔霊園の連作」（62 頁、70 頁）では、人の振る舞いを介 した関係性の建築をより強く意識しました。言葉では慰めきれない悲しみの 中にいる人、故人に会いに来る人の心情や、目を伏せる、手を合わせて祈る、 故人と語らうといった振る舞いに寄り添うために、目線を落とす低い軒や、
Hiroshi Nakamura & NAP
5
Dancing trees, Singing birds Dancing trees, Singing birds Tokyo, 2007
South exterior 南側外観
22
Hiroshi Nakamura & NAP
Hiroshi Nakamura & NAP
23
Dancing trees, Singing birds Dancing trees, Singing birds Tokyo, 2007
South exterior 南側外観
22
Hiroshi Nakamura & NAP
Hiroshi Nakamura & NAP
23
This is a small museum where visitors can feel as if theyr’ e taking a stroll in a forest. The client wanted galleries to display small paintings and a cafe where people in the community can naturally gather under the trees. Therefore, we designed a landscape, where trees cover the slope on the site, and a place under the trees where people could spontaneously meet. By creating a form for the building based on 3D data of the trees we planted on the site, we reversed the usual relationship of the garden and the architecture. The low entrance prevents damage to the branches above, and visitors must bow as they go through it. This evokes a sense of modesty, so people become themselves while viewing the paintings. In the cafe, the architecture also evokes spontaneous behavior, which is similar to people s’ behavior while looking for shade under the trees, or seeking shelter from the rain. 森の中を散策するように過ごす美術館。建主は小さな絵のための展示室と地域のサロンとなるカフェを望んだ。そこで枝葉がまんべんなく広がる林と丘を計画して、 木の下に人びとが自然と集まる場を提案した。三次元測量した植木のデータに添うような外形とすることで、庭と建築の主従関係を逆転させている。上空の枝を避 けた低い入口は、おじぎに似た振る舞いを誘うことで謙虚な気持ちを呼び起こし、素の自分に戻って絵と向き合うことを狙いとしている。カフェでは木の下で日射 しを避けたり、雨宿りをするような振る舞いが生まれている。 38
Hiroshi Nakamura & NAP
Cafe
カフェ内観
Hiroshi Nakamura & NAP
39
This is a small museum where visitors can feel as if theyr’ e taking a stroll in a forest. The client wanted galleries to display small paintings and a cafe where people in the community can naturally gather under the trees. Therefore, we designed a landscape, where trees cover the slope on the site, and a place under the trees where people could spontaneously meet. By creating a form for the building based on 3D data of the trees we planted on the site, we reversed the usual relationship of the garden and the architecture. The low entrance prevents damage to the branches above, and visitors must bow as they go through it. This evokes a sense of modesty, so people become themselves while viewing the paintings. In the cafe, the architecture also evokes spontaneous behavior, which is similar to people s’ behavior while looking for shade under the trees, or seeking shelter from the rain. 森の中を散策するように過ごす美術館。建主は小さな絵のための展示室と地域のサロンとなるカフェを望んだ。そこで枝葉がまんべんなく広がる林と丘を計画して、 木の下に人びとが自然と集まる場を提案した。三次元測量した植木のデータに添うような外形とすることで、庭と建築の主従関係を逆転させている。上空の枝を避 けた低い入口は、おじぎに似た振る舞いを誘うことで謙虚な気持ちを呼び起こし、素の自分に戻って絵と向き合うことを狙いとしている。カフェでは木の下で日射 しを避けたり、雨宿りをするような振る舞いが生まれている。 38
Hiroshi Nakamura & NAP
Cafe
カフェ内観
Hiroshi Nakamura & NAP
39
TOKYU PLAZA OMOTESANDO HARAJUKU 東急プラザ 表参道原宿 Tokyo, 2012
This is a commercial facility located at the intersection of Omotesando and Meiji Streets in Harajuku. Our design was inspired by the stone walls that used to line Omotesando and mirrors the facade of the Harajuku Central Apartments that once stood on this site. The shops facing the street at ground level seem to be independent of the building and form their own streetscape with differing facades. To attract customers to tenants on the third floor and above, we designed a polyhedral entrance space made of mirrors, which creates an enjoyable experience for visitors going through it. The people in the reflections look like colorful, twirling particles in a kaleidoscope, creating a sense of excitement and dynamism. The entry leads people to the atrium, where natural light filters in through the leaves of the trees, and a unique shopping experience that one can have only in Omotesando begins. 