J / E

Information
Masahiro Harada + MAO

原田 真宏

Masahiro Harada

Career:

1973
Born in Yaidu, Shizuoka Prefecture, Japan
1997
Graduate from Shibaura Institute of Technology (Tokyo, Japan): Master of Architecture
1997-2000
Worked in an architectural office of Kengo Kuma (Tokyo, Japan): Chief Architect
2001-2002
Worked in an architectural office of Jose Antonio Martinez Lapena and Elias Torres (Barcelona, Spain): Chief Architect as National Fellowship for Artist(Japanese Government Scholarship)
2003
Worked in an architectural office of Arata Isozaki (Tokyo, Japan): Project Manager
2004
Established an Architectural office, MOUNT FUJI ARCHITECTS STUDIO (Tokyo, Japan)
2005-2006
University of Keio (Tokyo, Japan),COE(Center of Excellence): Lecturer
2007
Shibaura Institute of Technology (Tokyo, Japan): Lecturer
2007
University of Keio (Tokyo, Japan): Lecturer
2008-2016
Shibaura Institute of Technology (Tokyo, Japan): Associate Professor
2014-2015
University of Tokyo (Tokyo, Japan): Lecturer
2015
Tohoku University (Sendai,Japan): Lecturer
2016-
Shibaura Institute of Technology (Tokyo, Japan): Professor

原田 麻魚

Mao Harada

Career:

1976
Born in Sagamihara,Kanagawa Prefecture,Japan
1999
Graduate from Shibaura Institute of Technology (Tokyo, Japan): Bachelor of Architecture
2000-2003
Worked in an Editorial office of Workshop for Architecture and Urbanism (Tokyo, Japan)
2004
Established an Architectural office, MOUNT FUJI ARCHITECTS STUDIO (Tokyo, Japan)
2013-2014
Tohoku University (Sendai,Japan): Lecturer

Information
Awards

2018
2018 Architectural Institute of Japan Annual Architectural Design Commendation:「House toward Tateyama」
2018
2017 JIA Awards: Grand Prix「Roadside Station Mashiko」
2018
25th Award for Townscape Archutecture in Aichi prefecture: Award for Townscape Archutecture in Aichi prefecture「tonarino」
2017
33th Urban Park Contest: the Director-General of the City Bureau of MLIT Award「tonarino」
2017
GOOD DESIGN AWARD 2017: GOOD DESIGN AWARD「Chiryu Afterschool」
2017
29th Maronie Architecture Award in Tochigi Prefecture: The first prize「Roadside Station Mashiko」
2017
International Biennial Barbara Cappochin Prize: Best 40 of the 8「Roadside Station Mashiko」
2017
2017 JIA Tokai Architectural Prize For Housing Projects 2017:1st Prize 「KASA」
2017
2017 Architectural Institute of Japan Annual Architectural Design Commendation:「Shore House」
2016
56th Toyama design Exhibition:「UCHI-MIZU」
2016
LOCUS DESIGN FORUM[書・築] AWARD:2nd prize
2016
TOYAMA PRODUCTS 2016:「UCHI-MIZU」
2016
GOOD DESIGN AWARD 2016:「UCHI-MIZU」
2016
Open Proposal for Meijo Park in Nagoya(Japan):1st Prize
2016
arcVision Prize 2016(Italy):Nominee**
2015 
25th Japan Association of Artists Craftsman & Architects Award 14th Yoshinobu Ashiwara Award(Japan):「Seto」 
2015 
T-1 Grand Prix 2014(Japan):Grand Prix「Salon in Kazo」 
2015 
Taga Town Central Public Hall Competition(Japan):Final 5 
2015 
The Japan Institute of Architects 100 Selected Works(Japan):「Log H」 
2015 
Selected Architectural Designs of the Architectural Institute of Japan 2016(Japan):「Salon in Kazo」 
2015 
Selected Architectural Designs of the Architectural Institute of Japan 2016(Japan):「Log H」 
2015 
German Design Award 2016(Germany):Winner「Seto」 
2015 
AR HOUSE 2015(UK):Finalist「Log H」 
2015 
Selected Architectural Designs of the Architectural Institute of Japan 2015(Japan):「Seto」 
2015 
JIA Young Architects Award 2014(Japan):「Shore house」 
2014 
LEAF Awards 2014 -Residential Building of the Year-Multiple Occupancy-(UK):Winner「Seto」 
2014 
Iconic Award 2014(Germany):Winner「Seto」 
2014 
Nichijiren Architectural Award(Japan):Award of Excellence「Seto」 
2014 
The 6th Chugoku Architecture Award 2014(Japan):Award of Excellence「Seto」 
2014 
The Japan Institute of Architects 100 Selected Works(Japan):「Shore house」 
2014 
Open Proposal for Mount Fuji World Heritage Center(Japan):2nd Prize 
2013 
Selected Architectural Designs of the Architectural Institute of Japan 2014(Japan):「Geo Metria」 
2013 
Selected Architectural Designs of the Architectural Institute of Japan 2014(Japan):「VALLEY」 
2013 
Open Proposal for Roadside Station in Mashiko(Japan):1st Prize 
2012 
The Japan Institute of Architects 100 Selected Works(Japan):「Tree House」 
2012 
The 44th Chubu Architecture Award 2012(Japan):「VALLEY」 
2012 
Iakov Chernikhov International Prize(Russia)Best 10 Architects under 44 Years Old in the World 
2011 
ar+d Awards for Emerging Architecture 2011(UK):Commended「Sagacho Archives」 
2011 
AR House 2011(UK):Commended「near house」 
2010 
MODERN DECORATION INTERNATIONAL MEDIA PRIZE 2010(China):Annual Residential Space Award「Tree house」 
2010 
The 42th Chubu Architecture Award 2010(Japan):「PLUS」 
2010 
LEAF AWARDS 2010 -Residential Building of the Year-Single Occupancy(UK):1st Prize「PLUS」 
2010 
RECORD HOUSES 2010 Architectural Records(USA):「Tree house」 
2009 
Design Vanguard 2009 Architectural Records(USA):TOP 10 ArchitectS in the World 
2009 
AR Awards for Emerging Architecture 2009(UK):Commendation「PLUS」 
2008 
Logical Sense of Design and Structure Award(Japan):「M3/KG」 
2008 
AR Awards for Emerging Architecture 2008(UK):Honorable Mentions「Rainy/Sunny」 
2007 
The Barbara Cappochin Prize for Architecture(Italy):Best International Works「XXXX」 
2006 
Competition of the 100th Anniversary Hall at Yamagata University(Japan, support:JIA):Final 22 
2006 
Kokueikan Project(Japan, support:Shinkenchiku-sha):Final 25 
2006 
Wood Architecture Design Competition(Japan):Merit Award「Secondary Landscape」 
2004 
American Wood Design Award 2004(Japan):Honor Award「XXXX」 
2003 
SD Review 2003(Japan):Grand Prix(Kajima Award)「XXXX」 
2002 
Architecture for Humanity World Competition 2002(USA):Selected Work 
2001 
Tokyo Designer's Block 2001(Japan) 
2001 
National Fellowship for Artist Japanese Government(Japan)* 
2000 
Tokyo Designer's Block 2000(Japan) 
2000 
SD Review 2000(Japan):Merit Award 
2000 
Director General of Forestry Agency Award(Japan)「Museum of Hiroshige Ando」* 
2000 
Advan Stone Design Competition(Japan):Merit Award*  
1998 
Museum of Hiroshige Ando Competition(Japan):1st Prize* 
1997 
Master's Thesis Arimoto Shiro Memorial Award(Japan):1st Prize* 
1997 
The Second Living Design Competition(Japan):2nd Prize* 
1995 
Kansai-kan of the National Diet Library Competition(Japan):Honorable Mention* 
1995 
Competition of Architectural Institute of Japan -Temporary Housing-(Japan):Merit Award* 

*Masahiro Harada single
**Mao Harada single

Information
Lecture/Workshop

2018
AACA / Symposium** 
2018
JIA Tohoku / Lecture** 
2018
Shinshu University / Lecture* 
2018
JIA KINKI AWARD / Jury** 
2018
Council of Forest Industries Canada(COFI) Design Awaerd / Lecture* 
2018
Daito Trust Construction / Lecture* 
2018
Tokyo Kenchiku Collection / Jury* 
2018
Ibaraki Association of Architectural Firms / Lecture* 
2018
Tokyo Society of Architects & Building Engineers / Lecture** 
2018
Daito Trust Construction / Lecture** 
2018
The Center of the tree farm activity in Sizuoka / Lecture* 
2017
『CONFORT』/ Lecture 
2017
11th Mitsui Jyukukan design competition / Jury* 
2017
Toshimagaoka Girls High School / Lecture* 
2017
Tokyo University of Science / Lecture* 
2017
Toyama Prefecture Architectural Culture Lecture / Lecture* 
2017
『Jyutaku Kenchiku』 / Lecture* 
2017
Design Competition for Innovative Wood Joint Systeme, Indonesia / Lecture* 
2017
Green Initiative Week in Indonesia – Joint Program on Green City and Architecture with South East Asian Countries, Indonesia / Lecture Workshop*
2017
10th Mitsui Jyukukan design competition / Jury*  
2017
4th POLUS Architectural Design Competition / Jury* 
2017
Woodrise Bordeaux 2017, France / Video Lecture 
2017
Tokyo Gemboku Cooperative Association, Architects Training Course / Lecture** 
2017
Kogakuin University / Guest Jury* 
2017
Toyo City University / Guest Jury* 
2017
China Architectural Energy Conservation Centre, China / Lecture* 
2017
Kyoto University of Art and Design / Guest Jury* 
2017
KEYTEC "Futures of Wooden Construction" / Symposium 
2017
Kenchiku-Soko “Lecture 7:Secret Models” / Lecture 
2017
Nagoya City University / Lecture* 
2017
Toyo University / Guest Jury* 
2016
Kenchiku-Soko “Round Table on Wood and Architecture among French and Japanese Architects“ / Lecture** 
2016
JIA Kagoshima Chapter / Lecture Workshop* 
2016
Workshop for Young Architects in Japan, Korea and China ,Korea* 
2016
EAST-ASIAN ARCHITECTURE & URBAN DESIGN WORKSHOP, Korea* 
2016
3rd L'attrait Competion for Student / Chief Jury* 
2016
Kanazawa Institute of Technology / Guest Jury* 
2016
Aqura home / Lecture* 
2016
T-1 Grand Prix / Lecture 
2016
Diploma Contest in JIA / Jury* 
2016
JIA Hokuriku Chapter / Guest Jury*, Lecture 
2016
DISCONTINUOUS UNITY Architecture of YOSHIZAKA Takamasa + Atelier U / Talkshow** 
2016
Daikanyama TSUTAYA, Tokyo / Talkshow** 
2016
Aichi Society of Architects & Building Engineers / Lecture* 
2016
tonica Kita-Kyushu Architecture Contest 2016 / Guest Jury* 
2016
Tokai University / Guest Jury* 
2015 
JIA Kita-Fukuoka JAPAN-KOREA Architectural Student Workshop / Lecture 
2015
5th Renovation Idea Competition / Jury** 
2015
Kogakuin University Vertical Review / Guest Jury** 
2015
OPENHOUSE・DEVELOPMENT CCOMPETITION / Jury* 
2015 
TAKEO PAPER, The Shape of Paper / Talkshow* 
2015 
International Policy Forum on Urban Growth and Conservation Tehran-Hamadan Conference 2015, Iran / Lecture* 
2015 
TOTO Design Seminar 2015 / Lecture* 
2015 
2nd L'attrait Competion for Student / Chief Jury* 
2015 
Minami-Sanrikucho Bridge for Rehabilitation Design Competition / Jury* 
2015 
Architects Garden 2015 Architectural Festival / Lecture 
2015 
MADE IN JAPAN | The Japanese Architecture of Tomorrow, Thailand / Lecture* 
2015 
Graduation Design Contest in Niigata 2015 / Guest Critique* 
2015 
JIA Miyagi Chapter / Lecture* 
2015 
JIA Young Architect Award / Award lecture 
2015 
JIA Miyagi Chapter / Lecture** 
2015 
JIA Kinki Chapter / Lecture** 
2015 
Tohoku Institute of Technology / Guest Critique* 
2015 
Kenchiku x Gasshuku / Jury 
2015 
Sankyo Alumi Design Forum / Talkshow 
2014 
Tohoku University Architectural Design CⅡ / Lecture** 
2014 
Innovation in Architecture and Design - International convention organized by Bait and Noy, Israel / Lecture* 
2014 
TOKYO DESIGNERS WEEK 2014 Architectural Model & Project Proposal / Talk Session(with Minetaro Mochizuki) 
2014 
5th Architectural Design Competition for high school students」 / Jury 
2014 
FLAT Competion / Jury* 
2014 
1st L'attrait Competion for Student / Chief Jury* 
2014 
AandA VECTORWORKS Educational Symposium 2014 / Lecture* 
2014 
The University of Tokyo / Lecture* 
2014 
JIA Architects' Club on Friday / Lecture* 
2014 
Architectural Session between Denmark & Japan "Access to Urban city through Architecture" / Panelist* 
2014 
Sri Lanra Institute of Architects National Conference on Architecture, Sri Lanka / Invited Panelist* 
2013 
16th DOMANI-ten Pre-Event / Panelist* 
2013 
the School of Steel and Wood at Kichijoji Grand Kiosk / Workshop* 
2013 
Lecture at 35th Summer Seminar, Kochi Society of Architects* 
2013 
Tokyo Skip Garden Project / Panelist* 
2013 
Tohoku University Architectural Design CⅡ / Lecture** 
2013 
THREE AOYAMA「OPEN THREE」/ Workshop 
2013 
EAST-EAST4 WORKSHOP / Workshop, Kaunas, Lithuania* 
2013 
1st "Mira-No-Fukei" Design Competition for Student / Jury* 
2013 
STEP UP SEMINAR ARCHITECTURE PROGRAM, Chuo College of Technology / Lecture* 
2013 
AGC studio design forum no.33, AGC Studio / Lecture* 
2013 
Living Design Center OZONE / Lecture* 
2013 
Kobe Design University / Lecture* 
2013 
New force of architecture:Leading Young Architects Lecture Series, Shanghai, China / Lecture* 
2013 
G-Tokyo 2013 / Talk Session「Can architects make good art spaces?」(with Toshiko Ferrier, Moderator:Yoshikuni Shirai) 
2013 
Diploma in Hiroshima 2013 / Jury* 
2013 
24th Diploma Contest in JIA Kanagawa / Jury 
2012 
Mn'M Symposium, Keio University / Lecture* 
2012 
Kinki University / Lecture* 
2012 
ICS College of Arts / Lecture* 
2012 
Bucharest, Romania / Lecture* 
2012 
RESET 11.03.11 #New Paradigms, Barcelona, Spain / Lecture* 
2012 
Keio University / Lecture* 
2011 
K-MIX CARAMEL POCKET, 13SEP 10:10-20, K・MIX 78.4MHz / Interview* 
2011 
Chair City Exhibition, Marunouchi OAZO / Lecture 
2011 
UIA 2011 TOKYO Congress Design Works, Tokyo International Forum / Presentation* 
2011 
young architects plaza #2, orie gallery / Lecture* 
2011 
Nagoya Chamber of Commerce & Industry Endowed chair / Lecture** 
2011 
Meiji University / Guest Critique** 
2011 
Boom SP Design 2011 Sao Paulo, Brasil / Lecture* 
2011 
Associacio Japonesa d'Amistat amb Catalunya / Lecture* 
2011 
Tokyo University of the Arts / Guest Critique* 
2011 
Kyoto Institute of Technology / Guest Critique* 
2010 
Meiji University / Guest Critique** 
2010 
The Design Center of Toyama / Talk* 
2010 
Dialogue and Studies in XXXX / Talk* 
2010 
ROUND TABLE / Lecture 
2009 
PAPER'S no.32, TAKEO Co.,Ltd. MIHONCHO HONTEN / Talk, http://www.web-papers.net/taidan.html* 
2009 
Exhibition of Japanese Contemporary Architecture 「(IN)VISIBLE PROCESS - Lisbon 2009」, Portugal* 
2009 
KANAME EXHIBITION「Gold Titanium」* 
2009 
LIVE ROUND ABOUT 2009 / Lecture* 
2008 
Architectural Institute of Japan, Tokai / Lecture* 
2008 
Dipcolle 2008 / Guest Critique* 
2008 
AIJ Congress 2008 Architectual Design Presentation「M3・KG」* 
2007 
OZONE Symposium, SCANNED ARCHITECTURE IN TOKYO~Lisbon Architecture Triennale 2007 / Panelist* 
2007 
Pecha-kucha night45 / Lecture
2007 
SD Review 2007 / Talk 
2007 
DETAILjapan / Talk「Ornament and Contemporary Architecture」* 
2007 
TNprove Symposium, SCANNED ARCHITECTURE IN TOKYO~Lisbon Architecture Triennale 2007 ”Architectural Tokyo in Photography” / Panelist* 
2007 
Chiba Institute of Technology / Guest Critique 
2007 
Musashi Institute of Technology / Guest Critique 
2007 
Workshop for the Student Major in Architecture / Guest Jury 
2007 
Osaka Institute of Technology / Guest Jury* 
2007 
University of Keio / Lecturer「Recent Works」* 
2007 
Chiba Institute of Technology / Guest Critique 
2006 
Nishigahara Elementary School, Tokyo / Workshop** 
2006 
Architecture Biennial Bucharest 2006, Rumania / Lecture 
2006 
Tokyo Metropolitan University / Guest Critique 
2006 
Kogakuin University / Guest Critique* 
2006 
Pecha-kucha night32 / Lecture 
2006 
Tokyo Metropolitan University / Guest Critique* 
2005 
Shibaura Institute of Technology / Workshop 
2004 
Pecha-kucha night13 / Lecture 
2002 
Emotional Site Exhibition / Workshop 
2002 
Aomori Contemporary Art Center Artist-in-Residence Program 2002 / Workshop 
2002 
Edo-Tokyo Open Air Architectual Museum / Workshop** 
2001 
Meguro Museum of Art, Tokyo / Workshop** 
2001 
British Council / Workshop** 
2001 
School For The Blind, Miyagi / Workshop** 
2001 
Edo-Tokyo Open Air Architectual Museum / Workshop** 
2000 
Technical School / Visiting Professor* 
2000 
Collaboration Work with Kiyoshi Yasui(craftsman of tea-ceremony house)* 
1999 
Technical School / Visiting Professor* 
1999 
Kids Play Campus EXPO2005 pre-event / Workshop* 

