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Analyse the story and client’s request Naked House

8 Intro 10 Story of the house 12 Reflections about the house

Interpreting the concept

16 Statement 17 Resolution 18 Other team resolutions

Client’s request

20 Statement 21 Resolution 22 Other team resolutions

Projecting the client’s request Idea of the new house 24 26 28 30

Statement Team final resolution Resolution option 2 Resolution option 3

New story after twelve years 32 34 38 40

Statement writing the new story with cultural facts writing emphasizing cultural facts Final writing

Drawing an action 42 43 44 46 48

Statement Concept The drawing of the action of eating The drawing of the action of painting (by Ines) The panel of team actions Statement Concept The section of the action of eating Sections of the team actions

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A conversation mong the members of the group to develop our work

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Bibliography

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Manifesto 5

Materialize the action 50 51 52 53


“Ordinary life can make extraordinary architecture” Collaborative work between Carleton University and University of Alicante (SPAIN) The course is built around the series of articles, “Stories of Houses”, as a starting point, elaborating a deconstruction of the examples. We can all learn from dwellings analyzed: both the clients when they are thinking about building a house, and the architects to understand and value the life of the clients. During this workishop, the students analyze the concepts of the houses and find connections with cultural themes, which lead them to design an addition to them. The aims are: Take on a path around the following public interest and detect new social patterns and organization by linking production with consumption, acknowledging how the different articles are built up, from the primary material to the final product


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The metod is the way to approach reality during the course encourages different modes of dealing with it. At the same time, certain kind of expectation builds up, leading to an experience of emotional impact in order to design the final work driven forward by emotional memory. In order to do that, we need skills of analyzing and deconstructing a text, identify a culture concept in a dwelling, draw that concept through an action/event within the dwelling, ability to develop an idea through different techniques, scales and materials, gain skills to work in a team on an international level and use shared drawings and videoconferences.


Shigeru Ban

Shigeru Ban interrupted the international scene with its ingenious usage of carton tubes for rapid assembly of refugees camping places after recent earthquakes in Kobe and Turkey. This same ‘paper architect’ - as he was known from then on - designed a house, “naked” of any partitions, as a reply to a commission for a house that had to encourage the relationship between the members of a three generations family.


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Having met the client only once, I was again considering what to do about the project of this house, when the client sent me a facsimile making precise requests. What he wanted was described as a house that “provides the least privacy so that the family members are not secluded from one another, a house that gives everyone the freedom to have individual activities in a shared atmosphere, in the middle of a unified family�. After reading his fax, I knew that I should take up this challenge.


Naked House, はだかの家 Space for the family

This large family had a land in Kawagoe, a small town on the outskirts of Tokyo where the accelerated speed of city life gives way to a calm landscape of greenhouses and rice fields that extended along the river Shingashi. In a Japanese context, it is a privilege to possess a land that can contain a house of more than one hundred square metres. The client having such an opportunity, decided to maximise, the significance of the communal space in the house where the different generations could communicate and relate to each other. Also, being part of the client’s culture, one could argue that Shigeru Ban, took as a starting point the traditional Japanese meaning of the word “dwelling” symbolising the roof as a gateway between heaven and earth. Consequently, the roof expresses the atmosphere of the place and it is precisely by the ceiling that people’s thoughts have generous space. Even more so, the delicate floor in the traditional Japanese house is understood like a platform which forms part of the furniture. It implies a magnet state similiar to that of walls in Eurpean dwellings which we tend to sit against. In Japan the main pole of attraction is the floor and where one is seated rather than standing or walking on. The way of life in the Japanese house is motivated by movements that cherish the floor, leaning against it or even moving about it on four feet. The floor also gains attention with horizontal lines, the sliding doors and movable screens, as well the black lines that frame the places where things happen. This list of elements directs the viewers’ attention to the floor as a place of communication. Between the floor and ceiling, the foundation for people’s dwelling lies in the spiritual. It is the place where the soul is nourished without any distraction of ornamentation or external influences - an idea that derives from Zen Buddism and the belief that knowledge is obtained through reflection and insight. A house naked of partitions Working within the concept of different generations fusing their lives, Shigeru Ban came up with a translucent shed-like structure containing a single common space in which private areas were reduced to a minimum. Private spaces for each member of the family are organised by four mobile, cubicle bedrooms. The three generations thereby shared a house which took referen-


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ce models so opposed as the room of four and a half tatamis - the basic unit of traditional Japanese architecture - and the loft - a summary of a residential ideal, occidental and metropolitan, that renounced partitions in the interests of greater spatial amplitude. The open-plan and neutral space of the shed can be organised and transformed as needed by moving the bedrooms, they even can be drawn out to the garden through the large window on the western facade. With them, and by emphasising the movement of the cubicles by making their wheels highly visible, the surface of the floor reinforces its quality as a place of communication. On the opposite end of the house, next to the porch that serves as the parking area, the bathroom, laundry and a dressing room are drawn together. All the clothes of the family members are stored together to avoid the use of wardrobes that would impede the movement of the cubicles. The kitchen is placed at one side of the shed and separated from the common living area by way of a curtain. With a similar appearance as the greenhouses nearby, a translucent enclosure was designed to protect the family’s privacy and to avoid unwanted glances from the access route. The exterior of the wooden framework which forms the structure is clad with corrugated translucent plastic reinforced with fibreglass, while the interior facade is covered with cotton fabric fixed with Velcro to make it easier to clean. The problem that Shigeru Ban was faced with was to find thermal insulation, which permitted the light to filter through. Once more following his interest in introducing new materials in the building construction, and by practising with colourful materials such as wood splinters and remnants of recycled paper, he decided to fill the cavity left between the two planes with polystyrene shaving that in Japan is used to pack fruit. The only requirement to make this product suitable was to have to saturate it in a liquid that held back fire and to enclose it in transparent vinyl bags that were sealed and nailed to the wooden structure. With the exception to the cubicles, which were constructed with brown corrugated carton, the interior of the whole house enjoys the same milky white light that characterised the old houses with screens made of rice paper. In the same way as the traditional Japanese house is not thought as a permanent dwelling but a place where the inhabitants stay temporarily until their situation changes, the Naked House is designed as a one space which describes the course of time like water in the river that never stands still and takes on enumerable forms.