表参道と原宿の交差点に建つ商業施設。かつて表参道のアイコンであった石垣の意匠とセントラルアパートメントのミラーの外装の記憶を形象化した。路面店は建 物と切り離し、自立的ファサードによって街並みを形成している。一方、3 階以上のテナントに利用客を誘い込む仕掛けとして、多面体ミラーによる体験型の動線 空間を提案した。着飾った人びとが万華鏡の中のカラフルなパーツのようにめくるめく反射を繰り返すことで、高揚感や賑わいを創出する。その先のアトリウムで はトップライトから木漏れ日が落ち、表参道特有の買い物体験が始まる。
Distant view from the west 西側遠景
48
Hiroshi Nakamura & NAP
Hiroshi Nakamura & NAP
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TOKYU PLAZA OMOTESANDO HARAJUKU 東急プラザ 表参道原宿 Tokyo, 2012
This is a commercial facility located at the intersection of Omotesando and Meiji Streets in Harajuku. Our design was inspired by the stone walls that used to line Omotesando and mirrors the facade of the Harajuku Central Apartments that once stood on this site. The shops facing the street at ground level seem to be independent of the building and form their own streetscape with differing facades. To attract customers to tenants on the third floor and above, we designed a polyhedral entrance space made of mirrors, which creates an enjoyable experience for visitors going through it. The people in the reflections look like colorful, twirling particles in a kaleidoscope, creating a sense of excitement and dynamism. The entry leads people to the atrium, where natural light filters in through the leaves of the trees, and a unique shopping experience that one can have only in Omotesando begins. 表参道と原宿の交差点に建つ商業施設。かつて表参道のアイコンであった石垣の意匠とセントラルアパートメントのミラーの外装の記憶を形象化した。路面店は建 物と切り離し、自立的ファサードによって街並みを形成している。一方、3 階以上のテナントに利用客を誘い込む仕掛けとして、多面体ミラーによる体験型の動線 空間を提案した。着飾った人びとが万華鏡の中のカラフルなパーツのようにめくるめく反射を繰り返すことで、高揚感や賑わいを創出する。その先のアトリウムで はトップライトから木漏れ日が落ち、表参道特有の買い物体験が始まる。
Distant view from the west 西側遠景
48
Hiroshi Nakamura & NAP
Hiroshi Nakamura & NAP
49
The hall is located on a hillside between the forest from the city. The extremely low eaves of the one-story building blend into the landscape. The water, which serves as the boundary between our daily world and the sacred world, surrounds it. Inside are spaces for visitors, such as a community hall and a dining area, placed around an office area at the center. The lounge has no ceiling lights, so the interior illuminance varies every moment as reflections from the water and the sunlight filtering through foliage enter the clerestory windows. The roof features long, low eaves representing“hangan”or the half-closed eyes of Buddhist meditation, so visitors may contemplate the worlds outside and within themselves. While this is a peaceful space in which to pray for the deceased, we wanted to create a place that expresses the beauty of this ever-changing world, for people to look ahead. 敷地は街から森へと至る坂の中腹にある。軒を極端に低くして、風景に馴染むような平屋である。外周部に日常の世界に対する結界としての水盤、その内側に休憩 室や食事室などの客用スペース、中央に事務系諸室を配した。休憩室にはダウンライトを設けず、水盤からの反射光とハイサイドからの木漏れ日によって照度が常 に変化する。半眼と呼ばれる座禅時のまぶたに似た目線のあり方を再現するように屋根を深く架け、訪れた人が心の内と外の世界の両方を眺められることを意図し た。故人を思う静かな空間でありながら、これからも生きていく人のために、刻々と変化する世界の美しさを表現したいと考えた。
View of the roof and the basin from the south 南から見る屋根と水盤
64
Hiroshi Nakamura & NAP
Hiroshi Nakamura & NAP
65