*Masahiro Harada single
**Mao Harada single

Information
Article

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Information
Publication

  1. 『Jyutaku Kenchiku』2018.6.1/Kenchiku Shiryo Kenkyusha(Japan)
    Lecture
  2. 『JIA MAGAZINE』2018.4.15/JIA(Japan)
    「Roadside Station Mashiko」
  3. 『Steel Technology』2018.2.28/Japan Steel Structure Journal(Japan)
    「Log H」「Chiryu Afterschool」
  4. 『Kenchiku Gahou』2018.3.22/Kenchiku Gahou-sha(Japan)
    「SHIFT」「Salon in Kazo」
  5. 『Moka Shinbun』2018.3.3/Moka Shinbun-sha(Japan)
    「Roadside Station Mashiko」
  6. 『Nikkei Architecture』2018.3.22/Nikkei BP Publishing(Japan)
    「CLT House」
  7. 『http://www.svenskttra.se/tidningen-tra/2018-1/hangtak-formade-fritids/』2018.3.12
    「Chiryu Afterschool」
  8. 『Nikkan Kensetsu Tsushin Shinbun』2018.3.9/Nikkan Kensetsu Tsushin Shinbun-sha(Japan)
    「Roadside Station Mashiko」
  9. 『Nikkan Kensetsu Kogyo Shinbun』2018.3.6/Nikkan Kensetsu Kogyo Shinbun-sha(Japan)
    「Roadside Station Mashiko」
  10. 『AIJ Selected Architectural Designs 2018」2018.3 / AIJ(Japan)
    「House toward Tateyama」
  11. 『AIJ Selected Architectural Designs 2018」2018.3 / AIJ(Japan)
    「KASA」
  12. 『Shimotsuke shinbun』2018.2.27/Shimotsuke shinbun-sha(Japan)
    「Roadside Station Mashiko」
  13. 『LANDSCAPE DESIGN No.119』2018.2.23/Marumo Publishing Co., Ltd
    「tonarino」
  14. 『GA JAPAN 151』2018.2.26/A.D.A.EDITA Tokyo 
    「Log H」
  15. 『Nikkan Kenchiku Tsushin shinbun』2018.2.27/Nikkan Kenchiku Tsushin shinbun-Sha(Japan)
    「Roadside Station Mashiko」
  16. 『5th JIA TOKAI ARCHITECTURAL PRIZE FOR HOUSING PROJECTS 2017 Catalog』2018.2/JIA TOKAI
    「KASA」
  17. 『Architecture and Culture』2018.2/A&C Publishing (Korea)
    「Chiryu Afterschool」
  18. 『SHINKENCHIKU』2018.2 / Shinkenchiku-sha(Japan)
    Competition Review
  19. 『Nikkei Architecture』2018.1.25 / Nikkei BP Publishing(Japan)
    「Sengyo-ji Project」
  20. 『http://www.biz-lixil.com/column/architecture_urban/future/space_vol05/』2018.1
    「House toward Tateyama」
  21. 『http://www.archello.com/en/project/rainysunny』2018.1.19
    「Rainy/Sunny」
  22. 『http://www.archello.com/en/project/house-toward-tateyama』2018.1.18
    「House toward Tateyama」
  23. 『BRUTUS no.862』2018.1/ Magazine House(Japan)
  24. 『Hyakusyo Hyakusatsu』2017.11 / Kajima Shuppankai(Japan)
    Review
  25. 『http://www.biz-lixil.com/column/architecture_urban/future/vol28/index.html』2017年11月
    「Roadside Station Mashiko」
  26. 『roval pamphlet』2017.11/roval(Japan)
    「Chiryu Afterschool」「House toward Tateyama」「PLUS」
  27. 『https://www.roval.co.jp/architect/』2017.11
    「Interview」
  28. 『traumhaus』2017.11/BL Verlag AG(Switzerland)
    「House toward Tateyama」
  29. 『TAKUMI vol.11』2017.9/TAKUMI Editorial Department(Japan)
    「relay essay #11」
  30. 『https://architizer.com/projects/house-toward-tateyama/』2017.9.13
    「House toward Tateyama」
  31. 『https://architizer.com/projects/chiryu-afterschool/』2017.9.13
    「Chiryu Afterschool」
  32. 『& Premium』2017.9.20 / Magazine House(Japan)
    「Interview」
  33. 『ja #107』2017.9 / Shinkenchiku-sha(Japan)
    「Seto」
  34. 『FRAME #118』2017.9 / FRAME(Netherlands)
    「TRUNK HOTEL」
  35. 『Journal of Architecture and Building Science』2017.8 / AIJ(Japan)
    「Shore House」
  36. 『CasaBRUTUS Extra Edition』2017.8 / Magazine House(Japan)
    「Shore House」「KASA」「House in Araiyakushi」
  37. 『SHINKENCHIKU』2017.7 / Shinkenchiku-sha(Japan)
    「tonarino」
  38. 『Brutus no.850』2017.7 / Magazine House(Japan)
    「Roadside Station Mashiko」
  39. 『http://www.gooood.hk/salon-in-kazo-by-mount-fuji-architects-studio.htm』2017.6.28
    「Salon in Kazo」
  40. 『http://www.gooood.hk/kasa-by-mount-fuji-architects-studio.htm』2017.6.28
    「KASA」
  41. 『Jyutaku Kenchiku』2017.8/Kenchiku Shiryo Kenkyusha(Japan)
    「House toward Tateyama」
  42. 『Tradição e Contemporaneidade no Japão - 10 Arquiteturas Emergentes』2017.7/Edições CIAMH(Portugal)
    「Tree House」
  43. 『Wooden Architecture in the World』2017.6.26 / Nikkei BP Publishing(Japan)
    「Roadside Station Mashiko」
  44. 『https://divisare.com/projects/345900-mount-fuji-architects-studio-ryota-atarashi-house-toward-tateyama』2017.6.5
    「House toward Tateyama」
  45. 『https://divisare.com/projects/346435-mount-fuji-architects-studio-mitsumasa-fujitsuka-kasa』2017.6.13
    「KASA」
  46. 『DETAIL』2017.6 / Shokokusha(Japan)
    「CLT House」
  47. 『MONOCLE #104』2017.5 / Monocle(UK)
    「Trunk (Hotel)」
  48. 『JT #374』2017.6 / Shinkenchiku-sha(Japan)
    「CLT House」
  49. 『CONFORT』2017.6 / Kenchiku Siryo Kenkyujo(Japan)
    「Chiryu Afterschool」
  50. 『Kensetsu Tsushin Shinbun』2017.4.28 / Kensetsu Tsushin Shinbunsha(Japan)
    「tonarino」
  51. 『Japon, l'archipel de la maison』2017.4.20 / Kajima Shuppankai(Japan)
    「Rainy/Sunny」
  52. 『https://divisare.com/projects/342069-mount-fuji-architects-studio-kawabe-akinobu-salon-in-kazo』2017.4.11
    「Salon in Kazo」
  53. 『tokyo no ie』2017.4.8 / Seigen-sha(Japan)
    「Rainy/Sunny」「SAKURA」
  54. 『MODERN LIVING』2017.4.7 / Hearst Fujingaho-sha(Japan)
    「House toward Tateyama」
  55. 『Kindai Kenchiku』2017.4.5 / Kindai Kenchiku-sya(Japan)
    「Chiryu Afterschool」
  56. 『http://afasiaarchzine.com/2017/03/mount-fuji-2/』2017年3月20日
    「Roadside Station Mashiko」
  57. 『steeldoc 01/17』2017.3 / STAHLBAU ZENTRUM SCHWEIZ(Switzerland)
    「Log H」
  58. 『Architects in Okayama and Chugoku Area』2017.3/Kibito-Shuppan(Japan)
    「seto」
  59. 『MOMUNTUM』2017.3 / Nikkei Business Publications,Inc.(Japan)
    「KASA」
  60. 『https://www.youtube.com/watch?v=4fEeh-8OFT8』2017.3.19 / Youtube
    「near house」
  61. 『JT #372』2017.4 / Shinkenchiku-sha(Japan)
    「House in Ogikubo」「Okayama A&A Project」
  62. 『DETAIL』2017.4 / Shokokusha(Japan)
    「Roadside Station Mashiko」
  63. 『AIJ Selected Architectural Designs 2017」2017.4 / AIJ(Japan)
    「shore house」
  64. 『ELLE DECOR #149』2017.4 / Hearst Fujingaho-sha(Japan)
    「House toward Tateyama」
  65. 『Nikkei Architecture』2017.2/Nikkei Business Publications,Inc.(Japan)
    「House toward Tateyama」
  66. 『MARK #66』2017.2/Mark Publishers(Netherlands)
    「Chiryu Afterschool」「House toward Tateyama」「KASA」
  67. 『Architect of Aichi』2017.2/Aichi Society of Architects & Building Engineers(Japan)
    interview
  68. 『https://divisare.com/projects/335236-mount-fuji-architects-studio-ken-ichi-suzuki-shift』2017.1.18
    「SHIFT」
  69. 『H.O.U.S.E.』2017.11.10/graphic-sha(Japan)
    「XXXX House」
  70. 『ELLE DECOR #148』2017.1 / Hearst Fujingaho-sha(Japan)
    「Roadside Station Mashiko」
  71. 『CasaBRUTUS no.203』2017.1 / Magazine House(Japan)
    「KASA」
  72. 『Nikkei Architecture』2016.12/Nikkei Business Publications,Inc.(Japan)
    「Roadside Station Mashiko」
  73. 『DETAIL』2017.1 / Shokokusha(Japan)
    「Chiryu Afterschool」
  74. 『http://www.archello.com/en/project/shore-house-1』2016.12
    「shore house」
  75. 『http://www.archello.com/en/project/m3%E3%83%BBkg』2016.12
    「M3・KG」
  76. 『http://www.archello.com/en/project/geo-metria』2016.12
    「Geo Metria」
  77. 『Kindai Kenchiku』2016.12.5/Kindai Kenchiku-sya(Japan)
    「Roadside Station Mashiko」
  78. 『Nikkan Mokuzai Shinbun』2016.11.18 / Nikkan Mokuzai Shinbun-Sya(Japan)
    「Chiryu Afterschool」
  79. 『Nikkan Mokuzai Shinbun』2016.11.11 / Nikkan Mokuzai Shinbun-Sya(Japan)
    「Roadside Station Mashiko」
  80. 『TONICA Kita-Kyusyu Exhibition catalogue』2016.9/Sogo Shikaku(Japan)
    「July's Comment」
  81. 『TAKUMI』2016.10/TAKUMI Henshubu(Japan)
    「Panel Discussion」
  82. 『CONFORT』2016.12/Kenchiku Siryo Kenkyujo(Japan)
    「Wooden Architecture think by MOUNT FUJI ARCHITECTS STUDIO」
  83. 『SHINKENCHIKU』2016.11 / Shinkenchiku-sha(Japan)
    「Chiryu Afterschool」
  84. 『SHINKENCHIKU』2016.11 / Shinkenchiku-sha(Japan)
    「Roadside Station Mashiko」
  85. 『SHINKENCHIKU』2016.11 / Shinkenchiku-sha(Japan)
    Architecture Discussion
  86. 『House Design Inspirations from Form and Living Style』2016.10.10/Shokokusha(Japan)
    「Rainy/Sunny」
  87. 『JT #367』2016.11 / Shinkenchiku-sha(Japan)
    「House toward Tateyama」
  88. 『MODERN LIVING』2016.10.7/Hearst Fujingaho-sha(Japan)
    「House toward Tateyama」
  89. 『MODERN LIVING』2016.10.7/Hearst Fujingaho-sha(Japan)
    「KASA」
  90. 『GA HOUSES 149』2016.9/ A.D.A.EDITA Tokyo(Japan)
    「House toward Tateyama」
  91. 『HOUSING』2016.11/Recruit Holdings(Japan)
    「Geo Metria」
  92. 『Espaces Contemporains』2016.7 / Editions Prestige SA(Switzerland)
    「Shore House」
  93. 『ELLE DECOR #146』2016.9 / Hearst Fujingaho-sha(Japan)
    「Shore House」
  94. 『Nikkan Mokuzai Shinbun』2016.7.9 / Nikkan Mokuzai Shinbun-Sya(Japan)
    「Salon in Kazo」T-1 Grand prix
  95. 『INTERNI #663』2016.7 / The Mondadori Group(Italy) 
    「Shore House」
  96. 『https://www.youtube.com/watch?v=QwnTkMuNLpE』2016.7.25
    「Shore House」
  97. 『ja #102』2016.6 / Shinkenchiku-sha(Japan)
  98. 『JT #363』2016.7 / Shinkenchiku-sha(Japan)
    「UCHI-MIZU」
  99. 『JT #363』2016.7 / Shinkenchiku-sha(Japan)
    「Kasa」
  100. 『DETAIL』2016.7 / Shokokusha(Japan)
    「Salon in Kazo」
  101. 『AD』2016.6 / Publications Conde Nast /AD Deutschland(Germany)
    「Shore House」
  102. 『ASB #181』2016.4 / JAGA(Italy)
    「Geo Metria」「Tree House」
  103. 『http://www.roomie.jp/2016/05/331359/」
    「near house」
  104. 『SHINKENCHIKU』2016.5 / Shinkenchiku-sha(Japan)
     Contribution
  105. 『SHINKENCHIKU』2016.5 / Shinkenchiku-sha(Japan)
     Book Review
  106. 『Kensetsu Tsushin Shinbun』2016.4.26 / Kensetsu Tsushin Shinbunsha(Japan)
    「Open Proposal for Meijo Park in Nagoya」
  107. 『Chubu Keizai Shinbun』2016.4.26 / Chubu Keizai Shinbunsha(Japan)
    「Open Proposal for Meijo Park in Nagoya」
  108. 『Nihon Keizai Shinbun Evening Paper』2016.4.25 / Nihon Keizai Shinbunsha(Japan)
    「Open Proposal for Meijo Park in Nagoya」
  109. 『arcVision Prize Woman and Architecture 2016 Edition』2016.4 / Italcementi Group(Italy)
    「Seto」「Tree House」
  110. 『Kichijoji Harmonica Yokocho no tsukurikata』2016.4 / Shokoku-Sha(Japan)
    「Harmonica Yokocho Mitaka」
  111. 『GERMAN DESIGN AWARD 2016』2016.3 / GERMAN DESIGN COUNCIL(Germany)
    「Seto」
  112. 『aaca report #73』2016.3/Japan Association of Artists Craftsman & Architects(Japan)
     Yoshinobu Ashiwara Award & Contribution
  113. 『Nikkei Architecture』2016.1/Nikkei Business Publications,Inc.(Japan)
     Interview
  114. 『AIJ Selected Architectural Designs 2016」 2016.4/ AIJ(Japan)
    「Salon in Kazo」
  115. 『AIJ Selected Architectural Designs 2016」2016.4 / AIJ(Japan)
    「Log H」
  116. 『LIXIL eye no.10』2016.2 / LIXIL(Japan)
    「Log H」
  117. 『Nikkei Architecture』2016.1/Nikkei Business Publications,Inc.(Japan)
    「Roadside Station Mashiko」
  118. 『CasaBRUTUS no.191』2016.2 / Magazine House(Japan)
    「House in Araiyakushi」
  119. 『JT #357』2016.1 / Shinkenchiku-sha(Japan)
    「House in Araiyakushi」
  120. 『T-1 Grand prix」http://www.timberize.com/t1gp/t1gp2014_2.html
    「Salon in Kazo」
  121. 『Nikkan Mokuzai Shinbun』2015.12.9 / Nikkan Mokuzai Shinbun-Sya(Japan)
    「Salon in Kazo」T-1 Grand prix
  122. 『JIA National Graduate Awards 2015』2015.11/JIA(Japan)
     Jury's Comment
  123. 『Tensai kenchikuka no seikou suru design no housoku』2015.11.19 / X-Knowledge(Japan)
     Interview
  124. 『AGC studio 5th Anniversary booklet』2015.10 / AGC studio(Japan)
    「Harmonica Yokocho Mitaka」
  125. 『JIA MAGAZINE Vol.319』2015.9 / JIA(Japan)
     JIA National Graduate Awards 2015 Jury
  126. 『MY HOME+ 2015 Autumn Issue』2015.12 / X-Knowledge(Japan)
    「Shore House」
  127. 『MODERN LIVING LUXURY HOUSES SPECIAL ISSUE』2015.10 / HEARST FUJINGAHO(Japan)
    「VALLEY」
  128. 『TOTO tsushin 2015 Autumn Issue』2015.10 / TOTO(Japan)
    「Log H」
  129. 『JT #354』2015.10 / Shinkenchiku-sha(Japan)
     Talk
  130. 『Richesse No.13』2015.9 / HEARST FUJINGAHO(Japan)
    「Shore House」「PLUS」
  131. 『SHINKENCHIKU』2015.9 / Shinkenchiku-sha(Japan)
     Minamisanriku-cho Design Competition Review Comment
  132. 『World Residences for Living Dreams』2015.8.24 / PIE International(Japan)
    「near house」
  133. 『The guide of planning that create a dramatic improvement to the house design』2015.7.31 / X-Knowlwdge(Japan)
    「PLUS」「VALLEY」
  134. 『SHOTEN KENCHIKU』2015.8 / Shoten Kenchiku-sha publishing Co.,Ltd.(Japan)
    「YUI BOX」
  135. 『http://www.architectural-review.com/buildings/log-h-in-tokyo-by-mount-fuji-architects-studio/8685426.article?blocktitle=AR-House-2015-Finalist&contentID=13784』2015.7
    「Log H」
  136. 『THE ARCHITECTURAL REVIEW』2015.7 / THE ARCHITECTURAL REVIEW(UK)
    「Log H」
  137. 『Mark #56』2015.7 / Mark Publishers(Netherlands)
    「Log H」
  138. 『KENCHIKU JOURNAL』2015.6 / KENCHIKU JOURNAL(Japan)
     Interview
  139. 『JIA Architect of the Year 2014』2015.5 / JIA(Japan)
    「Seto」「Shore House」
  140. 『JIA MAGAZINE Vol.316』2015.6 / JIA(Japan)
     JIA Young Architects Award 2014 Interview
  141. 『http://planet.vectorworks.net/2015/06/inspiration-a-designs-dialogue-with-nature/』2015.6.8 / A&A
    「Shore House」
  142. 『Kensetsu Tsuushin shinbun』2015.5.12 / Nikkan Kenchiku Tsushin shinbun-Sha(Japan)
     JIA Young Architects Award 2014 Lecture
  143. 『Chunichi shinbun』2015.5.9 / Chunichi shinbun-Sha(Japan)
    「Chiryu Afterschool」
  144. 『Kensetsu Tsuushin shinbun』2015.5.8 / Nikkan Kenchiku Tsushin shinbun-Sha(Japan)
     JIA Young Architects Award 2014 Lecture
