The fence starts at 2.3 meters in height, matching the eave of the main house, and gradually lowers towards the ocean, reaching a height of 350 millimeters at its center. This is sufficient to contain a timid small dog, while humans can easily step over it to access the ocean. The wire mesh is buried 400 millimeters into the ground, allowing it to stand independently. The 4mm-diameter, lightweight, and loosely welded wire mesh deflects strong coastal winds and is minimally susceptible to seismic forces and snow loads.

The structure of the main house is a traditional wooden framework. The lateral forces are resisted by the entire outer wall and two steel braces installed on the interior walls. The highly curved form eliminates the need for seismic elements in the short-span direction, allowing for a continuous interior space. The columns on the ocean-facing side are reduced to a minimum size of 90 millimeters square, with the end sections at 80 millimeters square.

The circular form enhances the ambiguity of the site boundaries, which is characteristic of coastal settings, reinforcing a sense of territory defined by the architecture. Over time, the spaces formed by trees and small plants will expand beyond this architectural boundary.

Text provided by the architects.

Life takes place between the outlines of the objects. Cooking and eating, bathing and doing laundry―everything fills in the string of voids with clusters of household items. The family of objects appears to have looked for and found their places within the structure, as if settled in response to its form. Amongst and between them, the two cats slink about and wind from an open window weaves through, as light from outside swallows everything together. Both life and nature are in tension with the architecture. They exist together and sometimes connect, but never blend. The architecture triggers life and life strengthens the architecture. The goal was to create that kind of relationship in this house.

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The second layer has intentionally been left blank so the areas can create space suitable for their increasing hobbies, or wardrobes or a children’s room. Particularly the children’s room should be left up to the child to design. Each space meets the minimum size required for the designated function, such as the kitchen and bathroom, by 910 modules. They act as not rooms but function spaces and the central hub is an open ceiling space where the 4 boxes, each with a function contributing to their daily lives are gathered around this central space. Without limiting it to 910 modules, I positioned the angle of the central space and boxes so that from all windows the view is of trees or the sky, not the neighbouring house or their windows. Also the angle between the kitchen and adjacent boxes on both layers allows a clear view from the kitchen to the box, especially in the event that the box is used as a children’s room.

This house, born of long, fruitful discussions with the client creates a space where I hope the family and the building itself can grow close together.

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For example, to let in the natural light and wind to every corner of the house, we demolished a closed staircase and created a lightwell that penetrates the five floors from the basement to the penthouse. At first, the idea was to remove all the stairs, but since the reinforcing bars appeared unexpectedly beautifully during the dismantling, we left the bars as they were and created a “green staircase” that plants entwine.

In order to give a new finish to the outer wall, we tried to scrape the existing plastering finish which the second owner had added, and behind it, we found beautiful glossy tiles at the beginning of the building. We thought it would be a good contrast with the green of the newly planted trees, so we decided to polish and reuse them.

Since most of the neighboring buildings are 2-stories high, we located the living room on the third floor to have an open view of near botanical garden’s great green. Bedrooms separated by a white box of bathrooms are located on the second floor. The upper two floors are split into two parts in the plan. One with a brick floor including the green staircase and actual stairs newly installed is a space for circulation, like a street in a city. The other with wooden flooring is more for private space. The lower part of the office is still updating. It’s an experimental space where our new challenge will be implemented as a first trial, such as self-built shelves or stairs by digital fabrication method.

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We demolished some unused structures and opened space for greenery: the new project would become an art garden. One of the old houses, located in front of the station, was reconverted into an exhibition gallery. The other house, located in the middle of the site, was transformed into a residence for artists and students. The warehouses were renovated as workshop spaces. We moved the parking spaces, previously located in front of the station, to the back of the site, so that the most visible and public area became more open and pleasant for passersby.

We also removed the existing shutters and concrete block walls that surrounded the site. Instead, we designed a bench facing the station covered by a canopy. This canopy invites passersby to sit down, take a rest, start a conversation, and visit the art garden. The garden not only contributes visually, but it is also intended to ameliorate Ota’s harsh summers, known for being some of the hottest in Japan with temperatures reaching 40.C. We substituted asphalt and concrete surfaces with greenery, and provided a series of shades—overhangs and canopies—to create a microclimate that allows people to enjoy the garden even in summer.

We reduced waste and the need for new building supplies by reusing and repurposing materials as much as possible. Taking advantage of Japanese modular wooden construction, we were able to reuse wooden strips, scraped structural members, doors, and windows in the new constructions. The existing pallets, formerly used in the warehouses, were repurposed as fences and garden decks. Old roof tiles, concrete blocks, and stones were repurposed as pavement materials.

With people moving from their air-conditioned cars to air-conditioned shopping centers, Japanese provincial outdoor spaces are becoming deserted. Ota Art Garden offers a vision of an alternative future, where traditional structures coexist with the new, and a green urban microclimate offers opportunities for people to meet and engage with art.

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We worked the uneven logs into regular 33cm circular columns as our first task. We could have machine-cut the logs, but we chose to shape them there on the site. We started using traditional ‘yarikana’ or spear planes, but we later moved to using electric planers to speed up the process. So far, everything has gone according to plan. However, when I saw the 32 logs, I felt a little bit unsatisfied. Having spent many years looking at old temples and shrines, ‘Mukuri’ was still something I longed for. After much work, the round pillars were laid out on the site and all the pillars had that ‘mukuri’ quality. I still have fond memories of the smiles on everyone’s faces when we had finished everything.