The house that Shigeru Ban in Kawagoe proposed is put in the centre, in the idea of a diaphanous space to foment the links between the members of a family instructed by three generations. The customer decided to explore the importance of a common zone where they may communicate the different generations and so to relate to each other. Shigeru Ban took a piece of information of departures, the significance that the Japanese tradition bestows upon the world “dwelling”: The rooftop, that the place’s atmosphere symbolizes the idea of door between the sky and the land, that is, the ground of the traditional Japanese house that form splits in the furniture and that is where they generate themselves; the majority of activities. The pole is of attraction. The project is based on a common space and the only envelope which the spaces of privacy decrease minimally becoming four cubicles like movable bedrooms that they move around on some wheels. Traditional Japanese ideas and loft’s idea that way get related. The house is not deliberate like a permanent house but like a place where his inhabitants remain temporarily until you change his reality. by Juan José Ruiz


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These houses were built in far off places as are the cultures for which they were designed. So it is absolutely expected that they take shape in completely different forms, but there’s a common trace; both, architects and clients, were seeking new ways of inhabit, based on how people socialize. Firstly, Naked House in Kawagoe responds to the intention of encouraging the relationship between the member of a three generation family, retaining some of the tradicional Japanese concepts as the floor importance, house undestanding a temporary element or milky white light typical of rice paper screens. But it performs a completely open space were people continuously interact and private spaces are minimized to four mobile cubicles.


It’s mesmerizing thinking about that little white pieces moving around the space, sort of a ball, which brings flexibility and a deep knowledge of everything and everyone in the house. Secondly, Villa Anbar in Dammam is set in a very different enviroment where the relations between people are strongly influenced by class and sex hierarchy. So in opposition to Naked House there are very few common spaces and as is tradicional in Arabia Saudi, men and women’s quarters are separated, but Baber has broken this by simple acts like introducing the other side’s gaze into the men’s enclosed space. To sum up, the way these projects materialize how each family understands social relationships and the ability of shaping emotions between them is brilliantly done and is one of the more interesting aspects to my mind.

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by Neus Giménez Agulló


Interpreting the concept

In a first approach to the house has been interpreted as the house is, its concept and how each of us has understood the house, extracting the essence of it, where Japanese culture should be clearly present.


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The idea here is to describe the space through a collage that reflects a unique concept that describes the course of life like water from a river that never stands still and takes many forms. Speaking in this way the Japanese concept of dwelling, symbolising the roof as a gateway between heaven and earth. Consequently, the roof expresses the atmosphere of the place and it is precisely by the ceiling that people’s thoughts have generous space.


In the same group is made ​​other montages with the same idea, the same concept: where what mattered is the duality between the concepts of “dwelling”and that is a house which is constantly changing, where nothing remains. But this concept appeared alongside other somewhat disparate, and in turn, complementary. One of these is the multiplicity of layers, that veil of white light that covers everything. On the other hand, there are others trying to emphasize this condition Japanese dwelling, bringing the end through montage.


Naked “dwelling”

©Jose Diaz Molla

Transformation in the Naked House

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©Aaron Janushewski


Client’s request

The next step of the project has been to analyze customer requirements and re-interpret them in the 21st century. It is essentially taking the client on as our own and ignoring the architect’s precedent example. The important thing is to use the same raw conceptual material that the original architect had before designing, and interpreting it as you would have.

The aim was to foster family ties, how they relate and communicate with each other, giving importance again to the concept that we mentioned above, “dwelling”; knowing that roof is the atmosphere of the place, the part of the house that gives breadth, and ground is the communication place where everything happens. Along with all this, the intention was also talk of Zen Buddhism, which also has a place in the house and in the atmosphere that it creates there.


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“gray stone metal gray human warmth� Human bonds


©Rubén Martínez Sanchís

Supporting the idea described above, some of the same team worked in similar ways, which gradually dematerialize housing, leading to something more abstract, in the search for the client request. Search was focused on several points, such as: the importance of Japanese In theculture same group ​​other montages with the same idea, the same concept: gives is themade ground, where it all hawhereppens what and mattered is the duality between the concepts of “dwelling” and that is is the core of communication a house which is constantly changing, where nothing remains. of the three generations, or emphasizing But this alongside other theconcept conceptappeared of Japanese dwelling, andsomewhat disparate, and in turn, complementary. One of these is the multiplicity the three parts containing as we see in of layers, that veil of white light that coversthe everything. the other hand, there are others trying to emphasize this upper left On montage. condition Japanese dwelling, bringingsomethe end through montage. Along with this also suggested thing different, which was the union of the three generations in a space, something that required the client and it had to be the cornerstone of the project.