  145. 『http://www.wsj.com/articles/japans-creative-ephemeral-homes-1429196510』2015.4
  146. 『http://solomo.xinmedia.com/archi/19184-MountFujiArchitect』2015.3
    「Seto」「Rainy/Sunny」「near house」「Tree House」
  147. 『Nikkan Kensetsu Kogyo shinbun』2015.3.20 / Nikkan Kensetsu Kogyo shinbun-Sha(Japan)
    「Shore House」 Interview, JIA Young Architects Award 2014
  148. 『GA HOUSES 141』2015.4 / A.D.A.EDITA Tokyo(Japan)
    「Hill House」
  149. 『http://www.japandesign.ne.jp/space/150318_kazo.html』2015.3
    「Salon in Kazo」
  150. 『CasaBRUTUS Special Issue FINEST HOMES OF THE 21ST CENTURY VOL.4』2015.4 / Magazine House(Japan)
    「VALLEY」
  151. 『AIJ Selected Architectural Designs 2015」2015.4 / AIJ(Japan)
    「Seto」「VALLEY」
  152. 『TOKYO DESIGN WEEK 2014 official book "ALL RECORDS"』2015.3 / Design Association NPO(Japan)
  153. 『SHINKENCHIKU』2015.3 / Shinkenchiku-sha(Japan)
    「Shore House」JIA Young Architects Award 2014
  154. 『CasaBRUTUS no.180』2015.3 / Magazine House(Japan)
     Interview
  155. 『Kensetsu Tsuushin shinbun』2015.2.26 / Nikkan Kenchiku Tsushin shinbun-Sha(Japan)
    「Shore House」Interview, JIA Young Architects Award 2014
  156. 『Dwell』2015.2 / dwell(USA)
    「Geo Metria」
  157. 『ARCHITECTURE & CULTURE NO.405』2015.2 / A&C Publishing(Korea)
    「Seto」
  158. 『Fuji Sankei Business i』2015.2.18 / Nihon Kogyo shinbun-Sha(Japan)
    「Shore house」JIA Young Architects Award 2014
  159. 『URBAN ENVIRONMENT DESIGN 090』2015.2 / UED Magazine International Edition(China)
    「Seto」
  160. 『Kensetsu Tsuushin shinbun』2015.2.3 / Nikkan Kenchiku Tsushin shinbun-Sha(Japan)
    「Shore House」 JIA Young Architects Award 2014
  161. 『http://www.archello.com/en/project/Seto』2015.1
    「Seto」
  162. 『Nichijiren』2015.1 / Japan Association of Architectural Firms(Japan)
    「Seto」Interview, Nichijiren Architectural Award
  163. 『SHINKENCHIKU JAPAN 20:Wooden Architecture』2014.12 / Dalian University of Technology Press(China)
    「Salon in Kazo」
  164. 『https://thisispaper.com/mount-fuji-architects-treehouse』2014.12
    「Tree House」
  165. 『JA no.96 Winter 2015 WORLD YEARBOOK 2014』2014.12 / Shinkenchiku-sha(Japan)
    「Salon in Kazo」
  166. 『JT #345』2014.12 / Shinkenchiku-sha(Japan)
    「House in Nakano」
  167. 『Bait ve Noy 139』2014.12 / baitvenoy(Israel)
    「Shore House」
  168. 『Brutus Special Issue』2014.12 / Magazine House(Japan)
    「Tree House」
  169. 『SUUMO 2015 Winter』2014.12 / Recruit(Japan)
    「VALLEY」
  170. 『Casa BRUTUS no.176』2014.11 / Magazine House(Japan)
    「Seto」
  171. 『http://www.designboom.com/architecture/mount-fuji-architects-studio-Seto-shipbuilders-japan-01-21-2015/』2014.11
    「Seto」
  172. 『http://www10.aeccafe.com/blogs/arch-showcase/2014/11/28/Seto-in-hiroshima-japan-by-mount-fuji-architects-studio/』2014.11
    「Seto」
  173. 『http://www.archdaily.com/563480/Seto-mount-fuji-architects-studio/』2014.11
    「Seto」
  174. 『http://www.gooood.hk/Seto-housing-by-mount-fuji.htm』2014.10
    「Seto」
  175. 『Tatemono Tanbou BOOK』2014.10 / Asahi shinbun Publications(Japan)
    「Tree House」
  176. 『Architectural Model and Project Proposal 』2014.10 / Design Association(Japan)
    「XXXX」「Log H」「local development base in Mashiko」「House toward Tateyama」「SHIFT」
  177. 『Iconic Award 2014』2014.10 / Rat fur Formgebung(Germany)
    「Seto」
  178. 『Kenchiku Tsuushin shinbun』2014.10.16 / Nikkan Kenchiku Tsushin shinbun-Sha(Japan)
    「Seto」 Nichijiren Award
  179. 『Nikkei Architecture』2014.10 / Nikkei BP Publishing(Japan)
    「Log H」
  180. 『Nichijiren』2014.10 / Japan Association of Architectural Firms(Japan)
    「Seto」
  181. 『tokyo no ie』2014.9 / Le Lezard Noir(France)
    「SAKURA」 「Rainy/Sunny」
  182. 『JT #342』2014.9 / Shinkenchiku-sha(Japan)
    「Log H」
  183. 『DFUN MAGAZINE』2014.9 / C & A Media Co.,Ltd.(Taiwan)
    「Tree House」& Interview
  184. 『http://www.archilovers.com/projects/136731/shore-house.html』2014.9
    「Shore House」
  185. 『http://www.gooood.hk/shore-house-by-mount-fuji.htm』2014.9
    「Shore House」
  186. 『http://www.archello.com/en/project/plus』2014.9
    「PLUS」
  187. 『http://divisare.com/projects/267143-Mount-Fuji-Architects-Studio-Shore-House』2014.8
    「Shore House」
  188. 『http://divisare.com/projects/267146-Mount-Fuji-Architects-Studio-Valley』2014.8
    「Valley」
  189. 『http://divisare.com/projects/267142-Mount-Fuji-Architects-Studio-Geo-Metria』2014.8
    「Geo Metria」
  190. 『Living in Style』2014.7 / Redaktionsburo van Uffelen(Germany)
  191. 『Chugoku shinbun』2014.7.28 / Chugokushinbun-Sha(Japan)
    「Seto」
  192. 『SHINKENCHIKU』2014.7 / Shinkenchiku-sha(Japan)
    「Tree House」
  193. 『GA JAPAN 129』2014.6 / A.D.A.EDITA Tokyo(Japan)
    「Log H」
  194. 『JIA Architect of the Year 2013』2014.6 / JIA(Japan)
    「Shore House」
  195. 『FURNISHING/ZONING』2014.6 / BIRKHAUSER(Switzerland)
    「Tree House」
  196. 『GA JAPAN 128』2014.5 / A.D.A.EDITA Tokyo(Japan)
    「Mount Fuji World Heritage Center Proposal」
  197. 『Casa Brutus Extra Issue FINEST HOMES of the 21ST Century Vol.3』2014.4 / Magazine House(Japan)
    「PLUS」
  198. 『Kenchiku Tsuushin shinbun』2014.4.3 / Nikkan Kenchiku Tsushin shinbun-Sha(Japan)
    「Mount Fuji World Heritage Center Proposal」
  199. 『GA Houses 136』2014.4 / A.D.A.EDITA Tokyo(Japan)
    「House toward Tateyama」
  200. 『JT #336』2014.4 / Shinkenchiku-sha(Japan)
    「near house」 「Mother's House」 「Shore House」
  201. 『AERA STYLE MAGAZINE vol.22』2014.3 / Asahi shinbun Publications,Inc.(Japan)
  202. 『AIJ Selected Architectural Designs 2014」2014.4 / AIJ(Japan)
    「VALLEY」「Geo Metria」
  203. 『SHINKENCHIKU』2014.3 / Shinkenchiku-sha(Japan)
    「Salon in Kazo」
  204. 『Modern Living no.213』2014.2 / Hachette Fujingahosha(Japan)
     Best House of MODERN LIVING
  205. 『MONOCLE issue70. volume07』2014.2 / Monocle(UK)
    「THREE AOYAMA」
  206. 『KENCHIKUCHISHIKI #711』2014.2/X-Knowlege(Japan)
    「PLUS」「VALLEY」
  207. 『JT #334』2014.2 / Shinkenchiku-sha(Japan)
    「SHIFT」
  208. 『world-architects.com Profiles of Selected Architects vol.1』2014.1 / PSA Publishers Ltd.(Switzerland)
    「Shore House」
  209. 『Casa BRUTUS no.167』2014.1 / Magazine House(Japan)
    「Seto」
  210. 『DETAIL』2013.12 / Shokokusha(Japan)
    「Rainy/Sunny」 「near house」 「Seto」
  211. 『JA no.92 Winter 2014 WORLD YEARBOOK 2013』2013.12 / Shinkenchiku-sha(Japan)
    「Seto」
  212. 『BRUTUS no.768』2013.12 / Magazine House(Japan)
    「Tree House」
  213. 『SHINKENCHIKU』2013.12 / Shinkenchiku-sha(Japan)
    「Harmonica Yokocyo Mitaka」
  214. 『SHOTENKENCHIKU vol.58 no.12』2013.12/ SHOTENKENCHIKU-SHA(Japan)
    「THREE AOYAMA」
  215. 『THE YOMIURI shinbun AD suppelement』2013.11.9 / Yomiuri shinbun-Sha(Japan)
    「Shore House」
  216. 『Misses』2013.12 / Bunka Publishing Bureau(Japan)
    「Shore House」
  217. 『The Japan Journal of Remodeling』2013.11.5 / The Remodeling Business Journal(Japan)
     SACLAB Project「-2.6°」
  218. 『Modern Living no.211』2013.10 / Hachette Fujingahosha(Japan)
    「THREE AOYAMA」
  219. 『Oris #82』2013.9 / ORIS d.o.o (Croatia)
    「Geo Metria」
  220. 『KJ Kensetsu Journal』2013.9 / KJ co. ltd(Japan)
    「Masahiro Harada + MAO - 1/1」
  221. 『DETAIL』2013.9 / Shokokusha(Japan)
    「Seto」
  222. 『CONFORT #134』2013.9 / Kenchiku Shiryo Kenkyusha(Japan)
    「Shore House」
  223. 『JT』2013.9 / Shinkenchiku-sha(Japan)
    「Mother's House」
  224. 『Detail extra issue: Staircase of residential projects』2013.9 / Shokokusha(Japan)
    「VALLEY」
  225. 『Nikkei Architecture』2013.8.25 / Nikkei BP Publishing(Japan)
    「Seto」
  226. 『The SD-sensho book』2013.9 / Kajima Publishing(Japan)
    「My Sd-sensho」
  227. 『SHOTENKENCHIKU vol.58 no.09』2013.9 / SHOTENKENCHIKU-SHA(Japan)
    「the 3rd Burger」
  228. 『HOW TO READ HOUSES』2013.8 / BLOOMSBURY (UK)
    「PLUS」
  229. 『SHINKENCHIKU』2013.8 / Shinkenchiku-sha(Japan)
    「Seto」
  230. 『INTERIOR DESIGNER』2013.8 / China Architecture & Building Press (China)
    「Geo Metria」
  231. 『Landscape Installation Art』2013.7 / ifengspace publishing (China)
    「in flakes」
  232. 『dwell』2013.6 / Dwel Media LLC(Japan)
    「Rainy/Sunny」
  233. 『Modern Living no.209』2013.6 / Hachette Fujingahosha(Japan)
    「Shore House」
  234. 『How to design height of space in a residence?』2013.5 / X-knowledge(Japan)
    「PLUS」
  235. 『JIA Architect of the Year 2012』2013.5 / JIA(Japan)
    「Tree House」
  236. 『GA Houses 131』2013.5 / A.D.A.EDITA Tokyo(Japan)
    「Shore House」
  237. 『JT #327』2013.5 / Shinkenchiku-sha(Japan)
    「Shore House」
  238. 『NIPPONNO』2013.4 / NIKKEI BP(Japan)
     Three-way Conversation
  239. 『PROUD」 Vol.16/Nomura Real Estate(Japan)
    「the Masterpiece of Residntial Architecture」
  240. 『eleven designer's masterpieces』2013.4 / China Forestry Publishing House(China)
    「PLUS」「Tree House」「near house」
  241. 『JA #89』2013.3 / Shinkenchiku-sha(Japan)
    「Shore House」「Mother's House」
  242. 『Bulletin』2013.3 / JIA Kanko-Koshinetsu(Japan)
     Chapter
  243. 『Asahi shinbun(newspaper)』2013.2.22 / (Japan)
    「Harmonica Yokocyo Mitaka」
  244. 『Wall Elements Art Wall』2013.2 / ifengspace(China)
    「SAKURA」
  245. 『Japanese Home Design』2013.2 / Business Weekly Publishing(China)
    「XXXX」
  246. 『BRUTUS』2013.2 / Magazine House(Japan)
     Questionnaire for the Architect List
  247. 『My Home no.144』2013.2 / Cite Publishers(China)
    「near house」
  248. 『Materials in Architecture』2013.2 / SANDU Publishing(China)
    「SAKURA」
  249. 『Directory Natural Stone in the Woorld 2013』2013.2 / Reed Business Information(Spain)
    「PLUS」
  250. 『JT #322』2013.1 / Shinkenchiku-sha(Japan)
     Comment to JT #321
  251. 『Casa BRUTUS no.155』2013.1 / Magazine House(Japan)
  252. 『CONFORT #130』2013.1 / Kenchiku Shiryo Kenkyusha Co.,Ltd.(Japan)
     Dialogue "Thinking architecture from the staircase"「VALLEY」
  253. 『Casa BRUTUS extra issue Storage Complete Handbook』2012.12 / Magazine House(Japan)
    「Tree House」「Geo Metria」
  254. 『The Kensetsutsushin shinbun』2012.12.06 / The Kensetsutsushin shinbun Corporation(Japan)
    「VALLEY(the 44th Chubu Architectural Award)」
  255. 『Global Architecture Today』2012.11 / Tianjin University Publishing (China)
    「PLUS」「Tree House」「near house」
  256. 『SUSU no.15』2012.10 / Musashi Books(Japan)
    「Geo Metria」
  257. 『SHINKENCHIKU』2012.10 / Shinkenchiku-sha(Japan)
     Survey about Medical and Welfare Field
  258. 『CONFORT #128』2012.10 / Kenchiku Shiryo Kenkyusha Co.,Ltd.(Japan)
     Review of STUDIO MUMBAI:PRAXIS
  259. 『Landscape Design』2012.9 / Dalian University of Technology Press (China)
    「in flakes」
  260. 『Discover Details in Residence』2012.9 / Phoenix (China)
    「SAKURA」「Rainy/Sunny」「PLUS」「Tree House」「near house」
  261. 『Simplicity」 Curated by Kiril Ass(Japan)
    「M3/KG」
  262. 『skyward』2012.8 / Japan Airlines(Japan)
    「VALLEY」
  263. 『MODERN DECORATION HOME #252』2012.7 / Modern Decoration Magazine(China)
     Interview
  264. 『HOW TO MAKE A JAPANESE HOUSE」 Cathelijne Nuijsink / NAi Publishers (Netherlands)
    「Rainy/Sunny」
  265. 『DETAIL』2012.7 / Shokokusha(Japan)
    「PLUS」
  266. 『House Interior Ultimate Guide 2012-2013』2012.6 / X-knowledge(Japan)
    「M3・KG」
  267. 『NA selection construction of wooden architecture』2012.6 /Nikkei-BP-sha(Japan)
    「Tree House」
  268. 『Super News』2012.6.04 / Fuji Television(Japan)
    「PLUS」
  269. 『SHINKENCHIKU』2012.6 / Shinkenchiku-sha(Japan)
    「YOTSUBAKO」
  270. 『Construir Contemporaneas no.03』2012.6 / CASADOIS(Brazil)
    「PLUS」
  271. 『Arquitectura Viva #142』2012.4 / Arquitectura Viva(Spain)
    「Tree House」
  272. 『BRUTUS』2012.6 / Magazine House(Japan)
    「Geo Metria」
  273. 『MODERN DECORATION HOME #244』2012.4 / Modern Decoration Magazine(China)
     Interview
  274. 『zeppelin #102』2012.3 / zeppelin magazine(Romania)
    「PLUS」「Sagacho Archives」「"O"dome」
  275. 『2012 COMFORTABLE HOUSES』2012.12 / H.K.RIHAN INT'L CULTURE SPREAD LIMITED(Hong Kong)
  276. 『DETAIL』2012.4 / Shokokusha(Japan)
    「Geo Metria」 「near house」
  277. 『JT #312』2012.4 / Shinkenchiku-sha(Japan)
    「Geo Metria」
  278. 『MIMARLIK』2012.1 / BOYUT YAYIN GAUBU(Japan)
    「PLUS」「Tree House」
  279. 『BRUTUS』2012.3.15 / Magazine House(Japan)
  280. 『le journal speciale Z no 03」/ecole specialea architecture(Japan)
  281. 『Roof Architecture」 / syousyu publishing(Japan)
    「Secondary Lanscape」
  282. 『Modern Living no.201』2012.3/Hachette Fujingaho(Japan)
    「VALLEY」
  283. 『ARCHITECTURE HIGH LIGHTS』2012.1 / Shanglin(Japan)
  284. 『100 CONTEMPORARY HOUSES』2012.1 / TASCHEN(Japan)
  285. 『Casa BRUTUS no.143』2012.2 /Magazine House(Japan)
    「VALLEY」
  286. 『AECCafe.Com」 http://www10.aeccafe.com/blogs/arch-showcase/2012/01/04/plus-in-shizuoka-japan-by-mount-fuji-architects-studio
    「PLUS」
  287. 『TOTO Tsushin #495』2012.1 / TOTO(Japan)
    「Toririn」
  288. 『SHINKENCHIKU』2011.12 / Shinkenchiku-sha(Japan)
     Monthly Review
  289. 『THE ARCHITECTURAL REVIEW』2011.11 / ARCHITECTURAL REVIEW(Japan)
    「Sagacho Archives」
  290. 『SUBLIME』2011.11 / gestalten
  291. 『KENCHIKUCHISHIKI #685』2011.11 / X-Knowlege(Japan)
    「PLUS」「Tree House」
  292. 『JT #308』2011.12 / Shinkenchiku-sha(Japan)
  293. 『ZEIT MAGAZIN』2011.11 / ZEIT MAGAZIN(Japan)
    「near house」
  294. 『SHINKENCHIKU』2011.11 / Shinkenchiku-sha(Japan)
     Monthly Review
  295. 『JT #307』2011.11 / Shinkenchiku-sha(Japan)
    「Tree House」
  296. 『DAM N°30』2011.10 / damnmagazine(Japan)