After a brief moment of respite, the carpenters soon informed us that it would be difficult to join the foundations and columns as had previously been planned. The method used was to rigidly join the foundation and columns with anchoring hardware (home connectors). As they had some experience with this method before, they were a little bit tentative about it. According to them, the anchors needed to be cast with incomparably greater precision than had been needed in the past. After much thought, they came up with a brilliant idea that went down remarkably well. Instead of placing the anchors into the concrete, they attached them first to the round columns and then later cast them in the concrete foundation.

Here are a few examples of changes made at the suggestions of the craftsmen:
One was a point about the strength of the staircase landing. I thought that if the landing was fixed to the surrounding beams, there would be no problem. However, it was pointed out that this would be too weak. The final idea was to fix it to the floor beams on the second floor and take it out, as shown in the picture. The other was the delivery of the balcony floor. For the flooring material, it was decided to use Australian cypress for weather resistance. However, it was pointed out that this timber was not dry enough and was likely to warp after installation, and that the floor was also not rigid enough. They suggested that each piece of the flooring be supported by several horizontal round bars running through it. This would kill two birds with one stone, as they would hold each other to prevent warping and also ensure rigidity. In this way, the experience and wisdom of the craftsmen were utilized everywhere, increasing the degree of architectural perfection. It should be noted that most of the suggestions made by these craftsmen are used in invisible parts of the building. This is the essence of craftsmanship, and I always admire it.

The reason why I became involved in construction is simple. I wanted to prove to myself that I could do it. When working with construction companies, I often had to adapt to their circumstances, and often ended up with compromises and unexplained problems. To solve this, as a result, the only option left was to become a building contractor. When I started, I was very determined to build as closely as possible to the blueprints, partly because I didn’t have a very good team of craftsmen. Nevertheless, I had much more freedom as an architect than before. For a while, I was absorbed in the joy and pleasure of it, but I also realized that I was slowly waking up from that dream. About 10 years after I started working as a contractor, I had a team of craftsmen, and I was able to ask their opinions and work with them more than before. It was around that time that I discovered new joys and pleasures. It was not a matter of following a blueprint, but of working with the craftspeople at that moment to find the best possible outcome. From that time onwards, I realized that the site was like a living organism, growing beyond my imagination. That discovery and realization made me even more fascinated by architecture. Now, for me, the beginning of a site is the beginning of a new design. I cook my desktop ideas in the pot of the construction site. I always go there with this in mind.

*Home connector, a method of rigidly joining using special anchor bolts fixed with epoxy resin.

Text provided by the architect.

The new addition takes these characteristics of the existing space and extends them in 2 abstract volumes.

A 45 degree pitched roof encloses the new lounge space, and opens the view to the agricultural landscape beyond. The roof extends down close to the ground, hiding the view of the adjacent parking and preventing overheating of the space, whilst curving up to reveal and indicate the new entrance of the building, welcoming guests. After entering the compressed airlock under the eave of the roof, the 7m tall triangular space with exposed timber structure becomes visible, reminiscent of the geometry and exposed structure of the existing building.

The other half of the new addition extends the kitchen and service spaces, contained in a low and opaque volume, emphasizing the contrast between both parts in the East facade.
In order to emphasize the abstract character of the new addition, all exterior finishes were clad in silver galvalume. This material simultaneously takes on soft reflections from the sky and surrounding landscape, varying with the weather, whilst blending the building with its surroundings.

A wood-clad service wall lines the full length of the existing dining space and new lounge, containing all storage, service access, reception and serving counters; leaving the space flexible and uncluttered. A polished screed floor and aluminium window-frames give the lounge a crisp and bright character, whilst a parquet floor, wood window frames and furniture and focused lighting, create a dining space with a warm and intimate atmosphere.

Inspired by Ushimaru’s collection of handcrafted glass flatware, custom handmade glass light fittings and doorhandles were developed, in collaboration with SUGAHARA GLASSWORKS INC., extending their tactile qualities to the fittings of the building.

Text provided by the architect.

The simplest intentions of focusing on plates (floors), tubes (columns), and skin (facade/exterior walls) allows for a poetic and visually intriguing design, as well as a complex system of activities and informational systems.

The four largest tubes are situated at the corners of the plates, which serve as the principle means of support and bracing. Five of the nine smaller tubes are straight and contain elevators, while the other four are more crooked and carry the ducts and wires.

Upon approaching the Sendai Mediatheque, the public is led into a continuation of the surrounding city into the double height hall of the main entrance through large panes of glass. This open square includes a cafe, retail shop, and community space that is capable of supporting film screenings and other events.

Another aspect unique to this building is the involvement of many designers, as the interior of each level incorporated another person. Kazuyo Sejima designed the ground floor, placing the administrative offices behind a translucent screen.

The Shimin Library found on the second and third levels include a browsing lounge complete with internet access and specially designed furniture by K.T. Architecture.

The gallery space of the fourth and fifth levels contain a flexible exhibition space with moveable walls, and also a more static space with fixed walls and a rest area with seating designed by Karim Rashid. Ross Lovegrove took charge of the sixth level, adding a 180 seat cinema and green and white furniture fitting to the audio-visual multimedia library.

The tree-like nature of the metal columns of the Mediatheque are continuous with the natural surroundings of the area, as the design is found on a street lined with trees.

The building changes along with the seasons, it’s openness reflective of the summer green and also the streets during winter.

Text provided by the architect.

The eaves of a Japanese house are usually placed at the edge of the building by about one meter, but in this project, the eaves are reversed and placed under the roof with a narrow interior space and depth. By reinterpreting the relationship between the interior and the eaves, the living space is intended to extend to the outside and to the surrounding environment, including the farmland. It is a house that shades the farmland and connects the environment and lifestyle.

Text provided by the architect.