AMAG 26 TOMOAKI UNO online sample PREVIEW

SPECIAL THANKS TO Alcino Delgado Ana Assunção António Amaral Artur Sousa Filipa Delgado Sousa Hélder Gonçalves Javier Prado José Manuel Pedreirinho Konrad Profanter Laura Maifreni Laura Torchio Matteo Brioni Rita Leite de Castro Roberto Arias Rui Caldas Sofia Teodósio Thomas Allaert Tomoaki Uno

TOMOAKI UNO ARCHITECTS

EN. JP. PT.

PUBLICATION DATE 2022 March COLLECTION AMAG magazine NUMBER 26 TITLE TOMOAKI UNO ISBN 978-989-53330-2-8 ISSN I2182-472X LEGAL DEPOSIT 377392/14 ERC REGISTRATION 126 164

Proud ambassador of our craftsmanship.

EDITOR-IN-CHIEF Ana Leal GENERAL MANAGER Filipa Figueiredo Ferreira EDITORIAL TEAM Ana Leal Carolina Feijó Filipa Figueiredo Ferreira João Soares Tomás Lobo TEXTS AND TRANSLATIONS Introduction essay texts were originally written in Portuguese by the respective authors.

AL and JMP Introduction essays to JP - Tomoaki Uno AL introduction essay to EN - Ana leal JMP introduction essay to EN - Clementine Dobbelaar Projects description texts were originally written in Japanese by the author.

Projects description texts to PT - Ana Leal Projects description texts to EN - Tomoaki Uno Portuguese published texts are not written under the Orthographic Agreement of 2009, unless indicated by the respective author.

TOMOAKI UNO ARCHITECTS

image Winter Van Rafelghem

Kevin, 22 years of experience.

26

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ROBBIALAC

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MARTEEN SEATING SYSTEM— VINCENT VAN DUYSEN ROUND D.154.5 ARMCHAIR— GIO PONTI

MOLTENI@HOME - VIRTUAL DESIGN CONSULTANCY AT MOLTENI.IT

05/08/21 12:24

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RATIO— VINCENT VAN DUYSEN

MOLTENI@HOME - VIRTUAL DESIGN CONSULTANCY AT MOLTENI.IT

05/08/21 18:10

ONSEN Outdoor furniture collection

by Francesco Meda & David Quincoces

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www.gandiblasco.com 21/02/2022 12:36:22

NATURAL ARTY GAN

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GAN

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Since 1973 we have been at the forefront of bathroom architecture. We offer complete and timeless solutions for the most intimate environment of the domestic landscape.

In our unique and all-round vision, time, light, shapes, materials and temperatures become carefully designed products and tailored services to elevate your bathing experience to a new level.

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Agent for Portugal – Hélder Gonçalves +351 919367005 / helder@heldergoncalves.pt

HARMONIA E SIMPLICIDADE PARA SOLUÇÕES ÍMPARES HARMONY AND SIMPLICITY FOR UNIQUE SOLUTIONS

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L33 Branco Pérola Pearl White

L38 Cinza Metalizado Metalic Grey

Casa da Amélia / Amelia House PROJETO | PROJECT M2.Senos (Ricardo Senos, Sofi fiaa Senos)

A intemporalidade do xisto The Timelessness of Schist

FOTOGRAFIA | PHOTOGRAPHY Fernando Guerra | FG+SG FG+SG - Fotografi fiaa de Arquitectura

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PRODUTO | PRODUCT Plasma TX5 Ardósia

CS Coelho da Silva, SA Albergaria, 2480-071 Juncal, Portugal

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GARDEN PAVILION NWLND ARCHITECTS

PHOTOGRAPHY JOHNNY UMANS

AztraZeneca Discovery Centre. Cambridge. Herzog & de Meuron

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WE SCALE. YOU SAVE. GULBENKIAN EXTENSION YEAR_2019 LOCATION_Lisbon, Portugal SIZE_9330sq.m.