  297. 『SUSU no.11』2011.10 / BUNKA PUBLISHING BUREAU(Japan)
  298. 『C3』2011.10 / C3 Publishing Co.(Korea)
  299. 『A Guide to working in Architectural Industry 2012」(Japan)
  300. 『SMALL HOUSES』2011.12 / Birkhauser(Switzerland)
    「Tree House」「SAKURA」
  301. 『The Phaidon Atlas of 21st Century World Architecture travel edition』2011.11 / Phaidon Inc Ltd.(USA)
    「XXXX」「SAKURA」
  302. 『SHINKENCHIKU』2011.10 / Shinkenchiku-sha(Japan)
     Monthly Review
  303. 『101 Small Buildings Ⅰ』2011 /CA Press Co.(Korea)
    「near house」
  304. 『JA #83』2011.9 / Shinkenchiku-sha(Japan)
    「Tree House」
  305. 『SHINKENCHIKU』2011.8 / Shinkenchiku-sha(Japan)
     Monthly Review
  306. 『JT #305』2011.9 / Shinkenchiku-sha(Japan)
    「VALLEY」
  307. 『SHINKENCHIKU』2011.8 / Shinkenchiku-sha(Japan)
     Monthly Review
  308. 『AMICS #92』2011.8 / Associacio Japonesa d'Amistat amb Catalunya会
  309. 『NEXT-A』2011.8 / ken-plats(Japan)
  310. 『CONFORT #121』2011.8 / Kenchiku Shiryo Kenkyusha Co.,Ltd.(Japan)
    「Sagacho Archives」
  311. 『http://www.minimalhome.com/article/show/206』2011.8 / minimalhome
    「M3・KG」
  312. 『http://www.minimalhome.com/article/show/187』2011.8 / minimalhome
    「near house」
  313. 『http://www.minimalhome.com/article/show/182』2011.8 / minimalhome
    「PLUS」
  314. 『piedras #1」 p54-61/2011.7 / revistapiedras(Argentina)
    「PLUS」
  315. 『SHINKENCHIKU』2011.7 / Shinkenchiku-sha(Japan)
     Monthly Review
  316. 『X-Knowledge HOME no.15』2011.7 / X-Knowledge(Japan)
  317. 『ART BOX IN JAPAN vol.4 contemporary architecture in japan』2011.7 / ART BOX international,Inc.(Japan)
    「Tree House」「PLUS」「XXXX」
  318. 『VILLAS OF THE WORLD』2011.7 / BOYUAN INT'L BOOK PRESS CO.,LIMITED(China)
    「PLUS」
  319. 『MOUNTAINS AND OPENINGS RESIDENCE DESIGN』2011.6 / IFENGSPACE(China)
    「SAKURA」「Rainy/Sunny」「Tree House」
  320. 『JA』2011.6 / Shinkenchiku-sha(Japan)
    「Hills of the Future」
  321. 『SHINKENCHIKU』2011.6 / Shinkenchiku-sha(Japan)
     Monthly Review
  322. 『Casa BRUTUS no.135』2010.6 / Magazine House(Japan)
    「Tree House」
  323. 『DESIGN TODAY』2011.5 / Living Media India,Ltd.(India)
    「near house」
  324. 『Home Theater Hand Book』2011.4 / STEREO SOUND Publishing,Inc.(Japan)
    「PLUS」
  325. 『SHINKENCHIKU』2011.5 / Shinkenchiku-sha(Japan)
     Monthly Review
  326. 『METSZET』2011.4 / tervlap(Hungary)
    「Rainy/Sunny」
  327. 『SUSU no.9』2011.4 / BUNKA PUBLISHING BUREAU(Japan)
    「Plana・mesa」
  328. 『MARU』2011.4 / CA PRESS Publishing Co.,Ltd.(Japan)
    「in flakes」
  329. 『Life Style』2011.4 / Beijing LifeStyle Advertising Co.,Ltd.(China)
    「PLUS」
  330. 『JT』2011.4 / Shinkenchiku-sha(Japan)
     Talk
  331. 『SHINKENCHIKU』2011.4 / Shinkenchiku-sha(Japan)
     Monthly Review
  332. 『de|zine』2011.3 / de|zine magazine(Greece)
    「PLUS」
  333. 『inSIDE; outSIDE Residence』2011.3 / Artpower International Publishing Co.,Ltd.(Hong Kong)
    「M3・KG」「SAKURA」「Rainy/Sunny」
  334. 『GA Houses 120』2011.3 / A.D.A.EDITA Tokyo(Japan)
    「House in Southampton」
  335. 『JT』2011.3 / Shinkenchiku-sha(Japan)
    「PLUS」
  336. 『SHINKENCHIKU』2011.3 / Shinkenchiku-sha(Japan)
     Monthly Review
  337. 『SHINKENCHIKU』2011.2 / Shinkenchiku-sha(Japan)
    「Sagacho Archives」
  338. 『SHINKENCHIKU』2011.2 / Shinkenchiku-sha(Japan)
     Monthly Review
  339. 『architecture Asia #1」 p74-77/2010.1 / arcasia
    「XXXX」
  340. 『VISION』2011.1 / VISION Magazine(China)
    「in flakes」
  341. 『Sukkiri!!』2011.1.6 / Nihon Television(Japan)
    「PLUS」
  342. 『TOTO Tsushin #492』2011.1 / TOTO(Japan)
    「near house」
  343. 『JT』2011.1 / Shinkenchiku-sha(Japan)
    「near house」
  344. 『SHINKENCHIKU』2011.1 / Shinkenchiku-sha(Japan)
     Monthly Review
  345. 『HOUSES IN DIFFICULT PLACES』2010 / monsa(SPAIN)
    「PLUS」
  346. 『Chunichi shinbun』2010.12.17(Japan)
    「PLUS」
  347. 『http://www.toto.co.jp/gallerma/ex101119/exhbt_rpt.htm』2010.12 / TOTO(Japan)
    「GLOBAL ENDS」Exb.Report
  348. 『The First Decade of the Century Japanese Houses』2010.12 / Shinkenchiku-sha(Japan)
  349. 『the fundamentals of building a house 2011』2010.12 / Kenchiku Shiryo Kenkyusha(Japan)
    「near house」
  350. 『SD2010』2010.12 / Kajima Institute Publishing Co.,Ltd.(Japan)
     Text
  351. 『architecture highlights』2010 / Shanglin A&C Limited(Hong Kong)
    「M3・KG」「SAKURA」
  352. 『interior calender 2011』2010.12 / JAPAN ORNAMENT Co.,Ltd.(Japan)
    「Tree House」
  353. 『HOW TO DESIGN THE SUPREME STAIRS』2010.12 / X-Knowledge(Japan)
    「Rainy/Sunny」
  354. 『CONFORT #117』2010.12 / Kenchiku Shiryo Kenkyusha Co.,Ltd.(Japan)
    「Tree House」
  355. 『architext』2010.11 / architextdesign(Romania)
    「Tree House」
  356. 『a+a』2010.11 / (China)
    「Tree House」
  357. 『MATERIA ARQUITECTURA #02』2010.11 / universidad san sebastian(Chile)
    「near house」
  358. 『JT』2010.11 / Shinkenchiku-sha(Japan)
    「PLUS(LEAF AWARDS 2010)」
  359. 『Pen no.278』2010.11 / Hankyu Communications Co.,Ltd.(Japan)
    「Tree House」
  360. 『Casa BRUTUS no.128』2010.11 / Magazine House(Japan)
  361. 『http://www.channelbeta.net/2010/11/entree-house-tokyo-japan-mount-fuji-architects-studioittree-house-tokyo-japan-mount-fuji-architects-studio/』2010.11
    「near house」
  362. 『http://www.archthai.com/home/index.php?/near-house-mount-fuji-architects-studio.html』2010.10月
    「near house」
  363. 『http://www.architecture-buzz.com/near-house-mount-fuji-architects-studio/』2010.10
    「near house」
  364. 『http://www.inhabitat.com/index.php?s=mount+fuji』2010.10
    「near house」
  365. 『http://www.designboom.com/weblog/cat/9/view/11988/mount-fuji-architects-studio-near-house.html』2010.10
    「near house」
  366. 『offer」 vol.36 2010.10 / The Design Center of Toyama(Japan)
  367. 『SHINKENCHIKU』2010.10 / Shinkenchiku-sha(Japan)
    「PLUS」
  368. 『Casa BRUTUS extra issue finest houmes of the 21st century vol.2』2010.10 / Magazine House(Japan)
    「SAKURA」「Rainy/Sunny」
  369. 『Encyclopedia of Detail in Contemporary Residential Architecture』2010.9 / Laurence King Publishing,Ltd.(UK)
    「Rainy/Sunny」
  370. 『http://www.jia.or.jp/event/aword/2010/09riefu.htm』2010.9
    「PLUS(LEAF AWARDS 2010」
  371. 『http://www.dezeen.com/2010/09/16/in-flakes-by-mount-fuji-architects-studio/』2010.9 / dezeen
    「in flakes」
  372. 『http://www.dezeen.com/2010/09/15/near-house-by-mount-fuji-architects-studio/』2010.9 / dezeen
    「near house」
  373. 『Nikkei shinbun(newspaper)』2010.9.12(Japan)
    「PLUS」
  374. 『Tokyo shinbun(evening newspaper)』2010.9.11(Japan)
    「PLUS」
  375. 『Chunichi shinbun(evening newspaper)』2010.9.11(Japan)
    「PLUS」
  376. 『Shizuoka shinbun(evening newspaper)』2010.9.11(Japan)
    「PLUS」
  377. 『FRAME#76』2010.9 / FRAME(Netherlands)
    「"O"dome」
  378. 『http://theoneblog.com/2010/09/07/meerblick-am-wochenende-aber-nur-am-wochenende/』2010.9
    「PLUS」
  379. 『SHINKENCHIKU』2010.09 / Shinkenchiku-sha(Japan)
     Talk
  380. 『MARU』2010.9 / CA PRESS Publishing Co.,Ltd(KOREA)
    「Tree House」
  381. 『Casa BRUTUS no.126』2010.9 / Magazine House(Japan)
    「in flakes」
  382. 『INTERIOR DESIGN NO.53』2010.9 / DECO MAGAZINE(Taiwan)
    「Tree House」
  383. 『MODERN DECORATION HOME』2010.8 / MODERN DECORATION MAGAZINE(Hong Kong)
    「Tree House」
  384. 『http://cubeme.com/blog/2010/08/04/spiral-shape-house-tokyo-japan-by-mount-fuji-architects-studio/』2010.8 / cubeme
    「Tree House」
  385. 『art4d』2010.7 / Corporation4d Ltd.(Thailand)
    「Tree House」
  386. 『http://www.competitionline.de/』2010.7 / competitionline
    「Tree House」
  387. 『http://www.arqa.com/?p=269415』2010.7 / Arqa.com
    「Tree House」
  388. 『http://www.aboutblank.pt/en/arquitectura/tree-house-mount-fuji-architects/』2010.7 / about:blank magazine
    「Tree House」
  389. 『Acura Style』2010.7 / ACURA(Canada)
    「PLUS」
  390. 『arhitectura』2010.7 / arhitectura(Romania)
    「PLUS」「Tree House」
  391. 『http://www.archdaily.com/70334/tree-house-mount-fuji-architects-studio/』2010.7 / archdaily
    「Tree House」
  392. 『http://www.archiportale.com/news/2010/07/architettura/tokyo-la-tree-house-di-mount-fuji-architects_19717_3.html』2010.7 / Archiportale
    「Tree House」
  393. 『http://www.edilportale.com/news/2010/07/architettura/tokyo-la-tree-house-di-mount-fuji-architects_19717_3.html』2010.7 / Edilportale
    「Tree House」
  394. 『http://www.designboom.com/weblog/cat/9/view/10937/mount-fuji-architects-studio-tree-house.html』2010.7 / designboom
    「Tree House」
  395. 『http://www.businessstone.com/2010/07/01/architecture-part-heaven-and-part-earth/』2010.7 / businessstone
    「PLUS」
  396. 『INTERIORS』2010.7 / INTERIORS(KOREA)
    「Tree House」
  397. 『THE SQUARE』2010.6 / THE SQUARE MAGAZINE(UK)
    「PLUS」
  398. 『http://www.arcguide.de/arcguide/haus-und-hof/PLUS.php』2010.5 / arcguide.de
    「PLUS」
  399. 『Casa BRUTUS no.124』2010.7 / Magazine House(Japan)
    「near house」
  400. 『JT』2010.7 / Shinkenchiku-sha(Japan)
    「PLUS」
  401. 『JT』2010.7 / Shinkenchiku-sha(Japan)
    「near house」
  402. 『Watanabe Atsudhi no Tatemono Tanbou』2010.6.4 / tv asahi(Japan)
    「Tree House」
  403. 『DETAIL#185』2010.6 / SHOKOKUSHA Publishing Co.,Ltd.(Japan)
    「PLUS」
  404. 『Architekton』2010.6 / SOGO SHIKAKU(Japan)
    「Tree House」 「"O"dome」
  405. 『Casa BRUTUS no.123』2010.6 / Magazine House(Japan)
    「in flakes」
  406. 『CONFORT #114』2010.06 / Kenchiku Shiryo Kenkyusha Co.,Ltd.(Japan)
     Serialization
  407. 『MARK#25』20010.5 / Mark Publishers(Netherlands)
    「Tree House」
  408. 『http://artscape.jp/focus/1214496_1635.html』2010.5 / artscape
    「in flakes」
  409. 『http://www.studio5555.de/2010/05/27/plus-villa-von-mount-fuji-architects-studio/』2010.5
    「PLUS」
  410. 『C3』2010.5 / C3 Publishing Co.(Korea)
    「PLUS」
  411. 『CA』2010.5 / Casamica/Corriere della Sera(Italia)
    「PLUS」
  412. 『http://www.plataformaarquitectura.cl/2010/05/11/the-plus-house-mount-fuji-architects-studio/』2010.5 / plataformaarquitectura
    「PLUS」
  413. 『ARCH MAGAZINE』2010.5 / Hwaker Publishing Co.,Ltd(Taipei)
    「PLUS」
  414. 『FRAME#74』2010.5 / FRAME(Netherlands)
    「Tree House」
  415. 『Nikkei Architecture』2010.5.10 / Nikkei Business Publications,Inc.(Japan)
    「Tree House」
  416. 『SHINKENCHIKU』2010.5 / Shinkenchiku-sha(Japan)
    「"O"dome」
  417. 『dwell』2010.5/dwell(USA)
    「Tree House」
  418. 『http://www.archinnovations.com/featured-projects/houses/mount-fuji-architects-studio-yaizu/』2010.5 / archinnovations
    「XXXX」
  419. 『Arts Towada』2010.4 / Towada Art Center(Japan)
    「in flakes」
  420. 『29GPS Architecture Magazines for the iPhone 」 (http://www.edition29.com/index.html)
    (http://itunes.apple.com/app/29gps-architecture/id317903070?mt=8)2010.4 / edition29(Japan)
    「PLUS」
  421. 『ARCHITECTURAL RECORD』2010.4 / the magazine of the AIA(USA)
    「Tree House」
  422. 『http://www.archiweb.cz/buildings.php?&action=show&id=2514』2010.4
    「PLUS」
  423. 『Shinkenchiku』2010.4 / Shinkenchiku-sha
  424. 『TOTO Tsushin #490』2010.4 / TOTO(Japan)
    「XXXX」
  425. 『JT』2010.4 / Shinkenchiku-sha(Japan)
    「Tree House」
  426. 『architecture Asia #2』2010.4 / ARCASIA
    「PLUS」
  427. 『CONFORT #113』2010.04 / Kenchiku Shiryo Kenkyusha Co.,Ltd.(Japan)
     Serialization
  428. 『CONFORT #113』2010.04 / Kenchiku Shiryo Kenkyusha Co.,Ltd.(Japan)
    「Tree House」
  429. 『New Architecture in Japan』2010.3 / MERRELL(UK)
    「XXXX」「LIGHT-LIGHT SHELTER」
  430. 『hinge vol.176』2010.3 / hinge marketing ltd(Hong Kong)
    「XXXX」「M3・KG」「SAKURA」「Rainy/Sunny」
  431. 『http://www.architecture-buzz.com/m3kg-mount-fuji-architects-studio/』2010.2
    「M3・KG」
  432. 『http://www.plataformaarquitectura.cl/2010/02/20/m3kg-mount-fuji-architects-studio/』2010.2 / plataformaarquitectura
    「M3・KG」
  433. 『http://www.libertarianmag.com/』2010.2 / libertarianmag
    「PLUS」
  434. 『http://europaconcorsi.com/people/59575-Mount-Fuji-Architects-Studio/projects』2010.2 / europaconcorsi
    「PLUS」 「Rainy/Sunny」
  435. 『d+a』2010.2 / key editions pte ltd(Singapore)
    「PLUS」
  436. 『Modern Living no.189』2010.3 / Hachette Fujingaho(Japan)
    「Tree House」
  437. 『X-Knowledge HOME no.14』2010.2 / X-Knowledge(Japan)
  438. 『archdaily http://www.archdaily.com/』2010.2
    「PLUS」
  439. 『architecture-buzz http://www.architecture-buzz.com/plus-mount-fuji-architects-studio/』2010.2
    「PLUS」
  440. 『Yatzer http://www.yatzer.com/2102_plus_residence_by_mount_fuji_architects_studio』2010.2
    「PLUS」
  441. 『SHINKENCHIKU』2010.2 / Shinkenchiku-sha(Japan)
    「Tree House」
  442. 『Casa BRUTUS no.119』2010.2 / Magazine House(Japan)
    「PLUS」
  443. 『CONFORT #112』2010.2 / Kenchiku Shiryo Kenkyusha Co.,Ltd.(Japan)
     Serialization
  444. 『GA Houses 114』2010.1 / A.D.A.EDITA Tokyo(Japan)
    「Tree House」
  445. 『dailytonic http://www.dailytonic.com/plus-by-mount-fuji-architects-studio-jp』2010.1
    「PLUS」
  446. 『SHINKENCHIKU』2010.1 / Shinkenchiku-sha(Japan)
    「Design Vanguard 2009」
  447. 『JT』2010.1 / Shinkenchiku-sha(Japan)
    「Design Vanguard 2009」
  448. 『home theater 48』2010.01 / STEREO SOUND Publishing,Inc.(Japan)
    「PLUS」
  449. 『Modern Living no.188』2010.1 / Hachette Fujingaho(Japan)
    「PLUS」
  450. 『ARCHITECTURAL RECORD』2009.12 / the magazine of the AIA(USA)
  451. 『http://www.thecoolhunter.net/architecture』2009.12
    「PLUS」
  452. 『http://archrecord.construction.com/features/designvanguard/2009/09Mount-Fuji-Architects-Studio/default.asp』2009.12 / Architectural Record website
