TATLIN NEWS #48

фасад | fasade

структуру из трех «панцирей», которые, подобно матрешке, вставле- ны один в другой. Самый внешний панцирь покрывает все помещения  полностью – это своего рода «внешние стены», между ним и вторым  слоем есть некое подобие вроде бы необязательного зимнего сада.  Второй панцирь выделяет уже внутри закрытого пространства жилое  помещение. Наконец, третья структура выступает в качестве внутрен- них перегородок.  Архитектор говорит, что у него всегда были сомнения относитель- но того, что дом, стоящий на красной линии, ограничивался от улицы  всего одной стеной, ведь при этом нет градации пространства и жи- тель попадает из плотной бурлящей городской среды сразу в приват- ное помещение. В этом есть определенная нелогичность. Проект Фуд- жимото предлагает плавное перемещение не столько в пространстве,  сколько во времени: придя домой, человек попадает сначала в при- родное окружение, сбрасывая с себя деловую маску, а уж потом вхо- дит в дом, в котором, к тому же, есть еще и ядро, где можно укрыться от  внешнего мира в полном смысле этого слова. При этом в доме сложно 

общий вид | general view

The architect says that he always had doubts about the houses on the frontage line having only one wall, as there is no graduality in the space and the inhabitant gets into the private area straight from the hectic life of the street. This is not entirely logical. Fujimoto’s project suggests smooth movement not so much in space as in time: When coming home, a per- son will first get into the natural environment, where they could take off the business mask, and only after that into the home, where there is a nucleus to hide from the outer world in the direct sense. However, it is pretty difficult to find a single clear border in the house: it can be said that inner space becomes outer space and vice versa, which attracts more at- tention to the beauty of the clearances be- tween the ‘street’ and the ‘home’ and to their richness and to think what those clearances are: breaks in the time-space continuum or a necessary condition that makes the architec- ture harmonious. The shells in turn make one think about their second, third, tenth or fifti- eth skin: The architect made three of them vis- ible but it is hard to say how many more of them are there and influence the city’s inhab- itants. In this project Fujimoto tries to prove that there is no fundamental difference be- tween the building and the city. There are only linguistic differences in the attitude to the ob- ject or perception differences of one object in a different context. The building of this house can be compared with a drop in the sea – it made circles, but they are all equal and com- ply with the same laws, the human laws. object House N | location Oita, Japan | de- velopment 2006–2007 | construction fin- ished 2008 | architects Sou Fujimoto Archi- tects | site area 236.57m 2 | building area 150.57m 2

114    ТАТLIN news 6|48|65  2008