Renewal-Zone：石上纯也新作 ︱ 纯粹厚重的洞穴感餐厅居所
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项目是为一位法式餐厅主打造的住宅兼餐厅建筑，这位业主是我的一位老朋友，“餐厅餐桌（Tables for a Restaurant）”项目也是应他的委托打造。
©︎ junya.ishigami+associates
©︎ junya.ishigami+associates
©︎ junya.ishigami+associates
他对建筑的需求是设计一座尽可能厚重的建筑：“我想要一座重量会随着时间变化增加的建筑，不要人为的平整，而是体现自然粗糙感。这样的空间对于正宗的美食来说必不可少。”
©︎ junya.ishigami+associates
©︎ junya.ishigami+associates
courtesy of maison owl
他还表达说：“这座建筑应该看起来似乎一直存在，并且在漫长的岁月中继续存在。”他的想法是打造一座全新的“老字号”餐厅，渴望一座既是住宅又是餐厅的建筑，能够传承给子孙后代。
Ⓒ YASHIRO PHOTO OFFICE
Ⓒ YASHIRO PHOTO OFFICE
Ⓒ YASHIRO PHOTO OFFICE
现在他邀请客人来餐厅，就像邀请朋友到家里，特别的宾客还会被邀请进入客厅甚至留宿在此。餐厅不营业的时候，家人在此共度时光，孩子在这里学习。
©︎ junya.ishigami+associates
©︎ junya.ishigami+associates
©︎ junya.ishigami+associates
设计将餐厅布局在北面，住宅位于南侧。三座庭院位于两者之间，可以选择其一在不同的空间中穿行往来。
Ⓒ YASHIRO PHOTO OFFICE
©︎ junya.ishigami+associates
©︎ junya.ishigami+associates
建造方面，我们构思了一个不断分享、接纳和参考现场发生的偏差和意外的流程，来打造一个将自然扭曲和不确定性内化的架构。具体来说，我们在地上挖坑浇筑混凝土形成建筑结构，并固定上玻璃来营造室内空间。
©︎ junya.ishigami+associates
©︎ junya.ishigami+associates
经过无数次修正的结构模型被转换为3D数据，之后3D坐标数据被输入到全站仪 (TS) 测量仪器中，并利用导航系统确定锤桩的位置。
courtesy of maison owl
courtesy of maison owl
courtesy of maison owl
为了确保精确度，建筑工人手动挖洞，同时在iPad上不断确认位置和形状，并尽可能兼容长草、土壤塌陷或手工误差。混凝土凝固后挖掘的结构上沾满了泥土。
courtesy of maison owl
土壤的性质和外观随着地质变化有所不同。我们原本计划冲刷掉泥土，让灰色的混凝土结构显露出来，然而它在土壤中的外形令我们印象深刻，因此决定保持原样。就在那时我们感受到了洞穴的氛围，决定以新的形象重新设计这座建筑。
©︎ junya.ishigami+associates
Photo Ikko Dobashi
我们在设计内部空间时，在3D图像中对设计图纸与实际挖掘结构的表面坐标之间的偏差进行了可视化，这一过程展示出了重叠差异，产生了一个意想不到的新空间。我们发现了这些地方并相应地更新了建筑的居住方式。因此建筑的设计流程被翻转，参考了挖掘结构来确定设计内容，其中包括玻璃片的数量和布局形式、家具的布置尺寸，以及MEP设施的位置和细节。例如，根据现场实际测量调整玻璃的固定位置，使用3D扫描数据测试保证玻璃在施工过程中不会碰撞到结构或因打开和关闭而破裂，并进行了铰链位置调整等工作。
为简化水管路线，给排水被设计为直线穿过三个院落，并安装水龙头、排水管、通风管道等，穿过玻璃窗进入房间。
©︎ junya.ishigami+associates
©︎ junya.ishigami+associates
©︎ junya.ishigami+associates
接纳不确定性并反复实验的过程中，混凝土体量逐步成为了建筑。业主将在这里生活和经营餐厅，并继续更新这个地方。
©︎ junya.ishigami+associates
©︎ junya.ishigami+associates
©︎ junya.ishigami+associates
项目首次刊载于GA Houses 182, A.D.A. EDITA Tokyo
©YASHIRO PHOTO OFFICE
©YASHIRO PHOTO OFFICE
©︎ junya.ishigami+associates
English text translator: Fraze Craze
The project is a residence/restaurant for a French restaurant owner. He is an old friend of mine, and he was the one who commissioned the Tables for a Restaurant. I was asked to design a building as “heavy” as possible. “I want an architecture whose heaviness would increase with time,” he said. “It cannot be artificially smooth but rather something with the roughness of nature. Authentic cuisines require such a place.” He also told me that “it has to look as if it has been there and will continue to be there for the longest time.” His idea was to create a brand-new long-established restaurant. He was longing for something that is both a house and a restaurant, something he could pass on to his children and grandchildren. Now, he invites guests to the restaurant as he would invite friends to his house, and with someone special, he would let them into the living room or even stay overnight. When the restaurant is closed, the hall serves as a place for the family to spend time or for the children to study. The plan is arranged with the restaurant on the north and the residence on the south. To go back and forth between the spaces, they can walk through any one of the three courtyards that separate them.
