spatial composition of tatami room designed by seiiti sirai

呉羽の舎や親和銀行本店等の例で知られている,白井晟一による和室の空間構成について,天井の形状に着目して考察を行った。取り上げた76例の内,天井独自に形状が決定された例は特徴的なものであり,32例が該当した。これについて,天井高が低くなった部分および下り壁によって他の領域と区分された箇所がどのような建築的要素と関連しているかという観点から9種の類型が得られ,さらに時系列に見て行くと,各類型の特徴が徐々に統合されていくように事例が展開する傾向が読み取れた。

羽藤広輔:白井晟一建築作品の和室における空間構成について ―天井の形状に着目して―,デザイン理論,第66号,意匠学会,pp.45-58,2015.8

https://ir.library.osaka-u.ac.jp/repo/ouka/all/56417/jjsd66_045.pdf

 

This paper addresses the spatial composition of Tatami rooms designed by Seiiti Sirai(1905-1983), focusing on the ceiling forms. Sirai has been regarded as one of representative architects in Japanese-style and the unique example of them.
Almost all pre-existing types of room-sections appeared during his early period, but the combinations of section-types tended to become more complicated year by year.
Additionally, in many examples the ceiling plan and the floor plan had different spatial systems, and they could be classified mainly in terms of the function of the ‘divided space’, which was formed by different ceiling levels in the room. And we could recognize a tendency that the features of each type were integrated gradually into one prototype. Specifically, ‘Divided space’ was set around Tokonoma and entrance of the room, high ceiling was connected to the main opening, and in some cases, the order of the next room came into the room. These features were seen in especially Saku-Setsu-Ken (1968) and Un-Pan-Kyo (1984), and we could regard them as the most developed composition in the Tatami rooms designed by Sirai.

Spatial Composition of Tatami Room Designed by Seiiti Sirai ーFocusing on the Ceiling Forms

HATO, Kosuke