On a wing and a chair: Japanese design in Adelaide

DOG, a Tokyo-based architecture studio, has completed the '8.5 House' in Ninomiya, Japan. This atelier-style dwelling is designed for a painter and his family, consisting of three generations including the painter, his wife, child, and mother. The house is situated along Ninomiya’s Tokaido road, a historically significant route for the great Japanese ukiyo-e artist Hiroshige, which influenced the project's thematic approach, aiming for the owner to 'spin the fifty-three stations of the Tokaido' within his new atelier. The total floor area of the residence is 87.23 sqm. A defining characteristic of the 8.5 House is its steep sloping roof, which also functions as a wall on the northern side. This architectural element provides a distinct sculptural form that stands out in the urban landscape and serves as a source of artistic inspiration for the painter. Inside, the design incorporates a prominent diagonal exhibition wall. This wall plays a crucial role in the house's functionality and aesthetic, separating the living areas from the artist's atelier. Its diagonal orientation allows the painter to display his artwork at its maximum possible length, enhancing the visual impact of the exhibited pieces. The integration of the steep sloping roof and the diagonal exhibition wall creates a dynamic interior space characterized by alternating wide/narrow and high/low dimensions. This intentional play on scale results in a varied and engaging spatial experience throughout the residence. A tall, glass entrance facing the city provides passersby with a view into the atelier, fostering a connection between the artist's private creative space and the public realm, and allowing the painter to exhibit his work to the community. The project was led by Ryutaro Saito and Shun Ide from DOG, with structural engineering by Yasuhiro Kaneda of Yasuhirokaneda Structure, and construction handled by Shinshin Construction Co., Ltd. The design balances the practical needs of a multi-generational family home with the unique requirements of an artist's studio, all while drawing inspiration from the rich cultural history of its location. The sculptural form and innovative internal layout reflect a thoughtful approach to residential architecture, emphasizing both functionality and artistic expression. #JapaneseArchitecture #ResidentialDesign #AtelierHouse #SlopingRoof #DiagonalWall #MultiGenerationalHome #ArchitecturalInnovation #ArtistStudio #SpatialDynamics

The article explores the potential for Middle East designers to integrate Japanese aesthetics, particularly the principles of Zen gardens, into their architectural and interior design projects. It highlights the tranquility and beauty found in Zen gardens and suggests that this subtle approach to design, which reveres nature and emphasizes the space between elements, can offer a valuable source of inspiration for environments with harsh weather conditions, such as those in the Middle East. The discussion begins by contrasting the authenticity of nature with digital representations, emphasizing that natural elements like trees, shrubs, and water features, when thoughtfully arranged, provide a genuine respite. Japanese design's meticulous attention to the 'missing' or 'interstitial' space is presented as a key lesson. For Middle Eastern contexts, recreating miniature versions of natural landscapes within internal, ventilated spaces is proposed as a practical solution. This involves moving beyond conventional designs like centered round fountains to accurately mimic natural formations such as oceans, rivers, mountains, and hills in indoor settings. Nasser Abulhasan, Principal and Founding Partner at AGi architects in Kuwait, points out the significant social role of private homes in Kuwait due to severe weather, making interior landscapes and courtyards integral to the lifestyle. Japanese gardens are described as attempting to reproduce nature in a more natural order, in contrast to the symmetrically pruned gardens often found in the West. Specific examples are given for how natural elements are represented: horizontal stones as islands, vertical stones as mountains, trees and plants as forests, white gravel as oceans, and declining rocks as waterfalls. The article then extends this concept to exterior landscape arrangements and internal courtyard designs in the Middle East, emphasizing the importance of a deep understanding of local nature. Giovanna Carnevali, executive director of urban planning at NEOM, reinforces this idea by stating the need to "think in advance" and enhance and protect nature while urbanizing minimally. The Line project in Saudi Arabia's NEOM is cited as a successful example of creating an introverted habitat to thrive in an unaccommodating external environment, drawing parallels to Japanese internal courtyards and Machiya houses. The article further explores how Japanese design elements can be adapted to the Middle Eastern context while respecting local culture. For instance, a Japanese Shoji screen framing a garden view could inspire an Arabesque patterned screen overlooking a garden that features an oversized fanous instead of a Japanese stone lantern, with local plants replacing bamboo and soft desert sand used instead of white gravel, raked to evoke the ocean's motion. Abulhasan stresses the importance of respecting the local context and introducing native vegetation appropriate for specific climatic conditions, advocating for tailor-made solutions that leverage the existing environment's potential. He notes that arid climates present a challenge but also an extraordinary opportunity for comprehensive strategies, as vegetation can act as a natural climate control, reducing temperatures and dust. Beyond element selection, the article highlights the critical role of arrangement in Japanese Zen gardens, focusing on the careful placement, direction, sequencing, and balanced asymmetry of each component. This intellectual approach to design, borrowing from Zen garden principles, could foster unique, Babylon-like garden concepts that distill Middle Eastern cultural values. However, an alternative perspective is offered by Reem Fayyad, co-founder of GreenAtelier, who argues against the idea of rolling out "green carpets" in the desert, viewing the desert not as an unfortunate byproduct but as a unique, dynamic landscape that offers varied perspectives and an "empty template" for intellectual clarity and problem-solving. Ultimately, the article concludes that adopting intellectual attitudes from other cultures, such as the Japanese appreciation for emptiness, meticulous arrangement, cautious sequencing, and thoughtful proportions in Zen gardens, can benefit future landscape developments in the Middle East while preserving the locality's unique identity. #JapaneseAesthetics #ZenGardens #MiddleEastDesign #InteriorDesign #LandscapeArchitecture #CulturalAdaptation #SustainableDesign #UrbanPlanning #EnvironmentalDesign