TYPE_Invited Competition, 1st prize PARTNERSHIP_Kengo Kuma & Associates, Vladimir Djurovic, OODA IMAGE_© Mirc STATUS_Ongoing, In Construction

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thoughts from the editor A DETAILED ARCHITECTURE

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josé manuel pedreirinho WHAT DETERIORATES, DETERIORATES (“WHAT ROTS, ROTS”)

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HARUGO HOUSE KIKKO HOUSE RYUSENJI HOUSE SHIGO ATELIER TAKAHASHI-CHO HOUSE 2 SHIRONISHI HOUSE TOGOKU HOUSE

008 020 032 048 058 072 088

KUWANA HOUSE SAGAMINE HOUSE SAKO HOUSE YOMOGIDAI HOUSE OGIMACHI HOUSE

102 114 138 152 162

CREDITS

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HARUGO HOUSE Inuyama, Aichi Pref, Japan

EN

JP

The site is located in a lush green hill, about a 20-minute drive from downtown Inuyama, north of Aichi Prefecture.

限られた予算の中で土地探しから始まった。 さまざま

I imagined a building like a birdhouse on this site. I designed it with a raised floor structure that separates it from the steep slopes to realize that image. I chose copper as the exterior material that blends into the forest. Already 15 years after completion, my plan was successful.The interior is made of South American wood with excellent strength and durability.

に最も近い敷地としてこの土地が選ばれた。

The house is still improving its affinity with the forest.

厳しい条件の中でクライアントが描くライフスタイル

40年ほど前に開発された山間の住宅地である。 ここ に親子３人の住宅を設計した。施主の要望は銅をど こかに使って欲しいというものだった。緑深いこの環 境に銅は、主張せずに馴染んで溶け込んでいくと思 った。地形を変えないために高床式とし、外装の全て を銅で覆う案を考えた。私の目論見はすぐに結果とし てあらわれた。 現在は森の中の鳥小屋のような佇ま いである。

PT

O local situa-se numa uma colina arborizada, de cor verde, a cerca de 20 minutos de carro do centro de Inuyama, ao norte da província de Aichi.

Quando visitei o terreno, imaginei um edifício semelhante à uma casa de passarinho. Para concretizar esta imagem, desenvolvi com uma estrutura de piso elevado, que separa a casa das encostas íngremes. Escolhi o cobre como material exterior, para se fundir com a floresta. Passados 15 anos da conclusão, percebo que o meu plano foi bem-sucedido. O interior é feito em madeira Sul Americana, de uma excelente resistência e durabilidade.

A casa tira partido do passar do tempo e vai aumentando a sua afinidade com a floresta à medida que o mesmo passa.

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KIKKO HOUSE Nagoya, Aichi Pref, Japan

EN

The client is a furniture craftsman. He wanted a house where his furniture would look good.

I realized that it should not be made of wood. I thought architecture should be to shine his furniture. I wanted to create a white canvas-like architecture with as little as possible painted for it. I designed a simple rectangular building that grows from a sloping site.The walls were stuccoed on concrete. The outside is a little rough and the inside is smooth.

The simplicity made me feel that this architecture had an atmosphere beyond my imagination.

JP

施主は家具職人である。 彼は自宅をショウルームにす るつもりだったので、彼の家具が映える空間が求めら れた。 私は迷わずRC造を提案した。恣意的なデザインは避 け、 可能な限りシンプルな空間にした。 外装はコンクリ ート打放しに直接石灰を塗った。 あえて建物を敷地の 斜面に配し、住宅のボリュームを地中に埋めることで 道路からは瀟洒な住宅に見えるように計画した。

PT

O cliente é um artesão de móveis, que queria uma casa para os seus moveis.

Percebi então, que a casa não deveria ser feita de madeira. Achei que arquitectura deveria destacar e dar brilho aos seus móveis e desenvolvi uma arquitetura semelhante a uma tela branca, pintada o menos possível. Desenvolvi um edifício retangular simples, que cresce a partir de um terreno inclinado. As paredes são de betão estudo. O exterior apresenta uma textura levemente áspera, e o interior absolutamente liso.

A simplicidade, fez-me sentir que esta forma de fazer arquitectura conferiria uma atmosfera ao espaço, para la da imaginação.

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SHIGO ATELIER Nagoya, Aichi Pref, Japan

EN

Toyota, which has property, is the base city of Toyota Motor Corporation. Around this property in the suburbs, there is a new residential area where the fields still remain.

The client retired from a junior high school teacher and asked me for an atelier to run a private school. The client’s request was a space where a few students could sit at once, a shower room and a kitchen for simple cooking.