©Jose Díaz Mollá

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©Tatiana Ferrer Sarmiento


Projecting client’s request

The next step is to project the idea we have of cultural change in the house. Having been analyzed and interpreted customer needs in the 21st century, now it has to be projected that we would do with the intention of adapting it to nowadays. It is essentially taking the ideas that the client has, stripping the architect’s work before. This is done in an attempt to make a work with the same factors but changing one variable, time. This change makes the project completely different, because 20 years have passed since the completion of the project until today, and society has changed dramatically in that time.


There is a conversation between Igor Fracalossi and Germán del Sol, talking about the architecture of literature, which guided us in how to deal with this new project to redesign an existing home with the same parameters, except time. This excerpt is from a conversation between these two architects, and after this, was written a text explaining the idea, the aroma that would guide the project. ... Igor Fracalossi: Some day, I noticed that the architecture seems to be more of a temporary state that one thing space. When one is using the architecture and construction perhaps the architecture itself does not exist. Only at the time that one is looking at the architecture is that perhaps she exists. Germán del Sol: maybe you are right. Someone once said that nobody has ever seen an empty part, or a virgin forest. Because at the time that someone enters, the piece is not empty, nor the forest, virgin. ... Transformation and Integration, between Heaven and Earth. Between heaven and earth is ‘Dwelling’, the space where we live. The bridge, built on a solid foundation, represents the earth; solid and constant. Built off of that foundation we construct our dwelling space where we travel though time. This bridge and length of time, is the path we travel, emerging as an older, wiser version of we left. The sky above us is a constant reminder that there is always more ahead, it promises new experiences. The young lady leaves to start her journey; she will encounter and join with others along her course through life. At the end of her journey, when she has experiences everything along her path, she will be able to look back. By seeing her past experiences she will know the lives she merged with. Along with all of this, the meaning of transformation and interaction are crucial, both transform the project into the reality, and that’s what we want to convey though the montage, the feeling of change

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... which is constant and innocent ... which it’s a surprise during the journey along time


The proposal in this term’s work was manifold, where there were three proposals, one of them was a montage, which was finally elected and held the previous text. Together with this was a gift, giving it a more radical proposal, and the other one was a performance in the classroom. It was to become a song, where attendees were heard, and when the music disappeared, was the view which could have been watched a montage. We had done this in order to help to understand the meaning, the montage was accompanied by music to be fully understood. The song was the aroma of the image, you might say.


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The gift

The most radical proposal, going off-course statements where an assembly called static-looking focus on the idea of constant change in the nature and purity as the basis of the new project.


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The performance

Our last proposal one was a performance in the classroom. It was to become a song, where attendees were heard, and when the music disappeared, was the view which could have been watched a montage. We had done this in order to help to understand the meaning, the montage was accompanied by music to be fully understood. The song was the aroma of the image, you might say:

OmmWriter Music, by David Ummmo


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Working in a new end

Write the text of the new end. Story completed extending it, changing the end, describing what has happened since the Story was written 12 years ago, What if... Yoko Ono (Photography) Born February 18, 1933 is a Japanese artist, author, and peace activist, known for her marriage to John Lennon (1969–1980) and her work in avant-garde art, music and filmmaking. Ono brought feminism to the forefront in her music which prefigured New Wave music and is known for her philanthropic contributions to the arts, peace and AIDS outreach programs.


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After withdrawal of the architectures studied cultural data that generated them and having offered ideas by producing photomontages, now begins a new step. Understand that since the construction of the houses so far it’s been twelve years. During that period, the cultural aspects that have generated undergone a major transformation. The aim is to make clear the cultural evolution of those concepts with which you are working. This methodology will go beyond formalities and provide security when undertaking such a difficult task as is “improving� exemplary architectures.


Updating story:

write the text of the new end after twelve years

Everything was perfect when the family bought the house, but now, after twelve year, the social, cultural and planning context have changed, like in some written before we have mentioned... Nowadays or live is constantly changing, and twelve years is enough to observe a very different situation from the house was built. Firstly, the family situation has transformed into another completely different because the grandmother die off suffering from osteoarthritis (limiting her ability to move the containers), and the grandfather suffered a broken heart, starts bringing down the cheeriness of the home, so he is seriously sick. Alongside this, the children are eager to make a life on their own and start school move out to the larger cities and away to school. So, the house is empty except for the parents who principal feeling is loneliness because of the lost of their children; and the grandfather, who tries to walk out to the river often though finding it extremely painful to walk. Moreover, he also finds more enjoyment working in the garden where he carefully maintains and cultivates bonsai trees.


