Soho Palazzo

The Palazzo in Ebisu is located in a vivid area of the city, with a walking distance from Shibuya and a numerous schools and shopping streets nearby. The conceptual idea and aim for this building is to be the heart of this area where people of different ages, ideas and profession can meet and integrate with each other and the city.
Walking from Shibuya you meet the northern short end facade of glass and bricks from where you can choose to go along the green river side or the urban street side. From Meiji Dori Street you can enter the building through two main entrances that leads through the whole building and connects the riverside with the street. This circulation through the building is also the place where people and function meets and integrate.
The main function of this building is the SOHO, small office/home office, which provide a living and working space for self employed or small companies. The idea to put many small but luxurious SOHO’s is not only to finance the building but to create a platform for young entrepreneurs to develop relationships and share ideas that could benefit the city.

Sleeping With Art

THE NIGHT SPENT WITH ART
The project is a proposal for an art complex containing an exhibition hall, a visiting artist residence, a café, a sculpture park and three art accomodation units. The site is a parking lot located in a busy area of Jiyugaoka, fac- ing one of the main shopping streets. The part facing the main road is occupied by an old tra- ditional wooden japanese house accompanied by big old trees which are `hiding` the inner part of the site where accomodations are lo- cated and create a quiet lagoon in the middle of this busy district.
The main concept of the proposal is to high- light the cultural history of Jiyugaoka and al- low visitors to experience art from a different perspective, that is to say the opportunity to spend the night together with art.
The artist residence connected to the exhibi- tion hall provides a special experience where the artist can be seen working at the time of ongoing exhibition.
During the day, the accomodations are open to the public as part of the sculpture park. During the night the units, designed to have their own private `gardens` transforms from
exhibition units to accomodating ones.
This transformation was one of the main focus points during the design process of the pro- posal.
The location of the site, disposition of the units on site in a sequence gradually opening up and the fact of unexpected usage of these units re- flects the head theme of unpredictability.

D’Agostino House

This is a house with two entrances and a shortcut, situated between an iconic townhouse and a parking lot. Related solely to its neighbor and to Venturi’s large, unrealized D’Agostino House, we opened for a linear tripartite sequence – front garden, living space, and utilities – in which one moves from automotive urbanity to the innermost sanctuary of the human dwelling.
The garden hides behind a façade that nods to its neighbor and whose mere existence is a Venturian feature. You park the car and advance diagonally to the subtle front entrance.
The living space is a large cubic space. Its direction changes abruptly and dramatically breaks up the linearity of the scheme. One glides upward via a broad stair, into the light that flows down from the large windows above.
From here, one moves either up to a second floor bed room or down to the kitchen, from which you may also jpg B escape via a backdoor.

Stove

As a once archetypal household element, the stove has gradually become invisible in contemporary housing, with open-flame cooking disappearing into glasstop IH stoves and heating being concealed in the floors. Simultaneously the energy supply system has grown into an extensive and cohesive global network, at once distant and thus invisible to its end users yet heavily transforming the hinterland. Until the end of the nineteenth century the network was tangible and concrete: firewood was acquired from the forest, purchased by each household and used for the stove, and afterward the ash produced was re-collected by ash-traders for other uses such as sake brewing. From around 1960 Japan increasingly imported liquefied natural gas via tanker ships as an alternative energy supply, requiring a complicated gas-supply infrastructure, along with urban renewal, including shipyards, pipelines, gasometers, etc. Today the power system is a hybrid one, fed from multiple resources, including atomic power and renewable energy, making the network evermore extensive and abstruse.