    「Plus」「SAKURA」「Rainy/Sunny」「ART SITE」「Gothic on the Shore」「M3・KG」
  453. 『JT』2009.12 / Shinkenchiku-sha(Japan)
    「Plus」
  454. 『Design and the Scene of Topflight Architects』2009.11 / Masaki Uchino, obscure,Inc. / socym
     Interview
  455. 『CONFORT #111』2009.10 / Kenchiku Shiryo Kenkyusha Co.,Ltd.(Japan)
     Serialization
  456. 『Wallpaper#128』2009.11 / Wallpaper(UK)
    「Plus」
  457. 『JT』2009.11 / Shinkenchiku-sha(Japan)
    「Plus」
  458. 『Dentelles d'architecture』2009.10 / MAISON DE L'ARCHITECTURE ET DE LA VILLE(France)
    「SAKURA」
  459. 『CONFORT #110』2009.10 / Kenchiku Shiryo Kenkyusha Co.,Ltd.(Japan)
     Serialization
  460. 『Architectures A VIVRE no.50』2009.9 / Architectures A VIVR(France)
    「SAKURA」
  461. 『HEART #3』2009.8 / HEART international arts magazine(Japan)
    「SAKURA」
  462. 『Shoten Kenchiku vol.54』2009.8 / Shoten Kenchiku-sha publishing Co.,Ltd.(Japan)
    「Plana・mesa」
  463. 『SUSU 2009 no.2』2009.8 / BUNKA PUBLISHING BUREAU(Japan)
     Interview
  464. 『ELLEDECO no.103』2009.8 / Hachette Fujingaho(Japan)
    「Rainy/Sunny」
  465. 『CONFORT #109』2009.8 / Kenchiku Shiryo Kenkyusha Co.,Ltd.(Japan)
     Serialization
  466. 『ARCHITECTURE NOW! HOUSES』2009 / TASCHEN(Japan)
    「SAKURA」
  467. 『PAPER'S no.32』2009.7 / TAKEO Co.,Ltd.(Japan)
     MIHONCHO HONTEN Talk
  468. 『10×10/3 100 Architects 10 Critics』2009 / Phaidon Inc Ltd(Japan)
    「XXXX」「M3・KG」「SAKURA」「ART SITE」
  469. 『arqa #70』2009.6 / Futur magazine(Portugal)
     Exhibition of Japanese Contemporary Architecture "(IN)VISIBLE PROCESS - LISBON 2009"
  470. 『CONFORT #108』2009.6 / Kenchiku Shiryo Kenkyusha Co.,Ltd.(Japan)
     Serialization
  471. 『ROUNDABOUT JOURNAL vol.8』2009.5
  472. 『FRAME#68』2009.5 / FRAME(Netherlands)
    「HOUSE IN FOREST IN "MOKU"」
  473. 『CONFORT #107』2009.4 / Kenchiku Shiryo Kenkyusha Co.,Ltd.(Japan)
     Serialization
  474. 『de Architects no.40』2009.2 / Sdu UITGEVERS(Netherlands)
    「Rainy/Sunny」
  475. 『X-Knowledge HOME no.12』2009.2 / X-Knowledge(Japan)
  476. 『MARK#18』2009.2 / Mark Publishers(Netherlands)
    「Rainy/Sunny」
  477. 『Casa BRUTUS no.107』2009.2 / Magazine House(Japan)
    「Rainy/Sunny」
  478. 『CONFORT #106』2009.2/ Kenchiku Shiryo Kenkyusha Co.,Ltd.(Japan)
     Serialization
  479. 『Modern Living no.182』2009.1 / Hachette Fujingaho(Japan)
    「Rainy/Sunny」
  480. 『ROUNDABOUT JOURNAL vol.7』2009.1
  481. 『Atarashii Sumai no Sekkei』2009.1 / Fusosha(Japan)
     Interview
  482. 『THE ARCHITECTURAL REVIEW』2008.12 / Emap Construct(UK)
    「Rainy/Sunny」
  483. 『Shinkenchiku』2008.12 / Shinkenchiku-sha(Japan)
    「HOUSE IN FOREST IN "MOKU"」
  484. 『CONFORT #105』2008.12 / Kenchiku Shiryo Kenkyusha Co.,Ltd. (Japan)
     Serialization
  485. 『CONFORT extra issue』2008.12 / Kenchiku Shiryo Kenkyusha Co.,Ltd.(Japan)
    「Rainy/Sunny」
  486. 『PHOTOGRAPHIC INDUSTRIES』2008.11 / SHASHINKOGYO SYUPPAN-SHA(Japan)
    「Rainy/Sunny」
  487. 『JT』2008.11 / Shinkenchiku-sha(Japan)
    「Rainy/Sunny」
  488. 『The Phaidon Atlas of 21st Century World Architecture』2008.11 / Phaidon,Inc.,Ltd.(Japan)
    「XXXX」「SAKURA」
  489. 『CONFORT #104』2008.10 / Kenchiku Shiryo Kenkyusha Co.,Ltd.(Japan)
     Serialization
  490. 『DESIGN AND DIALOGUE interview with 127 interior designers』2008.10 / Liao Ning Technological Publishing Co.(China)
    「SAKURA」
  491. 『BIRKHAUSER Complete Catalogue 2008-2009』2008.10 / BIRKHAUSER(Japan)
    「SAKURA」
  492. 『DESIGN TOKYO2.0』2008.8 / GLOBAL GROUP HOLDINGS,LTD.(China)
    「SAKURA」
  493. 『X-Knowledge HOME no.11』2008.8 / X-Knowledge(Japan)
     Text
  494. 『Casa Vogue Brazil no.272』2008.4 / Casa Vogue Brazil(Brazil)
    「SAKURA」
  495. 『Patterns 2. Design, Art and Architecture』2008 / Birkhauser Verlag AG(Switzerland)
    「SAKURA」
  496. 『Casa BRUTUS no.101』2008.8 / Magazine House(Japan)
    「ART SITE」
  497. 『CONFORT #103』2008.8 / Kenchiku Shiryo Kenkyusha Co.,Ltd.(Japan)
     Serialization
  498. 『Casa BRUTUS no.100』2008.7 / Magazine House(Japan)
    「ART SITE」
  499. 『PASAJES DISENO』2007.6 / america iberica(Spain)
    「SAKURA」
  500. 『JOURNAL OF ARCHITECTURE AND BUILDING SCIENCE』2008.6 / AIJ(Japan)
     Text
  501. 『BRUTUS no.639』2008.5 / Magazine House(Japan)
    「M3・KG」
  502. 『Modern Living no.178』2008.5 / Hachette Fujingaho(Japan)
  503. 『ARCHITECTURE & DETAIL』2008.4 / Dalian University Of Technology Press(China)
    「SAKURA」
  504. 『Pen no.218』2008.4 / Hankyu Communications Co.,Ltd.(Japan)
    「SAKURA」
  505. 『Intro no.45』2008 / HiEnd Publishing(Bulgaria)
    「SAKURA」
  506. 『Real Design no.22』2008.4 / EI Publishing.Co.,Ltd.(Japan)
    「SAKURA」
  507. 『Architectural Design Studio3』2008.3 / Kajima Institute Publishing Co.,Ltd.(Japan)
    「XXXX」
  508. 『Architectural Design Studio2』2008.3 / Kajima Institute Publishing Co.,Ltd.(Japan)
    「XXXX」
  509. 『THE ARCHITECTURAL REVIEW』2008.3 / Emap Construct(UK)
    「SAKURA」
  510. 『GA JAPAN 91』2008.3 / A.D.A.EDITA Tokyo(Japan)
  511. 『THE LEAF REVIEW no.4 2008』2008 / SPG Media Limited(UK)
     Interview
  512. 『MONUMENT』2008.2 / Text Pacific Pty Ltd(Australia)
    「XXXX」「Secondary Landscape」「SAKURA」
  513. 『Casa BRUTUS』2008.1 / Magazine House(Japan)
    「SAKURA」
  514. 『contemporary space planning』2008.1 / Graphic-sha Publishing Co.,Ltd.(Japan)
    「Secondary Landscape」
  515. 『Interior Calendar 2008』2007.12 / JAPAN ORNAMENT Co,.Ltd.(Japan)
    「M3・KG」
  516. 『design adDict 2』2007.12 / X-knowledge(Japan)
  517. 『home theater 40』2007.12 / STEREO SOUND Publishing,Inc.(Japan)
    「SAKURA」
  518. 『SD2007』2007.12 / Kajima Institute Publishing Co.,Ltd.
     Talk
  519. 『Le』2007.10 / tatlin(Russia)
    「SAKURA」
  520. 『Gaggenau』2007.10/Gaggenau(Germany)
     Interview
  521. 『MARK#10』2007.10/Mark Publishers(Netherlands)
    「SAKURA」
  522. 『Wallpaper#103』2007.10/Wallpaper(UK)
    「SAKURA」
  523. 『architecture and photography vol.5』2007.9 / TN Probe(Japan)
  524. 『CONFORT#98』2007.9 / Kenchiku Shiryo Kenkyusha Co.,Ltd.(Japan)
     Talk
  525. 『Shinkenchiku』2007.9 / Shinkenchiku-sha(Japan)
    「REST PLACE IN FOREST」
  526. 『JAPAN: The New Mix Architecture,Interiors,and More』2007.11 / Graphic-sha Publishing Co.,Ltd.(Japan)
  527. 『DETAILjapan』2007.8 / Reed Business Information(Japan)
     Talk「Ornament and Contemporary Architecture」
  528. 『STUDIO VOICE 380』2007.8 / INFASPUBLICATIONS CO.(Japan)
    「SAKURA」
  529. 『MONITOR 43』2007.7 / MONITOR(Russia)
    「M3・KG」
  530. 『http://www.noticiasarquitectura.info/especiales/sakura-house.htm』2007.7 / noticiasarquitectura
    「SAKURA」
  531. 『http://www.noticiasarquitectura.info/especiales/XXXX.htm』2007.6 / noticiasarquitectura
    「XXXX」
  532. 『InterCommunication』2007.7 / NTT Publishing Co.,Ltd.(Japan)
    「SAKURA」
  533. 『http://www.europaconcorsi.com/db/arch/portfolio.php?id=59575』2007.6 / europaconcorsi
    「SAKURA」
  534. 『DETAILjapan』2007.6 / Reed Business Information(Japan)
    「SAKURA」
  535. 『JT』2007.6 / Shinkenchiku-sha(Japan)
    「SAKURA」
  536. 『AD』2007.6 / Publications Conde Nast / AD France(France)
    「XXXX」
  537. 『Memo』2007.6 / World Photo Press(Japan)
  538. 『GA Houses 99』2007.5 / A.D.A.EDITA Tokyo(Japan)
    「SAKURA」
  539. 『Casa Vogue Brazil』2007.5 / Casa Vogue Brazil(Brazil)
    「M3・KG」
  540. 『CONFORT』2007.4 / Kenchiku Shiryo Kenkyusha Co.,Ltd.(Japan)
    「M3・KG」
  541. 『Tokyo shinbun』2007.3.19 / Tyunichi shinbun(Japan)
  542. 『Nikkei Architecture』2007.1.8 / Nikkei Business Publications,Inc.(Japan)
    「Archilab 2006 japon」
  543. 『http://www.europaconcorsi.com/db/arch/portfolio.php?id=59575』2007.1 / europaconcorsi
    「XXXX」「LIGHT-LIGHT SHELTER」「M3・KG」
  544. 『JT』2007.1 / Shinkenchiku-sha(Japan)
    「NARAYA plate・OKINAWA FOOTBALL GUSUKU」
  545. 『JA 64」 YEARBOOK2006 2007.1 / Shinkenchiku-sha(Japan)
    「M3・KG」
  546. 『Esquire』2006.12 / Esquire Magazine Japan(Japan)
    「M3・KG」
  547. 『Shinkenchiku』2006.12 / Shinkenchiku-sha(Japan)
    「Archilab 2006 japon」
  548. 『Yuruyakani Tsunagaru Syakai』2006.11 / The Kensetsutsushin shinbun Corporation(Japan)
    「Gothic on the Shore」
  549. 『arhitectura』2006.11 / arhitectura(Romania)
    「Romanian Biennale of architecture Bucharest 2006」
  550. 『AR』2006.11(Japan)
    「Archilab 2006 japon」
  551. 『BeauxArts』2006.11(France)
    「Archilab 2006 japon」
  552. 『Pen」 no.186 2006.11 / Hankyu Communications Co.,Ltd.(Japan)
    「M3・KG」
  553. 『tentations Liberation』2006.10.27(France)
    「Archilab 2006 japon」
  554. 『Le Monde』2006.10.24(France)
    「Archilab 2006 japon」
  555. 『Shinkenchiku』2006.11 / Shinkenchiku-sha(Japan)
     KOKUEIKAN PROJECT final25
  556. 『Archilab japon』2006.10 / Archilab(France)
    「Archilab 2006 japon」
  557. 『JAPAN: The New Mix』2006.10 / Graphic-sha Publishing Co.,Ltd.(Japan)
  558. 『SD Review 25years 1982-2005』2006.10 / Kajima Institute Publishing Co.,Ltd.(Japan)
  559. 『JT』2006.10 / Shinkenchiku-sha(Japan)
  560. 『Estimation Pocket Book Shop Design Handbook2007』2006.10 / Kenchiku Shiryo Kenkyusha Co.,Ltd.(Japan)
    「LIGHT-LIGHT SHELTER」
  561. 『Heisei「Keizai Kakusa Syakai』2006.10 / Kodansha Ltd.(Japan)
  562. 『Nikkei Architecture』2006.9.25 / Nikkei Business Publications,Inc.inc(Japan)
    「Secondary Landscape」
  563. 『Casa BRUTUS』2006.9 / Magazine House(Japan)
  564. 『Memo』2006.9 / World Photo Press(Japan)
    「Secondary Landscape」
  565. 『The Ryukyu Shimpo』2006.8.29 / The Ryukyu Shimpo(Japan)
    「FC Ryukyu Stadium」
  566. 『Okinawa Times』2006.8.29 / Okinawa Times(Japan)
    「FC Ryukyu Stadium」
  567. 『JT』2006.8 / Shinkenchiku-sha(Japan)
    「M3・KG」
  568. 『GA Houses 94』2006.7 / A.D.A.EDITA Tokyo(Japan)
    「M3・KG」
  569. 『Nikkei Architecture』2006.7.10 / Nikkei Business Publications,Inc.(Japan)
  570. 『Inu to Kurasu I.vol.1』2006.7 / World Photo Press(Japan)
  571. 『Nikkei Architecture』2006.4.10 / Nikkei Business Publications,Inc.(Japan)
    「Secondary Landscape」
  572. 『Shoten Kenchiku』2006.4 / Shoten Kenchiku-sha Publishing Co.,Ltd.(Japan)
    「Secondary Landscape」
  573. 『Nikkei Architecture』2006.3.19 / Nikkei Business Publications,Inc.(Japan)
    「Secondary Landscape」
  574. 『Asahi shinbun』2006.3.10 / The Asahi shinbun Company(Japan)
  575. 『Casa BRUTUS』2006.2 / Magazine House(Japan)
  576. 『Nikkei Architecture』2006.1.9 / Nikkei Business Publications,Inc.(Japan)
  577. 『GA Japan 77』2005.11 / A.D.A.EDITA Tokyo(Japan)
  578. 『Asahi shinbun』2005.11.23 / The Asahi shinbun Company(Japan)
  579. 『The Kensetsutsushin shinbun』2005.6.23 / The Kensetsutsushin shinbun Corporation(Japan)
    「Gothic on the Shore」
  580. 『Brain』2005.6 / Sendenkaigi(Japan)
    「ONE TEN GALLERY TALK」
  581. 『GA Houses 86』2005.3 / A.D.A.EDITA Tokyo(Japan)
    「Gothic on the Shore」
  582. 『Modern Living』2005.1 / Hachette Fujingaho(Japan)
    「XXXX」
  583. 『Atarashii Sumai no Sekkei』2004.12 / Fusosha(Japan)
    「XXXX」
  584. 『Kenchiku Gijutsu』2004.12 / Kenchiku Gijutsu(Japan)
    「XXXX」
  585. 『GA Japan 71』2004.11 / A.D.A.EDITA Tokyo(Japan)
    「LIGHT-LIGHT SHELTER」
  586. 『Shinkenchiku』2004.11 / Shinkenchiku-sha(Japan)
    「LIGHT-LIGHT SHELTER」
  587. 『LiVES vol.17』2004.10 / daiichi progress(Japan)
    「Secondary Landscape」
  588. 『pulsing vol.12』2004.9 / Plusing Press(Japan)
    「Secondary Landscape」
  589. 『Kateigaho2004.8』2004.8 / Sekai Bunka Publishing,Inc.(Japan)
    「XXXX」
  590. 『Shinkenchiku』2004.8 / Shinkenchiku-sha(Japan)
    「V-cabinet」
  591. 『Shinkenchiku』2004.8 / Shinkenchiku-sha(Japan)
    「Secondary Landscape」
  592. 『RYUSEI no.530』2004.6 / Ryusei-ha School(Japan)
    「XXXX」
  593. 『QUADERNS no.242』2004.6 / Collegi d'Arquitectes de Catalunya(Spain)
    「HEBI」
  594. 『LiVES vol.15』2004.6 / daiichi progress(Japan)
    「Machida house project」
  595. 『Modern Living no.154』2004.5 / Hachette Fujingaho(Japan)
    「XXXX」
  596. 『LiVES vol.14』2004.4 / daiichi progress(Japan)
    「Machida house project」
  597. 『Nikkei Architecture』2004.3.22 / Nikkei Business Publications,Inc.(Japan)
    「XXXX」
  598. 『GA Japan 67』2004.3 / A.D.A.EDITA Tokyo(Japan)
    「XXXX」
  599. 『Shinkenchiku』2004.3 / Shinkenchiku-sha(Japan)
    「XXXX」
  600. 『LiVES vol.13』2004.2 / daiichi progress (Japan)
    「Machida house project」
  601. 『INTERIORS no.209』2004.2 / INTERIORS(Korea)
    「XXXX」
  602. 『JAPANESE DESIGN』2004 / daab(Germany)
    「XXXX」
  603. 『SD-Review』2003.12 / Kajima Institute Publishing Co.,Ltd.(Japan)
    「XXXX」Grand Prix(Kajima Award)
  604. 『BT』2003.3 / Bijutsu shuppansha,Ltd.(Japan)
    「EMOTIONAL SITE」
  605. 『EMOTIONAL SITE』2003.3(Japan)
    「SITE TOUR/SITE CAFE」
  606. 『Amics』2001~2002 / Associacio Japonesa d'Amistat amb Catalanya(Japan)
    「NIHONKATARANA」
  607. 『Amics』2001~2002 / Associacio Japonesa d'Amistat amb Catalanya(Japan)
    「KATARANAKATACHI」
  608. 『confort』2001.2 / Kenchiku Shiryo Kenkyusha Co.,Ltd.(Japan)
    「Bubble House」
  609. 『SD-Review』2000.12 / Kajima Institute Publishing Co.,Ltd.(Japan)
    「@/SCAPE」 Merit Award
  610. 『Shinkenchiku』1999.10 / Shinkenchiku-sha(Japan)
    「Kid Play Campus」
  611. 『AXIS vol.79』1999.6 / Axis(Japan)
     Exhibition of Diploma Projects
  612. 『Nikkei Architecture』1998.2 / Nikkei Business Publications,Inc.(Japan)
     Report of Solo Exhibition
  613. 『compe&contest no.52』1997.5 / GALLERY・MA(Japan)
    「basket house」The Second Living Design Competition 2nd Prize