I wanted to provide children who grew up in the industrialized spaces of condominiums and house makers with a space where they could feel the rich nature.

This time, I focused not only on the natural materials of cedar but also on nature of sunlight. I imagined that not only changes in time, season, and weather, but also by the movement of flowing clouds, the sunlight pours into the room like the music played by the harp.

My prospect has been perfectly fulfilled.

JP

クライアントは中学校教諭を定年退職し、私塾を開く ためにこのアトリエを建てた。 マンションや住宅メーカーなどの均一な工業化された 空間で育った子供たちに豊かな自然を感じられる空 間クライアントの望みだった。構造材や仕上げ材に至 るまで全て杉材だけで作った。 そればかりでなく室内に差し込む陽光の豊かな表情 も体験できる空間にした。時間や季節、天候の変化だ けでなく流れる雲の動きによってハープのように部屋 に降り注ぐ陽光が今も室内を降り注いでいる。

PT

Toyota, é a cidade base da Toyota Motor Corporation. Em torno desta cidade, nos subúrbios, cresce uma nova área residencial na qual ainda existe ainda uma forte presença de terrenos verdes.

O cliente, professor aposentado do ensino secundário, pediu me que desenvolvesse um atelier que pudesse acolher uma escola particular. O pedido do cliente consistia num espaço para permanência simultânea de alguns alunos na sala, um chuveiro e uma cozinha para preparação de refeições simples.

Por sua vez, eu queria proporcionar às crianças que cresceram em países industrializados e condomínios, um espaço no qual onde pudessem sentir e experenciar a natureza. Pelo que desta vez, concentrei-me não apenas nos matériais naturais a usar, madeira natural de cedro, mas também na luz solar. Imaginei que não só a madeira muda no tempo, estações, e clima, mas também no movimento das nuvens que fluem, e na luz do sol que invade o espaço, como a música tocada por uma harpa.

A minha perspectiva foi perfeitamente cumprida.

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TAKAHASHI-CHO HOUSE 2 Nagoya, Aichi Pref, Japan

EN

The house was built on the outskirts of Toyota City, home of Toyota Motor Corporation.

The client was a potter, and he wanted a house with his own gallery.

The floor was lifted up to release from the restrictions of the site with height differences. The main rooms were arranged side by side to make use of the slender site, and the children’s room and storage were placed in the loft. The structure was simple with columns, beams and windows.

I believe universality comes from simple structures and plans.

JP

陶芸家のクライアントはギャラリーのある家を望んで いた。 各部屋を縦列に配置し、床を持ち上げることで高低 差のある細長い敷地に合わせた計画とした。子供部 屋と収納スペースはロフトに配置し、構造は最もシン プな切妻在来真壁工法とした。 モダンの中に普遍性を求めると伝統と簡素は無視す ることはできない。 それは全て構造とプラン、 そして造 りに現れる。

PT

A casa foi construída nos arredores da cidade de Toyota, sede da Toyota Motor Corporation.

O cliente é oleiro, e queria uma casa atelier.

O piso térreo foi elevado para garantir as restrições locais de diferentes alturas, e as salas principais foram organizadas lado a lado para que se pudesse tirar o melhor partido da longitudinalidade do lote. O quarto das crianças e arrumos foram colocados no sótão. A estrutura é desenvolvida de forma simples, com pilares, vigas e janelas de madeira.

Acredito que a universalidade é consequência de estruturas e planos simples.

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01. Wrapped ridge: Galvalume steel plate t=0,3 02. Ridge beam 120x120 03. Heat shield sheet 04. M12 @909

05. Galvalume wavelet t=0,3; Furnace 17x45 @455; Heat shield sheet; PB t=12,5; Pillar 120x120 @909; Wood fiber t=100; Wood base 9,5 x 45; Cedar t=12 06. HS10-II 07. Cedar t=30

08. Neda 45x60 @455 09. Obiki 105x105 10. Wood fiber t=50 11. Foundation 120x150

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SHIRONISHI HOUSE Nagoya, Aichi Pref, Japan

The house was planned on a site near Nagoya Castle.

EN

Clients’ main requests were two or more parking spaces and a large terrace where family could enjoy barbecue.

Piloti was inevitable from the size of the site. After that, how to secure a large terrace with privacy and a future children’s room for the three young sons was a major issue in this plan.