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Because of all this stuff, the parents finding much free time with their children gone have started to have more visitors over to entertain, and they also start working more in the community garden next door finding it relaxing, taking less care about their house: clean, tidy... They are getting older also... Apart from family stuff, there are some social and cultural changes, and planning changes in Japan. First of all, in 1998, a study showed that around 60% of single Japanese men and 80% of single Japanese women aged 20 to 34 were still living with their parents. So now it’s not uncommon for young couples to share an apartment before marriage. Moreover, in recent years, Japan is undergoing a demographic and socio-economic change, and it is becoming common for young people to share apartments, making condominiums more and more popular. Compared with 1983, when 64% of homes were owned houses, and only 27% were rented/leased condominiums, the latest statistics show that the latter is now about 40% of the category. On the other hand, a common pattern in the Japanese housing market is to rebuild in the same place, knocking down old houses and replacing them, all in the same owner cycle. To accomplish this, the occupants move into a temporary residence. A contractor is hired to demolish the old structure and erect a new one in its place. The residents then are able to move back onto the property and into the new home. This is done quite often at least once in every home owner’s lifetime and the process has the advantage of keeping the same address, telephone number, and utility bills, and avoiding the cost of purchasing new property. Because of the wood construction methods native to Japan and the relatively short lifespan of the Japanese house typology, replacement is often considered cheaper than maintaining the old structure. Talking about cultural traits, Japan hasn’t grown from a monotheistic tradition; it takes several religions and tries to reconcile his teachings in an eclectic way, even in the event of inconsistency between the provisions of each of them separately. This amalgam of religion and society thought comes with its own characteristics and distinct from other countries. They respect the rules and the hierarchy. Age and experience are two very important foundations in Japanese society. They also have an organization capacity of society to achieve a common goal based on consensus. One of the crucial moments in the life of Japanese is the entrance exami-


nation to college, because the note will mark the possibilities of studying in either center. Top universities (Keio, Waseda, Tokyo University, etc.), are the most desired by students, because the possibilities of joining a prestigious company are much greater if the degree has been studied in these centers. Due to this and the stress they are subjected youth suicide rate in the country is of the highest. Japan is a country that has remained isolated for many centuries, which is why there is a certain distrust of foreigners. Such mistrust can be overcome by establishing strong personal relationships, but this will involve some time and effort on both sides. Contrary to what happens in many countries, where raw encourages professionalism and the separation of personal and professional life, in Japan both sides have a common link should be encouraged to obtain positive results. Finally, we must remark that Japanese climatology is well known for having a high risk of earthquakes, typhoons, and tsunamis, which usually cause great catastrophes. On the same way, the family moved out of the city looking for some tranquility also because since the 1980s the authorities have been promoting decentralization and dispersal of the population to decrease the high density of the large megalopolises. Now some other families have moved on the same place, so now more people live on the neighborhood. Also, young people,


in place of stay with the family, rent a flat in the city with more young people looking for a place with more activities. As a second theme, over the years has made the house begins to age. The translucent plastic siding has begun to yellow and breakdown, and several holes have opened up, and they had been patched over. And following this issue, a lot of parts of the house are now useless, four of the containers are now empty, as there inhabitants have left. With just two people living in the house, there is no need for so much open floor space. Since there is more containers then people to move them, the functionality and freedom of movement they once represented is gone. For all this we realize the need for change, a change that we will analyze and describe from these issues… … creating something unique, with a substantial connection to the changes that the years have generated.

This is one of the renders made ​​to emphasize the importance of the first floor in Japanese houses, and viewing the horizon, because to them it has significant meaning, related to the concept of dwelling, which we have been trying.

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Urban expansion in this area between 2004 and 2008


Cultural facts:

Suporting the concepts which have been working on the text There are several changes social / cultural Japan supporting the text above, in 1998, a study showed that around 60% of singles Japanese and 80% of single women aged 20 to 34 still living with their parents. However, now it’s not uncommon for young couples cohabit in an apartment before marriage. Therefore, the number of elderly people living at home with their children has led to a great demand for elderly care and “barrier-free� dwelling, with fewer obstacles for the elderly. In recent years, Japan is undergoing a demographic and socio-economic change, and it is becoming common for young people to share apartments. In these yeas too, condominiums and mansions have become more and more popular. Compared with 1983, when 64% of households were owned houses and only 27% were condominiums, latest statistics show that the latter is now about 40% of the category. An important issue is old houses are replaced by the same owners. A common pattern is to rebuild in the same place. To accomplish this, the occupants move into a temporary residence. A contractor has to demolish the old structure and creates a new one in that location. Then residents can return to the same location. By not having moved, have the advantage of keeping the same address, telephone number, and utility bills, and avoid the cost of purchasing new land. Because wood construction and the relatively short lifespan of Japanese houses, this is often considered cheaper than maintaining the old structure.


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Along with these facts, during the last years have seen significant changes in Japanese urban planning, such as: Japanese cities are concentrated on the coastal plains, especially in the southeast and southwest angle of the major Japanese islands. They have a very remote western type of Japanese traditional urbanism: quadrangular plane very rigid, urban commercial and financial center, tall buildings, but not excessive, since the frequent earthquakes have imposed very strict building standards, and many of them harbor both sports and industrial. This new city contrasts with the historic city, which frequently surrounds, with narrow streets and difficult movement, regular plan, low houses and low commercial activity. In this city just protruding some temples. In the historic city you can still see the traditional Japanese house, all made of wood and with changeable plane due to rice paper screens that make walls. In Japanese homes, both traditional and modern furniture there are very few because it relies frequently on the floor. The contemporary city and the old city entwines through a plan of “widening� developed in the late nineteenth and early twentieth centuries. The densely populated Japanese cities make a set permanently stuck with frequent jams in both the private transport and public, which is the best option for many of the citizens. This leads also high levels of pollution, land prices too high, few parks and open space. Since the 1980s the authorities are promoting decentralization and dispersal of the population to decrease the high density of large megalopolis. This policy is very important to build roads very fast, regular and quality.