©︎ junya.ishigami+associates
In terms of construction, we conceived a process of constantly sharing, accepting, and referencing the un-precisions and accidents that occurred on the site to create an architecture that internalizes natural distortions and uncertainties. More specifically, we dug a hole in the ground to pour concrete, excavated the volume, and fixed glasses to create interior space.
©YASHIRO PHOTO OFFICE
©︎ junya.ishigami+associates
First, a mass model that went through countless modifications was converted into 3D data. The 3D coordinate data was then input into a total station (TS) survey instrument to determine the points utilizing a navigation system for pile driving. At the same time, construction workers dug the hole manually for precision while constantly confirming the position and shape on an iPad. Unexpected factors such as growing grass, soil collapsing, or errors due to manual labor were tolerated as much as possible. When the structure was excavated after concrete solidification, it was caked with mud. With the range in geology, the nature and appearance of the soil differed from place to place. We originally planned to wash away the dirt to reveal a gray concrete structure. However, we were impressed by how it looked with soil that we decided to leave it as it is. It was then that we sensed the atmosphere of a cave and decided to redesign the building with a new image.
©︎ junya.ishigami+associates
©︎ junya.ishigami+associates
In designing the interior space, we visualized in 3D images the differences between the design drawings and the actual surface coordinates of the excavated structure. This process revealed new spaces that we had not anticipated to emerge from the overlapping discrepancies. We discovered such places and updated the way to inhabit the architecture accordingly. Thus the architectural design process was flipped, to reference the structure to determine the designs including the placement and number of glass pieces, arrangement and size of the furniture, and positions and details of MEP facilities. For example, where to fix the glass was adjusted based on actual on-site measurements, and 3D scan data was used to verify that the glass would not break by hitting the structure during the construction nor by opening/closing, and to adjust the position of the hinges. To simplify the plumbing route, the water supply and drainage were planned to pass through the three courtyards in a straight line, and faucets, drainage pipes, ventilation ducts, etc. were installed to penetrate the glass windows into the rooms.
©︎ junya.ishigami+associates
Accepting uncertainties, the concrete mass will gradually be transformed into architecture through cut-and-try. The owner will start a life here, run a restaurant, and continue to renew this place.
©︎ junya.ishigami+associates
Project name: House & Restaurant
Site of the project: Ube, Yamaguchi, Japan
Building Type: House + Restaurant
Design team: junya.ishigami+associates
Person in charge: Junya Ishigami, Taeko Abe, Jaehyub Ko, Takuya Nakayama
Structural engineering
Jun Sato Structural Engineers
Person in charge: Jun Sato, Yoshihiro Fukushima
lighting/interior designer
junya.ishigami+associates
Person in charge : Junya Ishigami, Takuya Nakayama
lighting advisor
Izumi Okayasu Lighting Design
Person in charge : Izumi Okayasu
curtain
Yoko Ando Design
Person in charge : Yoko Ando
General contractor
Akita Kensetsu Co.,Ltd.
Person in charge : Masato Akita, Gaku Matsumoto, Takaki Fukuda, Takuya Nakayama, Akane Enda, Yuki Inoue
Contractors
MEP
Echo Mechanical Plumber
Person in charge : Koichi Tashiro
landscape
SOLSO
Person in charge : Yuta Itagaki
Takayama Zoen
Person in charge : Kazuya Kiryu
glass
Meiji Glass Company Limited
Person in charge : Kensuke Kashihara
fixture
Yanagiya
Person in charge : Yoshio Yanagiya
furniture
Gotanda Seisakusho Co., Ltd.
Person in charge : Shigeki Miyamoto, Ai Mizuta
RC furniture
I.D.Works
Person in charge : Hayato Takehashi
Site area: 914.69 m2
Building area: 270.72 m2
Total floor area: 195.41 m2
Design phase: 2013.7-2016.5
Construction phase: 2016.11-2022.3
Structural system: earth formwork reinforced concrete
Major materials: exposed concrete, tempered glass
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