Theatre House

Year: 2014 | Type: Master I Design Studio | Location: Tokyo, Japan

The Shinohara Project consisted of two stages—the first, a group analysis of Shinohara’s Four Styles of houses; the second, the individual design of a single-family house for an artist, inspired by one of the styles. The style we studied was his Fourth Style, exemplified by his House in Yokohama.


Analysis: Shinohara’s Fourth Style and the House in Yokohama | Team: KAWAMURA Haruka and Jakob SELLAOUI

As the Fourth was Shinohara’s final “style” of residential architecture, we began by doing an examination of the basic elements of his previous three styles. By tracing the history of his use of certain elements, we hoped to gain an understanding of his total development, which culminated with this Fourth Style. We looked at his volumetric spatial arrangements, the shapes of elements such as roofs and openings, the shape and material of columns and other structural and construction elements.

The Fourth Style is of course an entirely unique style (a requirement for designating it as a style), with characteristics specific to itself, but we noticed certain themes with origins as far back as his first style. Both the First and the Fourth Styles play with the idea of multiple volumetric spaces, though in the First, this is brought about through the idea of “box-within-a-box”; in the Fourth, this play with volumes is more accurately described as a seemingly random collision of volumes. We also noticed an affinity for reinforced concrete construction, which began as early as the Second Style, though now in the Fourth Style this was accompanied by steel framing.

Like the other Styles, the Fourth Style also has underlying urban themes. In this case, Shinohara was responding to the chaotic social situation of Japan around the 1980s. Formally, this was brought about through the chaotic arrangement of machine-like elements, supposedly surpassing the streamlined Machine Age vocabulary of Modernism and instead representing fighter jets or moon-landing machines. His first Fourth Style house was the House in Yokohama, which, built in a western wooded part of Yokohama, was designed as a home-and-atelier for himself.  The design begins to explore the combination of site-specific issues and conceptual ones. While paying attention to existing conditions such as the surrounding forest and the neighboring older structure, he began to introduce concepts such as “controlled randomness” and “visual cacophony” of shapes and functions.




Design: Theatre House / A House for Performance Artists

The Theatre House is a house for two performance artists and their children. Two volumes intersect to create a performance space that challenges the boundaries between private and public space. The artists invite others into the house to observe and participate in unusual performances and activities.

The Performance Artist. Their work is ephemeral and not object-oriented. It’s directed toward people and the interactions between those around us. Their projects challenge people to break the boundaries of personal space. Observers become a part of the performance.

The House. Inspired by the stereotypical house shape, I began to volumetrically explore the creation of space in the manner of the House in Yokohama; i.e., the seemingly random collision of smaller functions (volumes) into an overall, larger function (volume). Gradually, I became attracted to the concepts inherent in Shinohara’s Centennial Hall at the Tokyo Institute of Technology built in 1987. This building, though at a much larger scale, can also be classified under Shinohara’s Fourth Style. It explores the relationships and spaces created by the collision of two main volumes. By using this concept of two intersecting volumes, I could explore the relationships created and the boundaries (potentially) broken when public and private meet.

二人のパーフォーマンスアーティストと彼らの子供たちの家。2つのボリュームが交差し、プライベートとパブリックの境界を挑戦するパーフォーマンススペースを作 る。その二人のアーティストは、みんなで非日常的なパ ーフォーマンスや活動な どに参加するために、家の中に他人を招待する。




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