The plan I found placed the stairs in the center of the house for the shortest sequence. Therefore, the staircase is at the center of the house, so it has a more iconic design. One step at a time, the blocks of wood were machined out and piled up into a spiral staircase.

By making the thick walled columns in Piloti and the balconies protruding on the terrace, I created a brutal architecture that can only be made of concrete.

JP

クライアントの要望は2台分の駐車スペースと家族で バーベキューを楽しめる大きなテラスでした。 3人の子供たちの部屋をどのように確保するかがこ の計画の大きな課題でした。家の中央に階段を配置 することでそれらの課題を解決しました。 その螺旋階段は一段ずつ削り出した木のブロックを らせん状に積み上げた。 また、部屋を分ける美しいオ ブジェとしても機能している。

PT

A casa foi desenvolvida num terreno perto do Castelo de Nagoya.

Os principais pedidos dos clientes consistiram em duas grandes premissas: dois ou mais lugares de estacionamento e um grande terraço no qual a família pudesse desfrutar de um churrasco.

Pelo tamanho do lote, uma construção assente em pilotis seria inevitável. Depois disso, garantir um grande terraço com privacidade e um futuro quarto de crianças para os três filhos jovens do casal, seria a segunda grande questão a resolver.

A solução que encontrei foi colocar as escadas no centro da casa e garantir a sequência mais curta possível entre espaços. Portanto, a escada ocupa uma posição central na casa, e por isso tem um desenho mais simbólico. Blocos de madeira maciça foram maquinados e empilhados numa escada em espiral.

Os grossos pilares murados em Pilotis e as varandas salientes no terraço, conferem um caracter brutalista ao projecto, que só poderia ser de betão.

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03. Flooring t=30; Obiki 90x90; Steel bundle; Insulation t=200 04. Cinder concrete; t=40~100

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TOGOKU HOUSE Nagoya, Aichi Pref, Japan

EN

The plan was a tight budget house.I thought that the Japanese traditional method “ITAKURA” was the best under severe conditions. ”ITAKURA” is a construction method with beauty, heat insulation and fire prevention performance.

The size of a building is inevitably determined by securing one parking space on a limited site.

Budget and site conditions made it very difficult to secure space for three families. I decided to create a loft by making the roof steep, and make it a children’s room. Windows were minimized to secure things and the location of the family.

JP

厳しい予算の中で家族3人の家を求められた。 その中 で私が選んだ工法は板倉造だった。 板倉造は美しさ、 断熱性、 防火性能を備えた優れた工 法である。

限られた敷地に1台分の駐車スペースを確保すると 建物の形は否応なく決まった。 w屋根を急勾配にしてロフトを作りそこに将来の子供 部屋を作ることにした。一階は狭いスペースを有効に 使えるように窓を最小限に抑えた。 床に落ちる最頂 部からの陽光は季節によって様々に変化し、 季節の移 ろいを敏感に感じられる。

PT

A proposta consistia numa casa de orçamento reduzido, pelo que pensei que o método tradicional japonês “ITAKURA” seria o melhor sob condições severas.

“ITAKURA” é um método de construção cuidado, que garante um bom isolamento térmico e desempenho na prevenção de incêndios.

O tamanho do edifício foi inevitavelmente determinado pela necessidade de garantir um lugar de estacionamento num lote tao limitado.

O orçamento reduzido e as características do lote, tornaram muito difícil garantir espaço para três pessoas, pelo que decidi desenvolver um loft, usando o espaço do telhado inclinado para o quarto da criança. As janelas foram reduzidas para garantir uma proteção visual e a privacidade da família.

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03. Rain gutter L=60x60 04. Cedar board t=30 05. Concrete t=50

06. Crushed stone t=100 07. Floor cedar t=30 (Neda 45x45 @ 910); Insulation wood fiber t=50

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KUWANA HOUSE Kuwana, Mie Pref, Japan

EN

The reason for the round plan is not clear. The only thing I can say is that I remember designing something very similar to my school days.

JP

丸いプランにした理由はよくわからない。 ただ学生の 時によく似た建築を設計したことは覚えている。

It seems that the memories that were secretly asleep became apparent after 35 years of encounters with clients.

38年間密かに眠っていたその記憶はクライアントとの

This house is made of roughly three materials. The structural material is cypress, the finishing material is chestnut, the wall is a clay wall, and the wall is filled with heat insulating material made of hardened wood chips. Made without using chemical materials or industrial products as much as possible.

