Tadao Ando’s design for the Koshino House features two
parallel concrete rectangular confines. The forms are partially buried into the
sloping ground of a national park and become a compositional addition to the
landscape. Placed carefully as to not disrupt the pre-existing trees on the
site, the structure responds to the adjacent ecosystem while the concrete forms
address a more general nature through a playful manipulation of light. More
about the KThe northern volume consists of a two-storey height containing a
double height living room, a kitchen and a dining room on the first floor with
the master bedroom and a study on the second floor. The southern mass then
consists of six linearly organized children’s bedrooms, a bathroom and a lobby.
Connecting the two spaces is a below grade tunnel that lies beneath the
exterior stairs of the courtyard.oshino House after the break. Ando used the
space within the two rectangular prisms as a way to express the fundamental
nature of the site. This space reveals a courtyard that drapes over and
contours to the natural topography. A wide set of stairs follows the sloping
land into the enclosed exterior space and allows the light that penetrates
through the canopy of trees into the sunken courtyard. This self-governing
space represents the fold of nature that has been bound by the conditioned
structures and become synthetic. Narrow apertures have been punched through the
façades adjacent to the exterior staircase and manipulate complex crossings of
natural light and shadow into the interior spaces. The patterns provide the
only amount of ornament to the simple rooms. Other slots are cut from various
planes of the two modules to produce the same effect of complexity throughout
the entire house. Four years after the original construction, Ando designed a
new addition to the compound. Placed to the north of the existing structures,
the new cave-like space rests within the upward sloping piece of land. The
study features a bold curve in contradiction to the rectilinear organization,
initiating a completely new rhythm. Separate from the original courtyard
design, the space between the addition and the original mass allows nature to
remove the forms from each other. A patch of grass weaves its way between the
concrete structures, while the curved wall extends from the building to define
the exterior space. Similar to the other boxes, a slice of the ceiling plane
along the curved wall is removed to add that bit of complexity and
ornamentation to the interior; however, the curved patterns of light greatly
differ from the linear patterns in the former building.
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