The "Dune Dweller House," designed by architect Jorge Hrdina, is a beach house on the NSW Central Coast that draws inspiration from Japanese architectural principles to create a serene retreat. The property, located on a sand dune 20 meters above the beach, presented unique challenges due to its exposed location, including harsh winds and salt-laden air. The owners, who had previously owned a weekender nearby, sought a "forever home" that would blend seamlessly with the headland, be invisible from the beach, and incorporate natural materials such as timber, off-form concrete, sandstone, and copper roofing. The design brief specified a new two-story, three-bedroom main house on the oceanfront and a separate two-bedroom cottage across a courtyard to the west. A key requirement was an indoor/outdoor feel, with the downstairs fully openable to the exterior, while also providing distinct spaces like a study and a media room. The west-facing side, looking towards the hinterland, was designed to offer shelter and views of sunsets. A crucial element was a courtyard providing protection from summer northeasterlies and access to winter sun, maintaining a modest profile that harmonizes with the dune and utilizing natural materials. To address the erosion threat posed by the sandy site, Hrdina conceived a unique wharf-style structure. This involved utilizing the existing slab and embedding 15-meter posts five stories deep into the sand, expressed both internally and externally. This structural solution not only stabilized the house but also informed the aesthetic. The house features a central circulation spine, guiding occupants toward the ocean, mirroring the functionality of a wharf. Hrdina's appreciation for Japanese timber structures, known for their timeless aesthetic and longevity, influenced the choice of materials and construction techniques. The house's decoration is inherent in its hand-crafted structure, with laminated Victorian ash posts and beams custom-made, secured with stainless-steel bolts and black steel straps. Rafters are thinned with black steel plates, contributing to a sleek wharf aesthetic. Instead of traditional plasterboard, light beech plywood veneer and raw cementitious wall panelling are used to add depth and texture, echoing Japanese building styles. A floating staircase, battens in screens, and sliding walls contribute to an airy and warm interior. The material selection prioritizes durability against the harsh seaside environment, with Victorian ash posts and blackbutt windows requiring minimal maintenance. Shou Sugi Ban charred timber cladding offers decades of durability, and copper roofing is chosen for its ability to patina attractively in salty air. Accoya engineered-timber ceiling battens, in a light, beach-inspired color, further enhance durability. Wide French oak flooring with a distressed finish evokes the ruggedness of sand, allowing the natural environment to be the focal point. The owners describe the house as a "livable art piece" with exquisite finishes, emphasizing its comfort and practicality as a beachside home rather than a resort, designed to age gracefully and become more integrated with its surroundings over time. #JapaneseInspiredDesign #BeachHouse #ZenRetreat #CoastalArchitecture #SustainableDesign #NaturalMaterials #WharfStructure #IndoorOutdoorLiving #ArchitecturalInnovation

Snarkitecture, in collaboration with local architect SNARK, has unveiled '3110NZ', a cultural destination in Tokyo that seamlessly merges a contemporary art gallery with an omakase restaurant. Situated in the quiet residential neighborhood of Nakameguro, the design prioritizes a discreet exterior that harmonizes with its surroundings while simultaneously sparking curiosity about the experiences held within. The façade’s design concept revolves around the insertion of a solid volume into the corner location, from which all exterior openings and internal spaces were then excavated. This 'excavation' approach is evident in the custom oak front door and backlit portholes, which appear as if carved directly from the hand-troweled cement facade. This thematic element extends into the interior, where both the dining area and gallery walls feature excavated forms. In the gallery section, these carved niches create a series of illuminated caverns specifically designed for art display. Above, a stretched scrim diffuses a soft, uniform glow throughout the space, fostering a tranquil and immersive atmosphere. The dining area is centered around a substantial slab of hinoki wood, a sacred and aromatic species traditionally used in sashimi preparation. This focal point is complemented by custom oak chairs. The flooring throughout the establishment draws inspiration from traditional Japanese rock gardens, incorporating large terrazzo pebbles set within a concrete infill. This design choice encourages visitors to feel grounded, enhancing their experience as they view the displayed artworks. '3110NZ' operates dual functions: by day, it serves as an outpost of NANZUKA, a renowned contemporary art gallery managed by Shinji Nanzuka; by night, it transitions into an exclusive omakase restaurant led by Takashi Saito of Sushi Saito. The project, completed in July 2020, covers a total area of 84.77 square meters. Key contributors to the project include LDH Kitchen as the client, Snarkitecture as the design architect, Yu Yamada of SNARK Inc. as the local architect, and NANZUKA providing design direction. The logo design was created by Hajime Sorayama, and construction was executed by Butter Inc. The photography for the project was provided by Ippei Shinzawa. #Snarkitecture #TokyoArchitecture #ArtGalleryDesign #RestaurantInteriorDesign #JapaneseDesign #ExperientialDesign #CulturalSpace #ContemporaryArt #OmakaseDining