この家は3つの素材でできている。壁など隠蔽された

Handmade is my life work. It is a thoroughly hand-crafted architecture by carefully selected craftsmen without using ready-made products.

塗り土で仕上げている。狭小住宅にとって人とモノの

出会いによって現実のものとなる機会を与えられた。

構造材は檜材。 それ以外の構造材や床などの仕上げ 材は全て栗材。壁は内外ともに荒壁を下地にして中 居場所は重要である。大きな窓はそれを脅かす場合 が多い。 したがって壁の窓は最小限に留めた。狭小が 故に室内環境は生活の質に大きく影響する。 そのために既製品や工業製品はできる限り使わずに 全て職人による手作りで仕上げた。

PT

A razão para a planta deste projecto ser circular não é clara.

A única coisa que posso dizer é que me recordo de ter desenvolvido algo muito parecido durante o meu percurso académico.

Parece que as memórias que se encontravam secretamente adormecidas à 35 anos, se tornaram conscientes, ao encontrar estes clientes.

Esta casa é sumariamente construída em três materiais: Madeira cipreste na estrutura, madeira de castanho nos acabamentos, e barro, no revestimento das paredes. Paredes estas preenchidas no seu interior com isolamento térmico feito a partir de lascas de madeira endurecida, sem recurso a materiais químicos ou produtos industriais.

Feito à mão é o modo de trabalhar em que consiste a minha vida. Uma arquitectura totalmente artesanal, produzida por artesãos cuidadosamente selecionados sem recurso e uso de produtos prontos.

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01. Galvalume steel plate; Breathable roofing; Cedar board t=15 N50@150; Rafter 91x102; Wood fiber t=100; Ceiling board Chestnut t=20; Climbing 92x115 02. Top light 03. Chestnut t=6 curved surface 04. Wood shaving 10x33; Stud cypress 45 05. Intermediate coat finish; Bamboo Komai; Nuki 12x60; Wood base 16x40; Tarpaulin;

Insulation wood fiber t=100; Wood shaving 10x33; Intermediate coat finish 06. Japanese paper pasted 07. Chestnut board t=18; Plywood t=12; Wood 45 08. Plywood t=24; Wood 45; Plastic bundle; Wood fiber t=50 09. Concrete t=70 10. Crushed stone t=100

11. Aluminum can cap processing 38Ø 12. Warm air suction port 15Ø 13. Chestnut board t=18 14. Plywood t=24 15. Warm air outlet 15Ø

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SAGAMINE HOUSE Nagakute, Aichi Pref, Japan

EN

The site is an old developed residential area on the outskirts of Nagakute, next to Nagoya.

A slightly conservative impression of the client’s couple wanted a modern house with exposed concrete. That’s why I designed the interior using white oak to suit the couple.

JP

クライアントはコンクリート打放しのモダンな家を望 んでいた。

私は四角いコンクリートの箱とその中にオーク材で 仕上げた空間を提案した。 そればかりでなく建築を楽

PT

O lote situa-se integrado numa antiga área residencial nos arredores de Nagakute, ao lado de Nagoya.

O casal cliente queria uma casa moderna em betão. Exigência esta, ligeiramente conservadora, e por isso desenvolvi os espaços interiores usando madeira de carvalho branco para agradar ao casal.

I dared to lengthen the distance from the entrance to the living room, and made a plan that strongly emphasized the story.

しめるように空間にストーリーを持たせた。

The living room is wide open to the east and a white oak frame is set around it to design the scenery like a painting.

Atrevi-me a aumentar a distância da entrada até a sala, através de um plano que enfatizou a história.

玄関から直線で伸びる導線は上階に上がる階段でこ

A sala de estar é aberta para Este, e uma grande moldura de carvalho branco é usada para enquadrar o cenário, como numa pintura.

