![]() Saito" Plans: "Raymond House & Studio in Azabu," "A House (Tange House," "Raymond House & Studio in Azabu," On the Genealogies of the Japanese House after 1945 The Japanese House Architecture- and Life After 1945 includes:Ī History of the Individual House in Modern Japan Beginning with socioeconomic turbulence of the immediate post-war period, this book and the related exhibition trace the fragmenting values and radical transformations of the modern Japanese built environment-at the scale of the “home.” “I also love that the soapstone countertops will change and age with use.This special issue of Jutakutokushu, published as a supplementary resource to the 2017 Tokyo exhibition of the same name, presents a genealogy of detached residences for our readers to both contextualize and deconstruct. “Our bodies have an affinity to elements that are part of nature because we’re part of nature,” Aamodt reasons. The natural materials palette also contributes to the comfortable feel. It doesn’t hurt that the room opens to a deck that runs the full width of the house. “The mind records the movements of the body, tricking you into thinking you’ve covered more ground than you actually have experientially, the space feels bigger.”Īlthough the eat-in kitchen is not particularly large, the wall of windows - the entire back of the house is glass - visually extends it. “Having to turn left then right elongates the journey,” Aamodt says, explaining that she borrowed the strategy from Japanese architecture. To reach the kitchen requires maneuvering around the stairwell, past the slatted screen, and then turning again. The setup also plays a role in making the home feel larger. “It forces you to slow down, pause, and collect yourself,” Aamodt says. The foyer is a discrete space - a wall of cabinetry blocks the view into the rest of the home - that acts as a visual palate cleanser. The sculptural staircase sits to the left of the front door with a vertical stretch of windows behind it, contributing to the interior’s Zen-like feel. “It’s also a light well: Light spills down from above, drawing occupants up to the kitchen in the morning.” “The stair takes up a lot of space but creates a lot of delight,” Aamodt says. But this one, built by the same carpenter who created the home’s detailed oak interior, is central to the home’s overall design. Typically, in smaller houses, it’s tucked to the side so as not to eat up living space. Ploegh also embraced the architects’ suggestion for a statement staircase. “He recognized the value of using the best space for the waking hours.” “Hidde was flexible in his thinking about how to use the house,” Aamodt says. The entry level is devoted to cooking and dining, and the top floor, which gets glorious sunlight, is a living room with 20-foot-tall cathedral ceiling and floor-to-ceiling windows that follow the lines of the pitched roof. ![]() The two bedrooms and the office, which walks out to a patio thanks to the sloped property, are on the lower level where it’s dark, quiet, and conducive to sleeping. The interior is open and airy with an upside-down layout dictated by the site. “I wanted a structure that speaks a similar language as the neighboring houses,” Ploegh says. The cottage’s oversize windows, shimmering black brick, slatted wood details, and solar panel-studded metal roof mark the home as modern, but the overall shape and gable roof fit into the look of the neighborhood. A Roxbury home that uses Japanese design principles to live larger.
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