Information
Exhibition

2018 
AIJ, "Sakuhin-Sensho", 「House toward Tateyama」 
2018 
50th Anniversary exhibition : “House of Artists.” 「CLT House」「Stand up, Pen!」 
2017 
Archi-Neering Design 2017 「Chiryu Afterschool」
2017 
GOOD DESIGN EXHIBITION 2017 「Chiryu Afterschool」
2017 
Green Initiative Week in Indonesia – Joint Program on Green City and Architecture with South East Asian Countries 「Roadside Statation Mashiko」
2017 
Policy Forum on Urban Growth and Conservation -in Euro-Asian Corridor / the Silk Road- 「Roadside Statation Mashiko」
2017 
Woodrise Bordeaux 2017, 「House toward Tateyama」 
2017 
Centre Pompidou-Metz, Japan-ness. Architecture and urbanism in Japan since 1945, 「XXXX House」 
2017 
taimatz, A&A, 「Okayama A&A Project」 
2017 
AIJ, "Sakuhin-Sensho", 「Shore House」 
2017 
Gallery YAMI, the future of Harmonica Yokocho, 「Never Ending "on-site"」
2017 
GA HOUSES PROJECTS 2017 「Miura」
2017 
Japon, l'archipel de la maison「Rainy/Sunny」
2016 
Museum "Kenchiku Soko", 「Roadside Statation Mashiko」「Chiryu Afterschool」
2016 
OKAYAMA ART SUMMIT 2016 
2016 
Locus Design Forum, [書・築]Exhibition 
2016 
Museum "Kenchiku Soko", 「XXXX」「House toward Tateyama」 
2015 
IRAN-JAPAN Contemporary Architecture Exhibition 「seto」 
2015 
Milan Triennale, "ARCHI DEPOT TOKYO", 「XXXX」「Hill House」「Log H」「Roadside Statation Mashiko (tentative)」 
2015 
Museum "Kenchiku Soko" Pre-event「XXXX」 
2015 
GA HOUSES PROJECTS 2015 「Hill House」 
2015 
Regionally Oriented Architectural Design Exhibition, Tohoku Institute of Technology, Japan 「Tree House」 
2014 
Ejp, Daikanyama T-SITE Garden Gallery, Tokyo 「KIRIHAKO」「Stand Up, Pen!」 
2014 
TOKYO DESIGNERS WEEK 2014 Architectural Model & Project Proposal 
2014 
El Cami de Tohoku -natura, tradicio i innovacio, Barcelona, Spain 
2014 
GA HOUSES PROJECTS 2014「House toward Tateyama」 
2014 
KAGUTEN 「Log H」 
2013 
16th DOMANI Exhibition 「Log H」 
2013 
SACLAB Exhibition 「-2.6°C」 
2013 
「EAST-EAST4」, Kaunas, Lithuania 
2013 
AGC Studio Exhibition no.08 「Harmonica Yokocho Mitaka」 
2013 
Architecture and Urban Design after 3.11 Traveling Exhibition, Palais des congres de Royan, France 
2013 
GA HOUSES PROJECTS 2013 「Log H」 
2012 
KAGUTEN 「V cabinet」 
2012 
Trailer ZEN Film Festival 「KIRIHAKO」「Stand Up, Pen!」 
2012 
JFW-IFF 2012 「KIRIHAKO」「Stand Up, Pen!」 
2012 
Moscow Biennale of Architecture, Moscow, Russia 
2012 
Cool Japan WAO 「KIRIHAKO」 
2012 
Herman Miller Store Tokyo "After One Year" 「KIRIHAKO」 
2012 
Ville et Architecture apres 11 mars , Paris, France 
 
※traveling in Paris, Busan, Moscow, Jeju, Seoul、Almenia, Yeosu, Rome, Hong-Kong, Beijing, Koln, Budapest, Chongqing, Munich, Boston, Oaxaca(Mexico), Jerusalem, Mexico City, Barcelona, Monterrey, Madrid 
2012 
Design Week in Sendai, Japan 
2012 
RESET 11.03.11 #New Paradigms, Barcelona, Spain 
2012 
GA HOUSES PROJECTS 2012「SHIFT」 
2011 
Casa Brutus Lounge at Mori Museum, Tokyo 
2011 
Boom SP Design 2011 RESET 11.03.11 #New Paradigms, Rio Preto, Brasil 
2011 
AR House Exhibition 2011, Basel, Switzerland 「near house」 
2011 
Young Architects Plaza #2, Orie Gallery 
2011 
AR House Exhibition 2011, London, UK 「near house」 
2011 
Boom SP Design 2011 RESET 11.03.11 #New Paradigms, Sao Paulo, Brasil 
2011 
Little Tokyo Design Week 2011, LA, USA 「Rainy/Sunny」 
2011 
Hearts Towada Exhibition「XXXX」 
2011 
GA HOUSES PROJECTS 2011 「house in Southampton」 
2009 
Experimenta ,Lisbon ,Portugal 
2009 
Dentelles d'architecture euralille, Lille,France 
2009 
Exhibition of Japanese Contemporary Architecture "(IN)VISIBLE PROCESS - Lisbon 2009",Portugal 
2009 
KANAME EXHIBITION「Gold Titanium」  
2008 
CAUE 92, Paris, France 
2008 
Design Miami/Basel, Basel, Switzerland 
2008 
Towada Art Center 「in flakes」 
2007 
The Barbara Cappochin Prize for Architecture, Italy 「XXXX」 
2007 
Lisbon Architecture Triennale 2007, Returnee Exhibition(OZONE) 
2007 
Lisbon Architecture Triennale 2007, Portugal 
2006 
ARCHITECTURE BIENNIAL BUCHAREST 2006, Rumania 
2006 
archilab 2006 Japon, France 
2006 
SD Review 25th Anniversary Exhibition 
2005 
One-Ten Gallery 
2005 
GA HOUSES PROJECTS 2005 「Gothic on the Shore」 
2004 
American Wood Design Award 2004 Exhibition 
2003 
SD Review 2003 Exhibition, Osaka 
2003 
SD Review 2003 Exhibition, Tokyo 
2002 
World Exhibition "Architecture for Humanity" 
2002 
Emotional Site Exhibition 
2002 
Aomori Contemporary Art Center Artist-in-Residence Program 2002, Invited Artist 
2001 
Tokyo Designer's Block 2001 Exhibition 
2000 
Tokyo Designer's Block 2000 Exhibition 
2000 
SD Review 2000 Exhibition, Osaka 
2000 
SD Review 2000 Exhibition, Tokyo 
1998 
Basket House Project at Ozone Gallery 
1996 
Et in terra pax Stage Design & Lighting for Dance Performance 

Information
Company

MOUNT FUJI ARCHITECTS STUDIO

Tokyo Metropolitan Regristration Number :55566

>Detail

Business
WE ARE ALWAYS READY FOR FOREIGN PROJECT.

languages: ENGLISH ESPANOL

1.Architectural Design & Management
Commercial(Shop・Restaurant・Office・Hotel)
Housing(Private Residence・Villa・Collective Housing)
Culture(Museum・Hall・Martial Arts Center)
Education(School)
Health/Welfare(Hospital・Care Center)
Manufacturing(Factory・Storage・Solar power plant)

2 Landscape Design & Planning
Park・Plaza・Promenade
School Route

3 Regional Analysis & Planning
Urban Planning(Ground Design・Master Plan)
Regional Promotion

4 Interior Design & Management

5 Furniture Design

6 Publication Concerning Architecture

7 All business that accompanies each paragraph the former





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Address: Akasaka heights 501, 9-5-26 Akasaka,Minato-ku,Tokyo 107-0052
Tel +81-(0)3-3475-1800
Mail: info@fuji-studio.jp
Web: http://www.fuji-studio.jp

Information
Workflow


under construction


Information
Recruit

[Architectural Design Staff]

MOUNT FUJI ARCHITECTS STUDIO is recruiting new staff.
Please send a curriculum vitae and portfolio to our Office.
However we would not return the application documents to the applicants.
We are replying only who passed the documentary screening


[Internship]

MOUNT FUJI ARCHITECTS STUDIO do an internship.
If you participate in it, please send a curriculum vitae and portfolio (PDF data) to our e-mail address.


Akasaka heights 501, 9-5-26 Akasaka,Minato-ku,Tokyo 107-0052
tel: +81-(0)3-3475-1800
mail: info@fuji-studio.jp

Chiryu Afterschool


Terakoya for Natural Science
Chiryu city in Aichi Prefecture was the 39th of the Fifty-three post-towns of Tokaido.
The site is along the old Tokaido Street where Honjin (officially appointed inn) was once positioned. It is fair to say that it is the center of the town in terms of local history. Based on such historical importance, a Chiryu-based global robot manufacturing company decided to purchase this ownerless land and make a facility for regional contribution.
The program is a complex of an afterschool(=Terakoya) that teaches natural science through scientific experiments in English, as well as a cafe with kitchen studio in which local people, especially mothers, are able to gather and relax. The client had an intention of displaying the way to internationally succeed through the skills of natural science to the local children, as their company has been achieving.
To match the ambition, we built two pillars: one was to inherit historic context respecting the history of the site, while the other was to conform to the natural science on the ground of science experiment and robot technology background of the client.

Connect with local history
There are many remaining shrines and temples facing to the old Tokaido that create the calm neighborhood nearby. All of their layouts obey the following order: low-eaved gate facing the street, precinct which also works as a public space, and then large-eaved main building in the back. Following this, the gate part that houses a cafe and a staff room was positioned to face the street, then the hall that corresponds to a precinct, extending to the adjacent park (and the landscape of the big tree) and the large space housing classrooms in the back. It is very common that when visiting an old shrine, the line of sight would be smoothly led to sky through a big curved roof of the main temple after walking through the low gate into the precinct. Such experience is also reintroduced by reversing the spatial configuration of the roof to the ceiling warping upward. Moreover, the higher roof of the main volume can be seen beyond the one of low-rafter eave from the old Tokaido: it is the exact appearance of local temples.

Following the principle of natural science
On the other hand, the existence of this architecture is realized by the shape of the catenary curve defined by gravity - the most fundamental element in natural science. The tender roof like a timber cloth, which is supported by two parallel steel Torii-gate-shaped frames, covers the whole space creating architecture for children gently. This timber fabric was weaved with warp of short laminated European Red Pine sticks (Length: 1500mm, Width: 105mm) and woof of two steel rods(φ22mm) perforating them. Only tension occurs within the structure due to the property of the catenary curve, so this gentle and soft wooden roof frame enables to cover a large-span (up to 20m) pillarless space.

Simple principle, diverse phenomenon
The completed building acquires gentle atmosphere when looking from the old Tokaido, building up a peaceful historical street view together with the shrines and temples nearby. Meanwhile, it appears to be a pure geometric volume when looking from the adjacent park, displaying the principle of natural science that could be easily learnt by children. Furthermore, when entering the interior, there is a tender and relaxed space for the children just like under a sheet. This kind of diverse phenomenon of architecture is not a collection of independent elements, but is developed by one simple principle. We believe it would be able to get a timeless and universal strength by opening toward the regional diversity while still holding an intact principle as a backbone.