の家の一番奥のリビングに至る。閉鎖的な導線から リビングに入った瞬間、視界が開け東側の絶景が目 に飛び込んでくる。 オーク材の枠に縁取られたリビングからの景色は四 季折々に変化する絵画のようで住人ばかりでなく、 そ の季節ごとに客人をも楽しませている。

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01. Exposed concrete 02. Spray hard Urethane foam t=90; Studs, ventilated base 30x90; Cypress panel t=30

03. Spray hard Urethane foam t=100; Neda; Hardwood Flooring 04. Soil concrete

05. Gravel paving t=20; Hard Urethane foam t=50; Concrete modifier 06. Ash receiver PL-6.0

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SAKO HOUSE Nagoya, Aichi Pref, Japan

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PT

The client is a middle-aged university professor majoring in design.

クライアントは還暦を過ぎたデザインを専攻する大

It is a single person’s house. He was his fifth home this time. His requests were clear from past experience. It was a universal architecture suitable for the final residence.

É a casa de uma única pessoa, e a sua quinta casa. As suas exigências eram claras, e provenientes de uma experiência 彼は子育てをしながらいろいろな家に住んできたとい passada. Uma arquitetura universal, adequada a uma う。 妻は早逝し子育ても終わり終の住処を私に託した。 residência definitiva.

Em resposta ao seu desejo de ler e viver numa escada em 彼の最大の要望は螺旋階段で読書をすることだっ espiral, metade do espaço foi transformado numa escada em espiral. É um plano simples, mas quando passamos para o た。 そこで私はこのシンプルで小さな家の半分近くを escritório no segundo piso, caímos na misteriosa sensação de nos perdermos no labirinto.

In response to his desire to read and live on a spiral staircase, half of the floor space was turned into a spiral staircase. It is a simple plan, but when we go to the study on the second floor, we fall into a mysterious sensation of getting lost in the maze.

Five kinds of skylights bring various expressions to the room depending on the season, time and weather.

It seems that you can spend all seasons comfortably because the insulation is put into the concrete wall.

学教授である。

O cliente é um professor universitário, de meia-idade, especializado em design.

螺旋階段に当てた。導線は玄関から各部屋の中央を 天候に応じてさまざまな表情を魅せる。

Cinco tipos de claraboias proporcionam várias expressões lumínicas ao espaço de acordo com a época sazonal, tempo e clima, e transmitem uma sensação de poder passar e vivenciar todas as estações do ano de forma confortável.

外壁は断熱を挟んで二重のコンクリートの壁になって

O isolamento é feito no interior das paredes de betão.

通り螺旋階段で折り返す。5つの天窓は季節や時間、

いるために一年を通じて快適に過ごすことができる。

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01. Exposed concrete 02. Drain VU40 03. Concrete t=50

04. Columnar improvement 600Ø L=4000 05. Clear glass 06. Cedar t=24; Obiki 90; Steel bundlez

07. Urethane insulation t=300 08. Crushed stone t=20-50 09. Insulation t=50

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10. Concrete t=20; Wire mesh D3x50x50; Plywood t=12; Plywood t=15; Plastic bundle@303x303; Wood fiber t=50 11. Glass

12. Concrete t=35; Wire mesh D3x50x50; Plywood t=15; Neda 45; Obiki 90; Steel bundle 13. Steel pipe 48.6Ø

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YOMOGIDAI HOUSE Nagoya, Aichi Pref, Japan

EN

The client is a middle-aged single man. We have a budget plan for a future marriage. It took about a year for the site to meet the client’s requirements.

The site is a quiet residence about 20 minutes east of Nagoya by car. The site was a gente slope with a frontage of 8m and a depth of 28m.

I decided to make it elaborate and elegant from the impression of the client. In the end, I took the hint of the Japanese architectural shrine and proceeded with the plan.

It was very difficult to incorporate all the elements into thin pillars and beams and deliver them rationally.

JP

クライアントは独身男性である。 この計画は彼の将 来の結婚を前提に進められた。敷地は間口8m、奥行 28mのなだらかな斜面である。 私はいつも環境とクライアントから感じた印象でデザ インを決める。私は彼にはエレガントな建築が似合う と思った。 神社や数寄屋建築を参考に計画を進めた。 柱梁な どの構造材を無駄のない合理的な木組みにして精 緻なディティールと精巧な造りを目指した。

PT

O cliente é um homem solteiro de meia-idade, com um orçamento capaz de acolher uma alteração de estado civil num futuro próximo, e demorou cerca de um ano para conseguirmos um lote que atendesse aos seus requisitos.

O lote esta inserido numa zona residencial tranquila, a cerca de 20 minutos de carro, a leste de Nagoya. Com 8m de frente e 28m de profundidade, possui um pequeno desnível longitudinalmente.