UPDATING STORIES WITH CULTURAL FACTS: where cultural facts and the story are one

When the family commissioned the new project they were looking for nature; they moved out of the city looking for some tranquility. However, since having built their home new families have also built homes, developing the land surrounding the house. The neighborhood has since been in constant growth, with an increasing yearly population. This development has caused the transformation from a rural, quiet and serene landscape into a semi-urban neighborhood.As a result, the relationship between the original house and the quiet rural landscape has been severed, and a new relationship with the residential neighbors has informally taken its place. The family has also evolved since first moving into the home; the children have left the home to continue their studies at prestigious secondary schools, the grandmother has died of old age leaving the grandfather lonely


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and arthritic, and the parents are retired and leading personal lives full of independent interests and social activity. The children only come home when they are on holidays and the parents are currently enjoying their freedom to entertain. Now that the father is retired -after spending most of his life outside the home- he has become an active part of the family again. Though he spends most of his time at home now, he hasn’t lost the habit of meeting with his ex-coworkers. He usually invites them to his home once or twice a week, thus returning some life to the home. The wife similarly has friends and co-workers over. Now, the house has been transformed into a space with renewed duality; the juxtaposition of the intimate/private and the social is changed but still present. The flexibility of privacy and space is still applicable, however the purpose has changed. The flexibility is no longer serving a set group of 6 people with varying needs. Instead the flexibility is responding to both the new needs of a household of 3, and the constant stream of visitors and guests. On the other hand, there is a degree of obstinacy in the family. The grandfather’s traditional customs have set the family at odds. It symbolizes a clash between the traditional and western influences in Japan. Another element of family life that has taken a new role in the home is the personal interest/activity. The grandfather has taken to the art of bonsai in his wife’s absence, growing and keeping them in the house. This preoccupation with the art of Bonsai is consuming for the grandfather and serves as the third element of his family life. Similarly, the mother and father are now both retired, and when not entertaining, have personal pursuits of their own. The father has taken to games of strategy, loves historical documentaries, war stratagem, and has taken up his study of martial arts again. The mother has found more time for her love of watercolors and can often be found moving one of the empty bedrooms around the home, a make shift studio inside, looking for the best lighting and the best views. In summary; the family’s private life has changed, the parents’ jobs have been replaced with more social activities and the personal interests of the family have now taken on a more important and dominating role in their lives


Drawing an action

Based on some concrete and specific cultural facts XXI century has updated the history of the house in a certain way. To emphasize the uniqueness of the house that has been treated, it will deepen and analyzing this singularity type action that occurs in the home, that is meaningful to her.

Increasing disorder in a dining table (Photography) That drawing was made by Sarah Wigglesworth and Jeremy Till. Sarah Wigglesworth MBE is a British award-winning architect and Professor of Architecture at Sheffield University. Together with her partner, Jeremy Till, Wigglesworth was (in 1991) the first architect to be awarded the Fulbright Arts Fellowship. In 1998 the Sunday Times named her as one of three architects in their “Hot 100� poll. She was awarded the Most Excellent Order of the British Empire (MBE) in 2004.


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One of the actions described in the above story is the importance of inviting their friends to the house to eat, for both of them, the husband and wife. Due to this, is going to analyze how they perform this action, the steps which they follow and how they do it. This is going to be analyzed to move beyond the act of eating and see what emerges from this action.


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This is another of the interesting actions that have been made in the group, which analyzes the views of the house outside to perform the act of painting inside one of the cubes which are inside of the original


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Naked House, and how it has to move according to sunlight to optimize this action.


This panel shows all the actions that the group performed around several themes and varied program of activities that happen in the house. Speaking of the art of bonsai, the art of painting, action of eatinf, action of cooking and preparation of food, and the post-meal, which leads to the collective conversation and entertainment, to leisure.


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These are some of the activities that -through cultural events that have worked and drawn up story- will be able to take home for further processing, where the fundamental characteristic of this transformation will be to adapt to these activities, which are outside the architecturalcontext initially studied.


Section of a detail

of the action in the space of the house. That is, now has to return to the original house and make a small intervention in it. For that, it is asked for a section where each one of us choose a place in the house where your proposed action takes place and draw a technical detail with such a precision that it could be built. Angela Kyriacou

(Photography) As an example of the quality of the technical drawing it is requested, it could display a drawing by the architect Angela Kyriacou that shows an action: the accident of having her high heel caught in the rails of the lift, where it is shown it in order to realize the degree of definition we are asking for.


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The ideal thing would be to have a cut, which has something to do with the action to take place so it transforms into a 21st century dwelling. The surface of the section shouldn’t be bigger than 1 meter by 1 meter. It could, in that way be a fraction of the whole action.


Study of sunlight throughout the year and analysis of wind currents, the most frequent

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Once the previous action was drawn, the next challenge was to draw the construction of a detail section. This detail had to materialize the action described in the house, making the action suit the proposed change. Seeking the essence of the analyzed action and adapting the house to this action is very important for the life of the family. No doubt there are several ways to deal with this action: working on the table, on the floor, on people, etc. creating a new way of sitting with a particular methodology. One of which, as mentioned, is the floor. Since there are a large variety of possibilities and potential meanings, it is thought not to just establish this as a statement for the action, but also why? The book mentions several times how important this is in Japanese culture, the culture that is deeply rooted in society. Along with this, we know that the soil is also important in the very act of eating, sitting, as it has to be comfortable for the position you take, the “seiza�, that it is not uncomfortable. Apart from this, without having to do with the action of the food itself, it considers whether this change is necessary according to the activities that take place in the house now. This is feasible, valid, and accepted for several reasons. This change will improve the housing conditions at all times; being able to perform all activities at once in some cases. As is with the act of eating, or performing activities such as martial arts or the meeting after meals. These have also been studied and it has been noted that conditions significantly improve. But the change was not going to be there, this one had to materialize and see the layout of this new ground. To accomplish this, an analysis is made of the activities, which has been studied before and climatological study of the house, as we see above. We now know where to perform the activities in the ideal way. This leads to build the floor as zones with a certain hardness, zoning housing spaces by improving utilization, but as has been said before, without any restriction to perform other activity on them.