『Shinkenchiku』2016.11/Shinkenchiku-sha

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data:
主要用途:アフタースクール、地域コミュニティセンター(カフェ+ホール)
敷地面積:997.76m2
建築面積:536.80m2
延床面積:744.70m2
階数:地上2階
構造:鉄骨造(一部木造)
設計期間:2014年6月~2015年3月
工事期間:2015年6月~2016年7月

principal use:Afterschool, local community center(cafe+hall)
site area:997.76m2
building area:536.80m2
total floor area:744.70m2
number of stories:2 story
structure:steel frame, partly wood frame
design:2014.6 - 2015.3
construction:2015.6 - 2016.7

photo credit:
Mitsumasa Fujitsuka / 藤塚 光政
MOUNT FUJI ARCHITECTS STUDIO

>>Article

House toward Tateyama



The site, which overlooks the rice fields and the Tateyama peaks, is located in Toyama Prefecture of the Hokuriku region.
Here, the client wanted to build a house for a family of four.
We searched for a composition that integrates spaces with two distinct qualities: one that is free and expansive, and opens toward the rich environment; and another that is enclosed to nurture intimate relationships between the family members.
The idea was achieved by placing a wooden, introverted space of a moderate scale over a RC structure that was arranged discretely to freely extend toward the rich surroundings. The resultant composition integrates two separate systems with different baselines over a single plane. The baseline, therefore, does not continue throughout the plan, creating a design which would have been impossible to achieve in the past. However, this forces the upper and lower spaces to cross over each other, causing multiple connections and light interferences, and breathing life into the house as a dynamic phenomenon.
In terms of construction, “liberation from the baseline” is made possible by the large-section laminated timber with 2,100 mm height that holds the upper wooden structure. This gigantic vertical section achieves enough flexural strength to secure the entire floor height at once. Furthermore, it provides enough vertical stance and forms a perfect wooden rigid joint in this direction, making it possible to easily support the structurally “illogical” problems caused as a result of having different baseline on the top and bottom layers.
Although I just wrote “illogical”, when I look at the surrounding environment, there aren’t many examples of purely logical structures (setting principle aside). The peaks of Tateyama, for example, have rocks that overhang in one place and soar in another, which is a form of nature created by having enough quantities of matter. The interest generated by generous wood or concrete mass that exist freely and independently from the baseline is similar to the one we feel when we observe the peaks of Tateyama.
Until now, the baseline had been an absolute limitation in architecture. By liberating architecture from the baseline, we shall see it advance into a new phase, both in terms of space and existence.



『GA HOUSES 149』2016.9/A.D.A.EDITA Tokyo

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data:
主要用途:個人住宅
敷地面積:1467.51m2
建築面積:243.98m2
延床面積:192.91m2
階数:地上1階
構造:RC造(一部木造)
設計期間:2012年9月~2013年11月
工事期間:2015年9月~2016年7月

principal use:private residence
site area:1467.51m2
building area:243.98m2
total floor area:192.91m2
number of stories:1 story
structure:reinforced concrete. partly wood frame
design:2012.9 - 2013.11
construction:2015.9 - 2016.7

photo credit:
Ryota Atarashi / 新 良太

>>Article

KASA


Generous form of ‘an umbrella’
The site locates deep inside a small residential area within Tokai region. There is a forest park consisting of deciduous broad-leaved trees that easily exceed 20m tall behind the site, and a sun garden tended with care for a long time on the south. The neighborhood that has last for over 40 years cultivates a relaxing human relation. People don’t need to lock their houses; abandoned old house and its garden are used for hangout of housewives. Instead of standing opposite to each other, peaceful nature and the small society are combined together. There comes a fabric of organic relationship bringing out space for fertile life, or saying local culture.
When a rebuilding project was scheduled here, a typical form of a house -- with clear distinction between inside and outside by walls, was not seemed suitable for this place. However, in terms of psychology, ‘house’ without unity and centrality did not work for the client’s family of 3 generations either.
So the solution was the form of ‘an umbrella’.
The form of ‘the hanging roof’ with one center column supporting a spindle shaped roof enabled peripheral wall to stand free from structure because they no longer needed to bear compressive force(a little tensile force endured to prevent falling down.) This was convenient to set up ‘boundaries’ corresponding to diverse relationships among the surroundings. The shape of space whose center located the highest, and the existence of the central column would provide unity and warmth in daily life in this house.
In concrete, the timber square-shape hanging roof with a central column was stretched east and west along the shape of the site. In addition, the central column was offset east of geometrical center to create a ‘gentle-slope deck on the roof like a hill’ facing the western forest. The hanging roof was located on the axis of the neighborhood, and peripheral walls under the roof were rotated by ‘9 degrees’ from the roof in accordance with the forest and the sunlight. This degree allowed a wide entrance porch under eave as well as a sunny ‘engawa(veranda)’ that directly connected the eastern residential area to the western forest park, by which continuity of the neighborhood became stronger. Besides, hanging roof structure ensured 18m-wide continuous windows and 3m-wide cantilever along the south border beside the spacious veranda.
We put an umbrella on the gentle climate of Tokai region. The opened umbrella will fluctuate gently due to the environmental condition. People would gather under it naturally, and correspondingly live a relaxing life. The architect, who is the eldest son of the client and lives in Tokyo, is imagining such promising future.



『JT』2016.7/Shinkenchiku-sha

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data:
主要用途:個人住宅
敷地面積:499.96m2
建築面積:160.29m2
延床面積:231.18m2
階数:地上2階
構造:木造
設計期間:2014年5月~2015年2月
工事期間:2015年3月~2016年4月

principal use:private residence
site area:499.96m2
building area:160.29m2
total floor area:231.18m2
number of stories:2 stories
structure:wood frame
design:2014.5 - 2015.2
construction:2015.3 - 2016.4

photo credit:
Mitsumasa Fujitsuka / 藤塚 光政

>>Article

Roadside Station Mashiko


Architecture of Scenery
Mashiko in Tochigi is well-known for the Mingei (folk crafts) movement, especially ceramic art. We had visited its southern region for countless times in order to propose a roadside station. The site was surrounded by expansive rurality and farming fields, behind which the serene hills enclosed and differentiated the world from the others.
As a local promotion facility, the roadside station should clearly express the regional attractiveness to outsiders while functioning as a kind of local symbol that could also identify local people. Our main idea was to design a building out of what had come into eyes there. So what we were looking for was the one in which formation (form) and material (substance) were all discovered from the scenery to establish locality.

The design was coordinated and comprehended through the roof structure covering the whole space, Doma (earth floor), and walls connected with earth.
Firstly, the roofscape came from the landscape of the surrounding mountains. Its slope followed the ridges of the local mountains. There were three rows of roofs fluctuating with phase difference to prevent its being a planar background while ensuring a sense of spaciousness.
The rhythm of fluctuation and texture took after the local mountains defining the shape of the roof. Besides, the material applied that enabled the roof structure of which largest span could approach 32m was also a local wood, named as Yamizo cedar, processed by local laminated timber factory.

On the other hand, the lower part of each walls existed as a continuity of the very earth. Like just rising from the Doma, the trapezoidal walls were purely plastered with on-site soil. Through its massiveness like the sumo ring, it embodied the town's slogan, namely 'hospitality of the soil', showing that Mashiko was characterized by 'blessings from the soil' such as pottery and agricultural products.
The interior was defined by the timber structure in line with the mountainous rhythm and the supporting walls that were arranged discretely in order to properly divide the space. The sequence resembling a stroll to the folds of the mountains nearby, which was created by the changes in the size of spaces, and natural light brought down by the clerestories born from the roof phase difference, produced non-homogenous encounters with products.

Furthermore, the big openings on the gable connected the interior space with the fields and mountains that stretched in front of them, which built up a direct relation between the food being tasted and the visual scenery.
Such architecture extended and undoubtedly further purified the land scenery in both symbolic and experiential terms. Similar to ceramic art, perhaps it was a result brought by the secondary nature recreated through people’s interpretation of that land scenery.
The architecture made from scenery while creating scenery was exactly what we pursued. 



『Shinkenchiku』2016.12/Shinkenchiku-sha

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data:
主要用途:道の駅
敷地面積:18011.88m2
建築面積:1595.26m2
延床面積:1328.84m2
階数:地上1階
構造:RC造(一部木造)
設計期間:2013年8月~2015年8月
工事期間:2015年9月~2016年9月

principal use:Roadside Station
site area:18011.88m2
building area:1595.26m2
total floor area:1328.84m2
number of stories:1 story
structure:reinforced concrete, partly wood frame
design:2013.8 - 2015.8
construction:2015.9 - 2016.9

photo credit:
Mitsumasa Fujitsuka / 藤塚 光政

>>Article

House in Araiyakushi


Embrace aspects of the city directly
The surrounding of the site is a dense area of dwellings and commercial buildings. There are many land allotments before the war. The client’s request was a home office for a family consisting of 3 generations. The city has existed for a long time, and there is no clear urban axis. The existing houses crowded together with diversity in type of structure, scale, and use. Without planning, they developed in chaos but converge at characteristic and interesting balanced state, which seems to show us very Japanese aspects of cities.
Classically, monolithic ‘plus’ volume was usually built as a symbol of order to contrast a disorderly site background like this. However, it would just come down to one factor of dis-order, and discard the benefit of the city’s characteristics as well. Thus, we believed it is better to embrace dis-order as aspects of the cities positively and then convert it into a new quality of architecture.
This housing, functioning as office and residence for 3 generations, indeed possessed a certain volume. But instead of squeezing it as a square volume into the existing city, we decided to rather ‘infiltrate’ it through urban elements such as neighborhood, streets, existing trees, garden-stones, old well, shrine, etc. As a result, the outline became a complicated ameba-shape having several folds, which remained the aspects of the city. For uneven ‘human lives’, it can be also read as preferable ‘topography’.
In order to convert such urban topography into ‘the place of human’, the only architectural process, if it’s appropriate to say, was ‘a rectangle courtyard’ that located as a ‘minus’ architecture volume in the center of the complicated plan. It of course allowed comfortable lighting and ventilation while several folds were used as characteristic rooms suitable for various lives. In addition, a decent distance and space were secured among each family. Although parents and children were independent households, they were also integrated by inner ‘order’, namely the rectangular courtyard as well as the climbing beams sloping towards that courtyard with the same gradient.
By looking back what we had done, we found that it might just simplify a normal and prolix process -- placing ‘a simple architecture’ in ‘a diverse city’ and then create ‘residential diversity‘ inside -- into directly grasping ‘a diverse city’ as ‘residential diversity’. It might also reverse the way of architecture, the unlimited ‘ordering’ of cities by connecting city and individual life through reversing the inside and outside of architecture imitating the inward outside, the courtyard.
In any case, I believe ‘the future’ of architecture, which starts from ‘the end’ of urbanization, is very interesting.



『JT』2016.1/Shinkenchiku-sha



Order infiltrating into the city / construction method without outline
For a long time, ‘order’ has been close to the center of my interest.
Clear ‘order’ established by social cooperation is essential to materialize the existence of extremely plural architecture, which is able to secure scientific rationality (i.e. structure, construction, material, energy,) as well as correspond with sociological rationality (i.e. economy, law, custom, historical culture). However, the world is a dynamic environment where all matters of universal nature continue to originate in. Although it is perfect at some point, static order could fail to function due to its completeness. From what I understand, the ‘coolness’ quality of completed order results from its fundamental character conflicting with us who are actually dynamic existence.
Nevertheless, as I said, it is nonsense to take ‘disorder’. Only does the support from complicated and incomplete order enable possibility of architecture in disorder ‘style’. What I desire is the order that has not been completed. We call it ‘open order’ or ‘flexible order’. It is the order, which will not lose its integrity that endures temporal changes and allows new participation from the outside.

One thing that I use as a model is order of creatures. It is a dynamic order keeping its integrity as an organism while still embracing usual changes of external environment and time. It is simple and efficient rather than conspicuously weird. For example, a kind of plants spreads its branches and leaves at every 144 degrees (called ‘phyllotaxis’) in order to prevent overlapping and therefore catch more sunlight.
By using such ‘open order’, I would like to realize architecture for the living world.



『JT』2015.1/Shinkenchiku-sha

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data:
主要用途:個人住宅
敷地面積:755.61m2
建築面積:289.34m2
延床面積:333.96m2
階数:地上2階
構造:木造 (一部RC造)
設計期間:2013年6月~2014年6月
工事期間:2014年7月~2015年6月

principal use:private residence
site area:755.61m2
building area:289.34m2
total floor area:333.96m2
number of stories:2 stories
structure:wood frame, partly reinforced concrete
design:2013.6 - 2014.6
construction:2014.7 - 2015.6

photo credit:
Toshiyuki Yano / 矢野 紀行

>>Article

YUI BOX


Design for "1g"
Materialization is the process that translates metaphysical geometry into physical existence. It is perhaps a common sense in architectural design that when physical materials and abstract geometry approach ultimate balance, the in-between ambiguity will generate aesthetics of strength. Rather than appreciating specific decorativeness, “Shihara” is the jewelry brand whose concept focuses on the ongoing “strength” within jewelry that is identical to architecture aesthetic mentioned above.
The certain demanded quality of materialization of Platonic geometry is, for instance, equivalent to that“1g”real gold in the pair of regular-tetrahedral earrings, the brand’s representative work. The essence of such “1g” is the pure geometry revealed. Meanwhile, the stretching “transparent tension” is also what is ought to be displayed here.
All we pushed in the design was just placing a “right angle”, the most fundamental element of Platonic geometry inside the rough-concrete volume where finishing was completely eliminated. This “right angel” consists of 100mm-thick showcase and full-length one-way mirror. The showcase seems to be doubled in length through the reflection of the mirror. Its back was a white surface coated with sheet of steel where extremely thin shelf board of 0.55-mm-thick tempered glass cantilevered and was fixed by magnetic force. The magnetic fixation method that utilizes lightness of jewelry is for the sake of free display layout. Besides, the frameless door appeared to be float in the mid-air without massiveness as the highly transparent tempered glass was held by stick hinge cantilevering from the floor.
The above design operation was exerted for minimization of mass and induction of an environment with pure geometry balance. Consequently, the space was fulfilled with “transparent tension” which had the same quality with jewelry of “1g”. We considered whether Shihara’s shop environment realized the overlap of metaphysical and physical world.


『Shoten Kenchiku』2015.8/Shoten Kenchiku-sha publishing Co,Ltd

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data:
主要用途:ジュエリーショップ
敷地面積:-
建築面積:-
延床面積:20.9m2
階数:地上1階
構造:-
設計期間:2014年9月~2014年11月
工事期間:2014年11月~2014年12月

principal use:jewelry shop
site area:-
building area:-
total floor area:20.9m2
number of stories:1 story
structure:-
design:2014.9 - 2014.11
construction:2014.11 - 2014.12

photo credit:
Daisuke Ito / 伊藤 大介
MOUNT FUJI ARCHITECTS STUDIO

>>Article

Hill House


The site is located halfway up a hill that gently rises from the seaside.
On the south a horizon extends beyond the Pacific, on the west a range of peninsulas can be viewed, on the north foliage of countryside forest surrounds the plot, and on the east about two hundred years old broadleaf trees spread their canopies as if covering the half of the site.
Since four sides respectively have its distinctive scenery, it is not suitable to set "front/back" to architecture as typically done.
Instead, a form that enables "all four side front" was to be sought.
Two large laminated lumber of a large section with 2,200 millimeters high beam, assembled in complete point symmetrical four square frames, were made. Middle points of each side of the beam are sandwiched with combined columns made of natural woods.
Then, they are raised up in the air at 2,200 millimeters gap, which is same as the beam height, so as to create a watchtower-like structure that its spatial corners are fully open to the outer environment.
In addition, the frame body of 2,200 millimeters high beams, which should be named walls rather than beam members, includes space by becoming a kind of space frame.
Whether to add it to the upper layer or the lower layer is arbitrary. That is, a minimum three-dimensional matrix, whose all sides respectively have two digits, is composed. Making the most of it, slabs of each square were placed either at the upper or the lower edge of beams, and so the height of ceiling and the eye level or a way to enclose the space and shading were manipulated. Thus, we intended to transform the existing abundant natural environment to a cozy living milieu.
Nonetheless, my interest resides in the fact that architecture as a structural being is composed of a complete symmetrical order, setting aside the freeness of response to the surrounding environment of this spatial composition.
An order independently stands in the flux of nature that variously alters. Completed and became a part of the world's existence, I feel that to-be-generated wave or whirl of the surrounding of the setting is the subject of design.