Decidi desenvolver um projecto complexo e elegante a partir das sugestões do cliente, através das referencias presentes nos santuários de arquitectura japonesa.

Foi muito difícil responder a todas as necessidades através de pilares e vigas de secção reduzida de forma racional.

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OGIMACHI HOUSE Nagoya, Aichi Pref, Japan

EN

JP

This house was built by a son for a sick mother. An importante concept of this house is the way private and society interact.

この家はプライベイトな空間と社会との関わりを明

Eventually, I proposed a house with no windows on the Wall except for the entrance and the rear entrance. Instead, he suggested installing 32 fixes and five large windows that could be opened and closed on the ceiling.

ントは窓である。

The structure is the traditional ITAKURA structure. For the outer wall, a 30mm thick cedar board was doubled, and insulation was put between them. All made of cedar and cypress.

表している。 わたしはこの建築の壁に窓を付けなかっ

His mother felt stressed when she started living, but now she seems very comfortable and I am relieved.

確にした建築である。 それに関わる最も重要なエレメ

窓はその建築が社会とどのように関わるかを明確に た。 それはさまざまな事情から社会との関係を制限し た方がいいと考えたからである。 その代わり外界との関係は、32の小さな天窓と5つの 開閉可能な大きな天窓に委ねた。天窓からは自然の 情報のみで社会的な情報はほとんどない。 これはプ ライベートな室内空間をコントロールするには大変 好都合である。 構造は外殻を板蔵蔵とし、 その中に檜の軸組を入れ 子にした。 入れ子部分に住居の主要な機能を納めた。

PT

Esta casa, foi construída para a Mãe, doente, do meu cliente, e um dos mais importantes aspectos deste projecto, é a forma como o caracter privado e o caracter publico se relacionam.

Inevitavelmente propus uma casa fechada, sem janelas nas paredes, excepto na zona de entrada. Por sua vez, sugeri a instalação de 32 claraboias e cinco grandes janelas no tecto, que poderiam ser abertas e fechadas.

Estruturalmente, foi desenvolvida uma estrutura tradicional de ITAKURA com paredes em pranchas duplas de madeira de cedro com 30mm de espessura e isolamento interior.

A mãe do cliente sentiu-se inicialmente um pouco desconfortável ao ocupar a casa, mas actualmente a sensação de vivencia é de agradável conforto, a qual consequentemente me confere tranquilidade e alivio.

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01. Galvalume steel plate horizontal roofing; Asphalt roofing (Adhesive system); Plywood t=24 Climbing beam 90 @910; Urethane insulation t=180 02. (Floor) Cypress t=12; Cypress board t=24 03. (Floor) Cedar t=30; Neda 45x45@303; Obiki 90x90@910; Steel bundle; Dehumidifier Urethane insulation t=100 04. (Ceiling) Cedar board t=24

05. Attach beam: 50x240 06. Beam 120 07. (Ceiling) Cypress t=15; Groundwork 40 @303; Groundwork 45x60 @910 08. Foundation 120 09. Attach Foundation 50x190

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CREDITS COVER TOGOKU HOUSE image © Tomoaki Uno INDEX OGIMACHI HOUSE image © Ben Hosking

HAGURO HOUSE project: 2005 location: Inuyama, Aichi Pref, Japan gross built area: 112.06m2 images © Shigeharu Yamashita KIKKO HOUSE project: 2008 location: Nagoya, Aichi Pref, Japan gross built area: 121.87m2 images © Shigeharu Yamashita RYUSENJI HOUSE project: 2008 location: Nagoya, Aichi Pref, Japan gross built area: 69.94m2 images © Shigeharu Yamashita SHIGO ATELIER project: 2012 location: Toyota, Aichi Pref, Japan gross built area: 160.47m2 images © Tomoaki Uno TAKAHASHI-CHO HOUSE 2 project: 2014 location: Toyota, Aichi Pref, Japan gross built area: 89.02m2 images © Hiroshi Tanigawa and © Tomoaki Uno SHIRONISHI HOUSE project: 2015 location: Nagoya, Aichi Pref, Japan gross built area: 105.58m2 images © Tomoaki Uno TOGOKU HOUSE project: 2015 location: Nagoya, Aichi Pref, Japan gross built area: 51.84m2 images © Tomoaki Uno KUWANA HOUSE project: 2016 location: Kuwana, Mie Pref, Japan gross built area: 54.75m2 images © Tomoaki Uno