Group sections of a detail

Apart from the section created, the remaining members of this study group led action also materializing in a section of a detail of the house, which it has to improve the action conging it into something specific. Following the parameters mentioned above, validity, sentigo and possibility to be performed. Working on the topic of karate inside of the house.

Working on the topic of post-having lunch/dinner


Working on the activity of paiting nature inside of the house.

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Working on the activity of cooking


Inés Martínez Díez

born in Burgos in 1992. Now she is an architecture student in Universidad de Alicante, where she was a member of ArtFact from 2011 to 2012, with more team members, like Tatiana, Jose or Borja.

Megan Beange

born in Ottawa, Canada in 1990. She studied the bachelor of Architecture in Carleton University and now she is a Design student in his Graduate Studies of Carleton University.

Emily Monette

born in Stittsville, Ontario. Canada in 1990. She studied the bachelor of Architecture in Carleton University and now she is a Design student in his Graduate Studies of Carleton University.

Tatiana Ferrer Sarmiento

born in Alicante, Spain, in 1992. Now she is an architecture student in Universidad de Alicante, where she was a member of ArtFact from 2011 to 2012, with more team members, like Ines, Jose or Borja. Interested in design and crafts.

José Díaz Mollà

born in Ontinyent, Alicante. Spain, in 1992. Now he is an architecture student in Universidad de Alicante, where she was a member of ArtFact from 2011 to 2012, with more team members, like Tatiana, Ines or Borja.

Rubén Martínez Sachís

born in Monóvar, Alicante. Spain, in 1992. Now he is an architecture student in Universidad de Alicante,

Sergio Navarro García

born in Lorca, Murcia. Spain, in 1992. Now he is an architecture student in Universidad de Alicante, and dancer in Coros y Danzas de Lorca, Club Ritmica Helionova.

Juan José Ruiz Hernández

born in Novelda (pliers, Spain). He is currently studying architecture at the University of Alicante. In addition, from 2011, he is the founder and director of MuthaFunk Company, a group dedicated to the audiovisual industry. Meanwhile, he remains active in its facets of rap producer, designer and video maker.

Aaron Janushewski

Born 1983, in Simcoe, Ontario Canada. Now currently studying at the Azrieli School of Architecture & Urbanism, in his 1st Years of the Graduate Program. Before returning to obtain his Graduate degree, he worked for LDa+ 2007, Y&W/ IBI Group 2009-2011, BJH+Assoc. 2012.

Borja Castillo Alberola

born in Alicante, Spain. He is an architecture student in Universidad de Alicante, where he was a member of ArtFact from 2011 to 2012. He worked in Cor & Patners in 2012 as an intern architect. Now he is the creator, photographer and editor of Habitat72.com, working also as a designer and ilustrator assistant.


A conversation among the members of the group to develp our work Aaron Janushewski: Hi, so studio class if finished for today and we have our assignment for Wednesday. During studio we had to choose how the project will be proceeding. Unfortunately ‘Ending 4’ was not allowed, part of the project is to keep the existing building and make an addition/change to it according to the continuation of the story. The new story (or ‘New Ending’ as the professor calls it) is; “The house, like traditional Japanese homes, is built for the temporary; it is now coming to the end of its materialistic life. The family has changed; the Grand Parents passed on, and the children have grown up and moved out. The house is now only occupied by the parents, who now have the freedom of the home and have many friends to entertain. The area around has been slowly developed and now the house is surrounded by a developing neighborhood.” So what we have to do for Wednesday is come up with a single architectural sketch to present (which could include plan/section/elevation). Some questions to ask while thinking about designing the addition/change. • How does the house age, what elements might need to be replaced? • What happens to increase the privacy from the encroaching neighborhood? • Does part of the building get removed/changed to reflect family size? • Remove/fix the pods as generations are no longer there to share the same communal space? • How does the idea of ‘dwelling’ (between heaven and earth) change, or how does it stay the same? I suggest that tomorrow we have a chat here on facebook to discuss ideas and designs. What is a good time for everybody? I’m suggesting 12noon Canada, 6pm Spain to have the chat as it’ll give us a time in Canada to work on some ideas, but I’m not fixed on that time. We might have to show some sketches and drawings so being able to post pictures is important.

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Thanks!