The hall is located on a hillside between the forest from the city. The extremely low eaves of the one-story building blend into the landscape. The water, which serves as the boundary between our daily world and the sacred world, surrounds it. Inside are spaces for visitors, such as a community hall and a dining area, placed around an office area at the center. The lounge has no ceiling lights, so the interior illuminance varies every moment as reflections from the water and the sunlight filtering through foliage enter the clerestory windows. The roof features long, low eaves representing“hangan”or the half-closed eyes of Buddhist meditation, so visitors may contemplate the worlds outside and within themselves. While this is a peaceful space in which to pray for the deceased, we wanted to create a place that expresses the beauty of this ever-changing world, for people to look ahead. 敷地は街から森へと至る坂の中腹にある。軒を極端に低くして、風景に馴染むような平屋である。外周部に日常の世界に対する結界としての水盤、その内側に休憩 室や食事室などの客用スペース、中央に事務系諸室を配した。休憩室にはダウンライトを設けず、水盤からの反射光とハイサイドからの木漏れ日によって照度が常 に変化する。半眼と呼ばれる座禅時のまぶたに似た目線のあり方を再現するように屋根を深く架け、訪れた人が心の内と外の世界の両方を眺められることを意図し た。故人を思う静かな空間でありながら、これからも生きていく人のために、刻々と変化する世界の美しさを表現したいと考えた。
View of the roof and the basin from the south 南から見る屋根と水盤
64
Hiroshi Nakamura & NAP
Hiroshi Nakamura & NAP
65
Form of Prayer The ceiling inclines inward in order to avoid the tree branches, and the bare trunks of rafters overwhelm the space above. The stone floor is inclined only 10mm toward the altar, which leads to a leaning forward in prayer and the sense that one is in proper posture to meet the deceased. The cracks and joints of the slate extend to the vanishing point, deep into the trees, focusing all attention on the forest. The hands of those who pray interlace their fingers, creating a warm space in the palms. The shape of this building is just like that tiny space created by prayer, as if the architecture prays with the people. When one leaves the altar and returns to their seat, they see beyond the bench a view of a town in the distance. The windows encourage them to return to the daily life. FL-10
祈りのかたち 枝葉を避けるために天井が内側に倒れ込み、人の頭上を木々が圧する。森という超越的な存在に供する空間である。石床は祭壇側へわずか 10mm 傾斜しており、故
Altur
人に会いに降りていく感覚や祈りの前傾姿勢を導く。粘板岩の割り肌や目地が森の奥の消失点に伸びているのは、森に意識を集中するための配慮である。祈りを捧
CHAPEL
げる人の手の中では指と指が合わさり、あたたかな空間が生まれている。この建築はその小さな祈りの空間をそのまま取り出したようなかたちをしている。祭壇を 後にして席に戻る時、ベンチの向こうには私たちが生きる町が遠望できる。その窓は、日常の世界に戻っていく人のための励ましとして用意している。
FL±0
N
Plan; scale: 1/200
Roof: Aluminium casting tiles with no finish (ripple texture) t4 Modified asphalt waterproofing t1 Stainless steel plate t0.3 Modified asphalt waterproofing t2 double-layered Styrofoam insulation t45 Rafters (parallel) W30 H50×2 Structural plywood t5×2 (curved surface) Structural plywood t12 (flat surface) アルミ鋳物板素地（流紋付）t4 改質アスファルトシート防水 t1 SUS板 t0.3 改質アスファルトシート防水 t2×2 スタイロフォーム断熱材 t45 並列垂木 w30×h50×2 構造用合板 t5×2（曲面部） 構造用合板 t12（平部）
Roof: Aluminium casting tiles (ripple texture)t4 アルミ鋳物板（流紋付)t4 h220×w180 h220×w235 h240×w200 h240×w220 h260×w190 h260×w210
Sectional detail; scale: 1/60
Wood protective coating Structural glued 木材保護塗料 構造用集成材(カラマツ)
Float glass t19
CH=5,600~7,280
フロートガラス t19
Slate t30 water repellent finish Mortar Cinder concrete t40 (meshφ5.0＠50) 粘板岩ｔ30 撥水処理
敷モルタル 押えコンクリート t40 （メッシュφ5.0 ＠50）
CHAPEL
床下空調チャンバー
AC air inlet
吸い込み口
76
Hiroshi Nakamura & NAP
Mechanical Room
Temporary storage for the cremains
10
AC air outlet
吹き出し口
Float glass t15
フロートガラス t15 △ Adjacent property boundary line
疎水材塗布 セメントフィラー補修 RC打ち放しの上
Underfloor AC chamber
420
Hydrophobic Material cement filler exposed concrete
870
2,900
Stainless flatbar with vibration finish SUS FBバイブレーション仕上