SAGAMINE HOUSE project: 2016 location: Nagakute, Aichi Pref, Japan gross built area: 153.27m2 images © Hiroshi Tanigawa and © Yasuko Okamura SAKO HOUSE project: 2017 location: Nagoya, Aichi Pref, Japan gross built area: 54.78m2 images © Ben Hosking and © Tomoaki Uno YOMOGIDAI HOUSE project: 2018 location: Nagoya, Aichi Pref, Japan gross built area: 82.80m2 images © Ben Hosking OGIMACHI HOUSE project: 2019 location: Nagoya, Aichi Pref, Japan gross built area: 114.94m2 images © Ben Hosking

Uno Tomoaki was born in Aichi prefecture in 1960, and graduate from the Department of Architecture, Faculty of Engineering, Kanagawa University in 1983. From 1983 to 1990 worked at Hasebe 173 Architects, and in 1990, established Tomoaki Uno Architects.

It has been 31 years since the office was established. That year my mother died and the following year my father died. Then I was socially withdrawn for two years, and after all, for ten years I had a tough life with almost no work. On rare occasions, when design work came in, I designed it with the momentum to perfectly copy the details of Tadao Ando and Louis Kahn. I had no other choice because I was not talented. However, the unavoidable copy work later greatly improved my ability as an architect. When copying, I sometimes find that I am not satisfied with the selection of dimensions and materials. That makes me aware of my tastes and personality. It was like filling an unfinished puzzle. It is linked to the time when it was completed and the mid-40s when the contract started in earnest. From that time on, meetings with clients focused on checking the budget and functions. The design proceeds in parallel with the plan and details. I don’t make models or CG. They are very dangerous tools for us architects. Old carpenters and masters have excellent dimensions and a sense of balance. Their senses are physical sensations, not knowledge. Many of us may have noticed that we started using car navigation and couldn’t draw a map in our heads. Similarly, if you rely too much on models and CG, you will not be able to imagine a realistic space or texture. We should stop looking at models (reduced spaces that ignore materials) and architecture inside monitors. Maintenance has become of particular interest to me as I began to work on it. As soon as I do a bad design or construction, I have to recover it by myself. Not only does it make clients feel uncomfortable, but it also leads directly to my financial difficulties. Therefore, simple details and simple and careful construction are required. In that sense, more natural materials are used than before. I basically don’t paint anything. Natural materials naturally change over time and get to be weathered.

What rots rots. That is the Japanese culture that has lasted for thousands of years. Of course, it is a major premise that maintenance can be done easily.

SPECIAL THANKS TO Alcino Delgado Ana Assunção António Amaral Artur Sousa Filipa Delgado Sousa Hélder Gonçalves Javier Prado José Manuel Pedreirinho Konrad Profanter Laura Maifreni Laura Torchio Matteo Brioni Rita Leite de Castro Roberto Arias Rui Caldas Sofia Teodósio Thomas Allaert Tomoaki Uno

TOMOAKI UNO ARCHITECTS

EN. JP. PT.

PUBLICATION DATE 2022 March COLLECTION AMAG magazine NUMBER 26 TITLE TOMOAKI UNO ISBN 978-989-53330-2-8 ISSN I2182-472X LEGAL DEPOSIT 377392/14 ERC REGISTRATION 126 164

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EDITOR-IN-CHIEF Ana Leal GENERAL MANAGER Filipa Figueiredo Ferreira EDITORIAL TEAM Ana Leal Carolina Feijó Filipa Figueiredo Ferreira João Soares Tomás Lobo TEXTS AND TRANSLATIONS Introduction essay texts were originally written in Portuguese by the respective authors.

AL and JMP Introduction essays to JP - Tomoaki Uno AL introduction essay to EN - Ana leal JMP introduction essay to EN - Clementine Dobbelaar Projects description texts were originally written in Japanese by the author.

Projects description texts to PT - Ana Leal Projects description texts to EN - Tomoaki Uno Portuguese published texts are not written under the Orthographic Agreement of 2009, unless indicated by the respective author.

TOMOAKI UNO ARCHITECTS

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