Chating after the email: Ines Martinez Diez: Hello Sergio Navarro Garcia: Hi!! Megan Beange: Hey Borja Castillo Alberola: Hi!! Aaron Janushewski: Hi, Did everyone get the invite to Google Group? Rubén Martínez Sanchís: Hi! IM: yes, thanks! BC: yes, but I think is better the Facebook group. Is easier to keep in touch AJ: ok, I’m happy to keep it going with Facebook, but we’ve been requested by the professor to post in GG, so I’ll just make a copy of this chat and post it on there. BC: okay perfect. So, today we have to do that, right? Any of you know Spanish? MB: Unfortunately no. French but no Spanish AJ: I’ll do it after we’re done chatting. I do not know ANY Spanish either, sorry. SN: ok don’t worry BC: hahaha okay okay. No worries. So, let’s work: we have to answer that questions, right? AJ: We’re to discuss them BC: perfect AJ: We’ll looking at what happens to the building, so those questions were just to start. We can have more or less. BC: So we have to develop all the ideas into something? AJ: Yeah, I’m not sure of a faster or easier way to doing it. Yes, we start designing. From there we’ll do some drawings. I know, for all of us... impossible MB: Allright, so we’ve established that we need to start drawing our impressions of the new ending BC: so, we have to distribute the work, because there are too many people AJ: Plus, we need to have bibliography, so other projects that might relate to our project. MB: No, I think if we have multiple people working on different drawings. We can


emalgamate into one panel, and we can look at other interpretations of traditional Japanese architecture. BC: Could be, I think is better to work in couples to answer each question MB: So get two spanish volunteers to work on the bibliography along with one Canadian. That leaves 7 people doing drawings. So let’s cut that to two groups of 3 MB: and the 7th person can put the panel togehter BC: Then, 3 poeple on the text and 7 on the drawings? MB: Exactly. But 6 on the drawings and 1 on the panel BC: but I think they must be together MB: Well no, there should be both perspectives no? BC: I think is better that in groups of two each group develop and idea from the questions and panel it with text and drawings. AJ: we need to know what we are drawing before people start. So we should answer the questions first, that will give us an idea what to draw IM: I’m agree with Borja BC: It’s better, because, in that way there’ll be more connection between text and drawings MB: okay BC: If everybody agree, let’s make the groups IM: Well I think like Aaron and Borja, we have to answer the questions and then draw MB: Agreed BC: Then, there are two options, or do the text and after that d the drawings or each group of two people do one question, text and drawings. I think is better the second one MB: Noooo, too disconnected AJ: Aside, has anyone been able to find a site plan for the naked house? I’ve been trying to find it on Google, and Google maps but haven’t been able to. MB: Never thought to check yet BC: I’ll try. I’ll talk to the rest of Spanish people, no worries. So, we have to star. Then, make groups and start working. MB: How does the house age, what elements might need to be replaced?

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What happens to increase the privacy from the encroaching neighborhood?


Does part of the building get removed/changed to reflect family size? Remove/fix the pods as generations are no longer there to share the same communal space? How does the idea of ‘dwelling’ (between heaven and earth) change, or how does it stay the same? MB: I was about to say lets assign the first question to just one group for sure, because someone needs to get into contact with Shigeru ban about the life expectancy of his project or at least figure out for themselves. BC: okay Megan and I are going to do the one of them. Okay Megan? MB: The rest should be approached as one solution, each group a new strategy. Yeah BC: Sergio and Ines are together too, they told me IM: ok! BC: choose one of them Ines IM: well AJ: Who is left? I have a 3D model for the house, correction, 3D Model Started OF the house. IM: and what happens with the rest of the group? MB: We’ll start assigning. What if they can’t speak English Aaron? Do you and Emily want to go together AJ: She around? MB: I don’t think so BC: so better Aaron and Emily, it’s easier and faster MB: okay, Aaron pick one AJ: I’ll take #4 BC: Aaron, are you with Emily, right? IM: when do you want to have the work done?? MB: for noon tomorrow... So 6 PM for you guys AJ: before that, we need to present drawing for tomorrow MB: Aaron and Emily and I will take care of a panel. Oh, okay so what time? AJ: I’m with Emily, yes. 10 would be nice, if we have sketches or ideas then we could put them on a panel and upload it before class. 10am Canada… that’s it. MB: okay, so 4 Pm you guys.


BC: Yes, okay SN: Ok!!! AJ: What programs do you work with in Spain? AutoCAD? SketchUp? IM: autocad, rhinoceros... and you in Canada? AJ: AutoCAD, and SketchUp for me. We’re suppose to learn Rhinoceros, so this will be a good time to learn it for us. AJ: Ok, so are we good for know? Everybody knows what they are doing? RM: yes MB: okay bye everyone AJ: If anyone thinks of new questions to be asked or think up answers to other questions, post them it’ll be helpful to the design. IM: Bye! AJ: Bye BC: Ciao!

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SN: Bye guys!!


A reflection on that kind of teamwork, and our team effort. How is this kind of teamwork, and how it has worked over the course The teamwork that developed in this course has been a determining factor when it comes to work and reach the project. In this new era where one of the few chances of job success are liquid networks, networks where everyone from your particular location makes a part of a global network, where each team member is part of a delocalized globality, working as a String. Well, the work was satisfactory, even having difficulties and problems arising from the lack of practice in this area and the difficulty of some Spanish to work in English, but the group has been able to do the work and has been working as a group should correctly. The conclusion to be drawn from the experience as a group is that this way of working is only possible if all members of it are equally motivated and eager to work, knowing that no one can control their hours of work and dedication to it. They must all be equally responsible with their work and respect the work of others and the involvement of others in the global network.

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This is something that could not be obtained in all group members, but overall it has been working successfully to finish the work.


