Taku Sakaushi

Diary

宇野友明のディテール

JIAマガジン3月15日号の編集後記を送りそろそろ校了である。

今月の「建築が生まれる時」は宇野友明さんの近作「高嶺の家」の玄関ドアのディテールスケッチである。現場が進み石のクオリア(質量感)にサッシが負けると思い、すべてのサッシのディテールを変えてそしてこれでなんとかいけると思えたという。扱っているのはディテールだから「ディテールが生まれる時」なのだが、このディテールに至らなければこの建築は無かったという意味でやはり「建築が生まれる時」なのである。宇野さんは設計も施工もする稀有な建築家である。クライアントの機能的要求と、コスト的要求を完全に満足させる代わりに空間はすべて任せてもらうというスタンスで建築を作っている。そしてメンテナンスもすべて請け負うからそれを前提に材料もディテールも決めていく。外壁の木に塗装はしない、コンクリート屋根に防水をしない、壁に撥水剤も塗らないというのは、メンテナンスしやすくするためである。ミニマムなプランニングと外観は建築の「もの」としての永遠性を希求しているのだろう、伊勢神宮やギリシア神殿と同じ土俵で建築を作るという彼の強い意志があらわれている。

This month’s “When Architecture is Born” is a sketch of a detail of the front door of Tomoaki Uno’s recent work “House in Takamine.” As the construction progressed, he thought that the sashes would be overwhelmed by the qualia (mass) of the stone, so he changed the details of all the sashes and believed that this would work. It is a time when details are born because it is details that we are dealing with, but it is also a time when architecture is born because this architecture would not have been possible without this detail. Mr. Uno is a rare architect who designs and builds, and he does so from the stance of fully satisfying their functional and cost requirements leaving the space to him in return leaving the space to him. He also takes care of all the maintenance and decides on the materials and details on this basis. He doesn’t paint the wood on the exterior walls; he doesn’t waterproof the concrete roofs, he doesn’t apply water repellents to the walls to make them easier to maintain. The building’s minimalist planning and appearance express his desire for the eternity of architecture as a “thing” and his strong will to create architecture on the same footing as the Ise Shrine and Greek temples.

 

On April 5, 2021
by 卓 坂牛
in 未分類

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