Basement wall Root Resistant sheet Polymer asphalt film waterproofing
地下壁： 耐根シート ポリマーアスファルト系吹付塗膜防水
Hiroshi Nakamura & NAP
77
Form of Prayer The ceiling inclines inward in order to avoid the tree branches, and the bare trunks of rafters overwhelm the space above. The stone floor is inclined only 10mm toward the altar, which leads to a leaning forward in prayer and the sense that one is in proper posture to meet the deceased. The cracks and joints of the slate extend to the vanishing point, deep into the trees, focusing all attention on the forest. The hands of those who pray interlace their fingers, creating a warm space in the palms. The shape of this building is just like that tiny space created by prayer, as if the architecture prays with the people. When one leaves the altar and returns to their seat, they see beyond the bench a view of a town in the distance. The windows encourage them to return to the daily life. FL-10
祈りのかたち 枝葉を避けるために天井が内側に倒れ込み、人の頭上を木々が圧する。森という超越的な存在に供する空間である。石床は祭壇側へわずか 10mm 傾斜しており、故
Altur
人に会いに降りていく感覚や祈りの前傾姿勢を導く。粘板岩の割り肌や目地が森の奥の消失点に伸びているのは、森に意識を集中するための配慮である。祈りを捧
CHAPEL
げる人の手の中では指と指が合わさり、あたたかな空間が生まれている。この建築はその小さな祈りの空間をそのまま取り出したようなかたちをしている。祭壇を 後にして席に戻る時、ベンチの向こうには私たちが生きる町が遠望できる。その窓は、日常の世界に戻っていく人のための励ましとして用意している。
FL±0
N
Plan; scale: 1/200
Roof: Aluminium casting tiles with no finish (ripple texture) t4 Modified asphalt waterproofing t1 Stainless steel plate t0.3 Modified asphalt waterproofing t2 double-layered Styrofoam insulation t45 Rafters (parallel) W30 H50×2 Structural plywood t5×2 (curved surface) Structural plywood t12 (flat surface) アルミ鋳物板素地（流紋付）t4 改質アスファルトシート防水 t1 SUS板 t0.3 改質アスファルトシート防水 t2×2 スタイロフォーム断熱材 t45 並列垂木 w30×h50×2 構造用合板 t5×2（曲面部） 構造用合板 t12（平部）
Roof: Aluminium casting tiles (ripple texture)t4 アルミ鋳物板（流紋付)t4 h220×w180 h220×w235 h240×w200 h240×w220 h260×w190 h260×w210
Sectional detail; scale: 1/60
Wood protective coating Structural glued 木材保護塗料 構造用集成材(カラマツ)
Float glass t19
CH=5,600~7,280
フロートガラス t19
Slate t30 water repellent finish Mortar Cinder concrete t40 (meshφ5.0＠50) 粘板岩ｔ30 撥水処理
敷モルタル 押えコンクリート t40 （メッシュφ5.0 ＠50）
CHAPEL
床下空調チャンバー
AC air inlet
吸い込み口
76
Hiroshi Nakamura & NAP
Mechanical Room
Temporary storage for the cremains
10
AC air outlet
吹き出し口
Float glass t15
フロートガラス t15 △ Adjacent property boundary line
疎水材塗布 セメントフィラー補修 RC打ち放しの上
Underfloor AC chamber
420
Hydrophobic Material cement filler exposed concrete
870
2,900
Stainless flatbar with vibration finish SUS FBバイブレーション仕上
Basement wall Root Resistant sheet Polymer asphalt film waterproofing
地下壁： 耐根シート ポリマーアスファルト系吹付塗膜防水
Hiroshi Nakamura & NAP
77
Ribbon Chapel Ribbon Chapel Hiroshima, 2014
Distant view from the east 東側遠景
92
Hiroshi Nakamura & NAP
Hiroshi Nakamura & NAP
93
Ribbon Chapel Ribbon Chapel Hiroshima, 2014
Distant view from the east 東側遠景
92
Hiroshi Nakamura & NAP
Hiroshi Nakamura & NAP
93
Lath House 葦垣の家
Tokyo, 2017
East exterior 東側外観
140
Hiroshi Nakamura & NAP
Hiroshi Nakamura & NAP
141
Lath House 葦垣の家
Tokyo, 2017
East exterior 東側外観
140
Hiroshi Nakamura & NAP
Hiroshi Nakamura & NAP
141
Half Cave House Half Cave House
Western Japan, 2018
View of the outside living room, the garden, the dining room from the kitchen on the first floor 1 階キッチンからアウトリビング、庭、ダイニングを見る 148
Hiroshi Nakamura & NAP
Hiroshi Nakamura & NAP
149
Half Cave House Half Cave House
Western Japan, 2018
View of the outside living room, the garden, the dining room from the kitchen on the first floor 1 階キッチンからアウトリビング、庭、ダイニングを見る 148
Hiroshi Nakamura & NAP
Hiroshi Nakamura & NAP
149