Manifesto

Vision for Re-reading architecture At the beginning of the book the aim of the course is described, which is focused on the re-reading of the architecture in question and updating the following parameters of the new XXI century. This statement is not easy, especially since we are talking about a masterpiece of architecture in regards to a social adaptation of the customer’s home and how cultural and social conditions can dress architecture in a certain way. It could be said that this is a way to update a project that makes a particular form an idealystic creation. Throughout history there have been many ways of designing architecture, some more valued than others. This is one of them. So before understanding how the issue has been addressed, the issue of updating the project and whether it is positive or not has to be considered; it is necessary to know how Shigeru Ban designed this house and how is the methodology has been followed in the project. My personal assessment of this type of project is positive. Ideation is a path where the greatest importance lies in the social character of the architecture, making it, in turn, functional. It would be like a dress made in a very particular way, for the family that will live there and their situation. But not everything is easy and simple because the dress which we speak of is temporary, but it will become fixed over time. However the family moved forward in time and have been transformed. Due to this, the architecture in question is not as easy to project because it has to cater for amendments and the transformation of the house according to the needs of the family.

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An analogy would be, according to the metaphor of the dress: if you buy a dress that is beautiful, that is perfect for you and what you need. But your situation often changes, your physique too ... and maybe after a while, the dress does not serve you as well as it once did. This could


possibly mean that it was not a ideal dress for you. As Coco Chanel said: “Fashion goes out of fashion, style never.” From this sentence we conclude that this architecture must seek to be social without falling into banality and do something temporary with ephemeral functionality, that’s the difficulty of this way of projecting, but if it works successfully, it is very good and interesting. It is necessary to make a profoundly social architecture where functionality is a strong point of it, to serve as an envelope to an activity program, which serves people living in a certain way and have particular tastes. And do all this without making it a temporary thing, without providing the changes that the architecture should take. But beyond this way of projecting, there is the re-reading that can be done on this type of home, or any other, in order to create a new beginning. This form of re-projecting houses is as equally or more interesting than the previous form as there are more variables. Apart from all the baseline variables with which the original architect had during his/her creation process of the house, there is: the reinterpretation of what architect did and with the cultural and social change that has occurred in this context, both geographically and in private households. How can an architectural piece be improved when it already fits into the “dress” which was made by the family who inhabit the place without creating an entirely new one? We are facing a very difficult question and carrying out a tedious process. This process has taken a course in a way that proceeds the one you read throughout the book. A process that involves specific steps in order to find out how that dress really is, which is the most important factor in order to “re-tailor” the dress and be able to imagine how it would have been in an before, and how the dress has been “re-thought”. Today this is a very common action because of the changing economic and environmental consciousness that is taking place in the First World, the restoration is imposing itself as it has been in the UK for the last two decades.


And even more interesting is to rethink the architecture which was not designed initially from the form of projection that we’ve seen, but for economic or speculative purposes, to transform it into a new dress for the family who will live in it. This would be very intriguing and professionally satisfying, though more complex than it was before, than another kind of architecture. The difference will be that the change may be much more significant.

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To conclude this method of emerging ideation, the way to project this kind of architecture is similar to doing it again by following these parameters, which is a way of devising interesting architecture because it meets the requirements to generate an architecture which thinks about the people who will live there and therfore this is functional, a direct contrast from purely speculative and economic power that has encouraged much of the architecture in recent decades. There are always positive a ways of projecting that meets these requirements, giving added value to architecture and creating something unique and special. Particularly adapted.


Bibliography Shigero Ban architects: http://www.shigerubanarchitects.com/ The Art of Building Lightly, An Interview with Shigeru Ban: http://www.nbm.org/about-us/publications/blueprints/the-art-of-building-lightly.html Hiroyuki Hirai in Masters of Light: Designing the Luminous House, by Peter Hyatt (Images Publishing Dist A - 2007)

Traditional Dwellings and Settlements Review: Journal of the International Association for the Study of Traditional Environments, volume 20. Zen Interiors, by Carles Broto, Marta Rojals (Links, 2007) Judit Bellostes: http://blog.bellostes.com/?p=1977

From Sleeping Porch to Sleeping Machine: Inverting Traditions of Fresh Air in North America, by Charlie Hailey: http://iaste.berkeley.edu/pdfs/20.2d-Spr09hailey-sml.pdf 多Se puede volver a inventar la vivienda?, by Miguel Barahona: http://miguelbarahona.es/DI153-viviendas%20alternativas-txt.pdf Stories of houses: http://storiesofhouses.blogspot.com.es/

Information is Beautiful by David McCandless (Collins, 2009) From Control to Design: Parametric/Algorithmic Architecture by Michael Meredith, Aranda-lasch and Mutsuro Sasaki (Actar, Verb, 2008) Verb Natures by Irene Hwang, Albert Ferre and Tomoko Sakamoto (Actar, Verb, 2008) Actar editorial: http://www.actar.com/ Plataforma arquitectura: http://www.plataformaarquitectura.cl/ Japanese cuisine, by wikiHow: http://www.wikihow.com/Eat-Authentic-Japanese-Cuisine Bartlett year 1 of architecture blog: http://bartlettyear1architecture.blogspot.com.es/


Jesuis Perdu: http://jesuisperdu.tumblr.com/ Regular Jane: http://regularjane.tumblr.com/ Pentagon: http://www.pentagon.fr/ Visual Graphic: http://visualgraphic.tumblr.com/ The information is beautiful awards: http://www.informationisbeautifulawards.com/

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Yoko Ono: http://www.yoko-ono.com/


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Manifesto of re-reading Naked House  

Manifesto of re-reading Naked House by Borja Castillo

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