「GA houses 141」 2015.3/A.D.A.EDITA Tokyo

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data:
主要用途:個人住宅
敷地面積:826.23m2
建築面積:90.27m2
延床面積:275.85m2 階数:地上3階
構造:木造

principal use:Culture Center
site area:826.23m2
building area:90.27m2
total floor area:275.85m2 number of stories:3 stories
structure:wood frame

photo credit:
MOUNT FUJI ARCHITECTS STUDIO

>>Article

Mount Fuji World Heritage Center






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data:
主要用途:文化施設
敷地面積:7000m2
建築面積:4200m2
階数:地下1階 地上2階
構造:鉄骨造(一部木造)

principal use:Culture Center
site area:7000m2
building area:4200m2
number of stories:2 stories + 1 basement
structure:steel frame, partly wood frame

photo credit:
MOUNT FUJI ARCHITECTS STUDIO

>>Article

Log H


A log house of steel
My interest lies in the 'shinkabe' (plastered wall with exposed timber pillars) rather than the 'ookabe' (wall where pillars are plastered over), and in what follows beyond.
Whereas 'ookabe', a plain surface that hides its framework inside, accentuates 'spatiality' by reducing itself as a presence that only shows the 'side' of a space, 'shinkabe' not only points to the space as a 'side' but also adds to the living environment the 'locality' that well-constructed material things radiate around by exposing architectural framework on its surface.
Another type of wall that goes beyond 'shinkabe' is the 'log house/azekura',generating an even stronger locality. As the name suggests, the log house's wall surface is made up exclusively of 'round timber (=Log)', the structure material, whose strong physicality generates an intense locality. The log wall, devoid of plain surface as a 'side', places it self at the exact opposite of 'ookabe' which expresses nothing but a pure 'space', and maybe is a presence expressing a pure 'location' - with 'shinkabe' placed somewhere in between.
We chose this 'log house' style when it came for us to design a house for a couple on a site in a corner of very commonplace newly-developed housing lots in Metropolitan Tokyo. But here the log house is made of H-steel with a large section 700 x 350 x 16 x 25(mm) mostly used in construction of large scale buildings, in stead of round timber. H-steel's 'material properties' such as enormous weight and strength, mathematical regularity distinctive of roll-milled H-steel, and gentleness expressed in rounded corners, were assembled into a log house shape and intensified/amplified in an attempt to furnish a desirable 'locality' to a featureless,newly-developed residential area.
We expect that this intellectual yet gentle and strong locality will be one (or a 'seed' of locality) worthy of the new urban area that is different from the rugged, rustic locality of a regular log house that is an accumulation of round timbers.


『JT』2014.9/Shinkenchiku-sha

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data:
主要用途:個人住宅
敷地面積:85.07m2
建築面積:35.86m2
延床面積:97.27m2
階数:地上3階
構造:鉄骨造
設計期間:2012年10月~2013年6月
工事期間:2014年3月~2014年7月

principal use:private house
site area:85.07m2
building area:35.86m2
total floor area:97.27m2
number of stories:3 story
structure:steel frame
design:2012.10 - 2013.6
construction:2014.3 - 2014.7

photo credit:
Koji Fujii, Nacasa&Partners Inc / 藤井 浩司 (ナカサアンドパートナーズ)
MOUNT FUJI ARCHITECTS STUDIO

>>Article

Salon in Kazo


Two constructs, two compositions
The site locates in the suburb of Kita-Kanto with population around 100,000. It is 5 minutes’ walk away from the station and surrounded by low-rise shops, parking, and dispersed commercial buildings of 4 or 5 floors. An indeterminate scene of so-called suburban city spread under the clear blue sky which is unique to Kita-Kanto. The client who was born in this region was also a local beautician with the best reputation. He used to work in a tenant building, therefore we were asked to design an independent beauty salon which would house a better future and become a perpetual culture base within the region as well.

The requirements were explained in seemingly contradictory terms: “to be new yet keep perpetuation”, “to be closed to daily life scenes while open to the upper-level nature”.

The resolution we applied here is to conduct overlap between “two constructions” and “two compositions”. Usually one construction is used to realize a space. But this answer is not good enough for two paradox questions. Instead, as a response to that complexity, we doubled the construction and composition in the design and therefore raise up the number of relationships among them.

In concrete, we achieved new yet perpetual construction means by valuing the large-sectional laminated timber board whose size has been growing at an unprecedented pace these years following the trend of city’s increasing appetite for wood. As we have easy access to material longer than 2m and thicker than 200 mm for now, timber has been already beyond “linear material”. Considering the fact that ceiling height can be ensured by one single board, it may be the appropriate time for us to consider timber as a “planar material”, or “solid mass” like reinforced concrete wall. Accordingly, the timber walls we prepared were almost as thick as concrete ones and we equally treated both of them in the tectonic sense.
Firstly, two RC walls are placed around the site as the boundary to enclose an “Oku” (deep and far) space and keeps a decent distance from the extremely common scenery nearby. Then, several straight timber walls span 13m are casually laid upon the RC walls, by which the interior is overlapped by a bright and clear space open to the transparent light and air of Kita-Kanto area.
This is how a bright and self-controlled beauty salon environment would be “closed yet open”. Operations of both “construction” and “composition” are quite simple in fact. What grant the design some unique quality are the idea of “less intentions”, “diverse consequences” of overlap between 2 constructions and 2 compositions, and their ratio and assortment.
Neither am I interested in “composition” alone nor “construction” alone. It is “something” concluded by their overlap.


『SHINKENCHIKU』2014.3/Shinkenchiku-sha

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data:
主要用途:美容院
敷地面積:493.56m2
建築面積:204.48m2
延床面積:193.39m2
階数:地上1階
構造:RC造
設計期間:2013年2月~2013年6月
工事期間:2013年8月~2014年1月

principal use:Salon
site area:493.56m2
building area:204.48m2
total floor area:193.39m2
number of stories:1 story
structure:reinforced concrete
design:2013.2 - 2013.6
construction:2013.8 - 2014.1

photo credit:
Akinobu Kawabe/ 川辺 明伸

>>Article

THREE AOYAMA


The neutrality in the centre of Tokyo
Usually, commercial buildings are expressed in a way that is far from neutral. Because they are appointed as the spokesmen for the company’s products, therefore the design supposed to be hyperactive in order to stand out from competitors. Due to the mutual competition among neighbors, especially in the heart of dense commercial area, this “pressure” of design becomes so obvious that we nearly have to cover our ears to get rid of it. The residents of the city would probably like to protect themselves from such pressure they live with by squeezing or shutting down their senses unconsciously.

On the other hand, the client is a natural cosmetic brand who aims for non-artificial beauty achieved by the restoration of people’s vigor through physical and mental relaxation from various stress. The concept, which the client pursues, is “neutral”.

Accordingly, the motif of the project became the substantiation of a “neutral space” that was capable of leading its users to open their minds and hug the world.

First of all, we decided to use almost 30% area as a blank pocket park, or “unbuilt area”, which located in the corner of the site on the street in order to decrease the urban pressure. Then we oriented each shop facing that “urban blank” to acquire an environment which further stands back from the stress. The design, consisted of three floating L-shaped cement slabs, was extremely concise as well on the ground of our concerns to suppress the unnecessary “voice” of design.

In addition to the building, we also designed the internal spaces of three shops for the sake of their alignment with the concept. As an opposition to the superficial “loud” design, the full employment of “pure material” whose skin remains the same as its core was the way how we dealt with the interior. In concrete, what we used were “coral travertine” which also served as the ingredients for the brand’s products, “Hanchiku” made up of soil used to parent all the lives, and raw hunks of “Japanese Buna (Beech)” picturing an ever green forest. Besides, instead of ornamental finishing, it is large masses of these three materials that we used here as we attempted to reveal an abstruse and high-resolution world of nature rather than one full of superficial icons.

By reducing pressure of our design almost to zero, it became possible for us to feel this micro yet abundant world. And when we reviewed it at urban scale, we found that the neutral world functions much more effectively than any other loud designs within the overexcited surrounding context. We conceive that such “inversion” in commerce indicates the potential that city will develop in a promising direction from now on.


『Shoten Kenchiku』2013.12/Shoten Kenchiku-sha publishing Co,Ltd

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data:
主要用途:コスメティックショップ、
カフェ、スパ
敷地面積:434.37m2
建築面積:241.79m2
延床面積:691.95m2
階数:地上3階
構造:鉄骨造
設計期間:2012年12月~2013年8月
工事期間:2013年4月~2013年9月
業務:建築デザイン監修・内装設計監理

principal use:cosmetic shop, cafe, spa
site area:434.37m2
building area:241.79m2
total floor area:691.95m2
number of stories:3 story
structure:steel frame
design:2012.12 - 2013.8
construction:2013.4 - 2013.9<
scope of works:building design supervision・interior design & construction supervising

photo credit:
Takahiro Igarashi / 五十嵐 隆裕
MOUNT FUJI ARCHITECTS STUDIO

>>Article

Harmonica Yokocho Mitaka


In and Out of Intention
Frankly speaking, the very essence of architectural design is to put the world in order by “intention”.
It has nearly approached critical state to get rid of the chaos, illuminate the gloom, and bring out “the Radiant City” proposed by le Corbusier. This time, on the contrary, we look for something out of intention.
In this context, many university laboratories are studying “Black market”, the remained example of the unintended that developed naturally during post-war period. And now its value has been re-evaluated. However, Shimokitazawa’s black market was withdrawn recently. It is definitely not a secured prospect.
Instead of being retrospectively sentimental, the project this time aimed at connecting significance of Harmonica Yokocho in Kichijoji, the representative of black market, with the future.
What was requested here is “design without intention”, or saying an in-between state “ being designed as well as not designed” which seemed to be self-contradictory in terms of semantics.
To be specific, the attempt was to transform the previous Pachinko shop on the first floor of an office building into a “new black market” consisting of 7 restaurants.
What we applied here was the development of the technique “Tom and Jerry” tested in the project “Sagacho Archives” before.
Each tenant shop was the “Tom‘s space” finished with clear intention of design. They are organized by the unconscious “Jerry’s living place” fluid among where foundation was exposed.
Different from Sagacho Archive, the single Tom-Jerry relationship was pluralized and therefore probably diversified. By complicating it, living place of Jerry was more freed from restrains of intention as uniqueness of design was more weakened.
People live somewhere that is neither a pure radiant city nor a complete “Black market”. Perhaps the distribution of both brightness and gloom is important to a good living.
We believe occurrence out of intention that contrasts with world of intention will be sort of model for urban planning from now on.


『SHINKENCHIKU』2013.12/Shinkenchiku-sha

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data:
主要用途:飲食店
延床面積:243.69m2 (改修面積)
階数:地上1階
構造:RC造
設計期間:2013年1月~2013年5月
工事期間:2013年6月~2013年7月

principal use:Restaurant
total floor area:243.69m2 (renovation area)
number of stories:1 story
structure:reinforced concrete
design:2013.1 - 2013.5
construction:2013.6 - 2013.7

photo credit:
MOUNT FUJI ARCHITECTS STUDIO

>>Article

SHIFT


A Set up for Future
There the site is, in the utmost periphery of suburban development area around Tokyo, which requires you almost 40 minutes’ trip on conventional rail line from city center to reach. The landscape never stops changing in its transition from urbanization control area consisted of green land and farmland to urbanization promotion area dominated by residential area. It should take another 10 (or more) years until the area stabilizes as a calm city.

Disharmony and confusion are inevitable element of transition. However, it doesn’t feel right to force the residents to live in tolerance before the transition ends, which would take a considerable amount of time. As a people living in a country where transition makes usual state, we opted to seek for an architectural method which would go face to face with the shift from present to the future, not a short-time solution.

Adopted was single architectural operation. That is, to shift the upper and the lower parts of a three-layered rectangle volume, half buried in slope topography with almost three meters of vertical gap, by its short side. It would form italic “N” shape which provides unchanging woodland scenery in the south and creates a large terrace, while securing privacy and natural light by creating three-dimensional offset against the adjacent land which is currently vacant and used as parking lot or farmland but would be packed with houses in the near future.

The form selected as a “set up” for future urban environment is more than a passive response to the external factor. It autonomously creates space variation. Natural light through the volume holding southern rooms bounces in between the floor of the second floor and the ceiling to reach the double-height space resulted from the shifting composition. Along with the distance owing to the depth of the volume, the light creates “inner feeling” relative to the disorderly growing outside world and gives the living environment a sense of calmness like a cave. Allocation of spaces for “move/stay” is also defined by the axis going across the structure diagonally. Geometrically narrower part serves as a place to move and wider part as a place to stay. The flow lines which never cross at a right angle smoothly connect both spaces to blow organic and changeable sequence into living experience.

What I saw in the new light is a plain simple fact that there is no “completion” to the world. Everything keeps on shifting, leaving distortions and friction as they are. This fact, however, never rules out the existence of “universality”. Sandbanks in the streams somehow keep their shapes. Then why not architecture stays in the stream of time. I sense that “universality of the next level” which can be reached by positively accepting chronal “shift”, not by the traditional attitude to ignore time course, would be the essence of such architecture.


『JT』2014.2/Shinkenchiku-sha

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data:
主要用途:個人住宅
敷地面積:638.37m2
建築面積:226.6m2
延床面積:303.95m2
階数:地下1階 地上2階
構造:RC造
設計期間:2011年1月~2012年3月
工事期間:2012年8月~2013年7月

principal use:private house
site area:638.37m2
building area:226.6m2
total floor area:303.95m2
number of stories:2 stories + 1 basement
structure:reinforced concrete
design:2011.1 - 2012.3
construction:2012.8 - 2013.7

photo credit:
Ken'ichi Suzuki / 鈴木 研一

>>Article

Seto


Public spaces of coastal city
This area faces the Seto Inland Sea and has a configuration of vicinal hills plunging directly into the sea, on the slope of a village which clings to it. The flat lands are naturally limited and a public space for parties and gatherings of people was lacking. So, in addition to seeking for corporate housing for shipyard workers, we tried to create a public space with construction that would take advantage of site conditions on the sloping top of the cliff and be open to the community.
Specifically, we prepared a cantilever escarpment, a volume of accommodation in 3 levels and opened to the local community its rooftop. This opened onto the beautiful scenery of the Seto Inland Sea, which served as a public place with a sufficient space to allow a direct approach through a large staircase from the road on the backside to the north that had a higher situation.

Structural ship hull form
The overhang which has a widely slender top of this particular scarp formed by a guide is intended to create a public space on the terrace and the widest possible area by setting a jump as necessary piles at the end of the escarpment so that no constraints is transmitted to the weakened ground . Nevertheless, what has made this possible is the presence of a continuous wall surface structure extending on three levels and a tower block whose counterweight acts around the opposite side. 3 main structural walls can be considered as beams height of 3 floors (about 10m), and in the short direction taken every 6000 mm at a right angle, they are combined with 4 slabs into a forms of tiles.
Thanks to these, the building in its entirety consists of a rational structure of ship hull with the constituent assembly appearance of a huge ship and constituting an embodiment of a reasonable financial cost.

Link area
The two light courts drilled in the rooftop plaza are transitions to descend to all apartments. Despite the form very efficiently exploiting the area, the interior corridors could be damp and dark without these two courts which also improve the light and ventilation environment in apartments.
The large stair, slope, cor-ten stairs in two light courts, grow sequentially while wrapping this concrete block construction in different ways. The fittings are steel treated with nickel to avoid salt damage.
The circulation of the apartments manages to fit perfectly into the continuity of the neighborhood. The project became a part of the city itself.

A landscape of the future
While satisfying the various demands of nature and society, this building has been defined as a "harmonious form" and its realization did arise as an "autonomous figure” extremely clear and simple, that does not feel like the complex conditions in the background of its construction.
The L-shaped volume of concrete is like a huge ship awaiting the baptism of the sea, and defines the contours of the "vast space that is the Seto Inland Sea." The intention of the architect is going to disappear one day and the building will be taken over by the district as a new sea landscape where Seto assimilated and told in different ways. This is our intention and desire.


『SHINKENCHIKU』2013.8/Shinkenchiku-sha

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data:
主要用途:社宅
敷地面積:1934.84m2
建築面積:1098.38m2
延床面積:3095.74m2
階数:地上8階
構造:RC造
設計期間:2010年10月~2011年8月
工事期間:2011年10月~2013年3月

principal use:company house
site area:1934.84m2
building area:1098.38m2
total floor area:3095.74m2
number of stories:8 story
structure:reinforced concrete
design:2010.10 - 2011.8
construction:2011.10 - 2013.3

photo credit:
Ken'ichi Suzuki / 鈴木 研一

>>Article

mother's house


Architecture as a Verb
I often tend to regard “architecture” as a “verb”.
Speaking of “architecture”, it is, of course, usually used as a “noun” representing a general idea. But in Japanese, the word “architecture (建築)” consists of two Kanji characters which means “to build(建)” and “to construct (築)” respectively. Therefore I feel a little bit odd as it would take away the dynamic meaning of “behavior” which is a certain part of the word if refer it only as a noun. So is design process. I tried to keep the impression of “substance constructed” and initial emotions following behind. And in order to achieve that, I exposed the frame structure without “stud wall” concealing it, by which the verb nature of “architecture” would persist.

This “mother’s house” is such an “architecture of verb”. The 6mx6m plan without a single column was made possible by a “lamellar structure” of 4 laminated pine arches that could efficiently resist the out-of-plane forces. The exposure of this major structure system expressed the tectonic organization straightforward.
Like a pyramid hip roof distributing loads from the centre, the lamellar structure accommodated an oculus that allowed natural light and created a gentle internal light environment working with the shape of roof and frame. It also provided the chimney effect ensuring fairly sufficient ventilation in the house which located in a dense residential area. On the other hand, the “solidity and fluidity” of the space was just right balanced through the unclosed diagonal structure, by which a small yet sequential and calm living environment was able to be realized.

For the first time, instead of a construction firm, we signed a contract straight with a master carpenter, by which we were able to get deep involved with craftsmen like a construction supervisor. It also seemed to provide a good opportunity to reflect the architecture of verb as a result of architecture that was “to build” “to construct”. Or, there might be no result in “architecture” since exposure of dynamism in “constructing architecture” naturally brought dynamism of “living a life” into architecture. And these “behaviors” would fuse together and last forever. In that sense, it is that unlikely “architecture of verb”, an uninterrupted continuum of behavior and simultaneously an “endless architecture”, will be “completed”.


『JT』2013.9/Shinkenchiku-sha

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data:
主要用途:個人住宅
敷地面積:74.30m2
建築面積:36.00m2
延床面積:72.00m2
階数:地上2階
構造:木造
設計期間:2011年3月~2012年4月
工事期間:2012年5月~2013年1月

principal use:private residence
site area:74.30m2
building area:36.00m2
total floor area:72.00m2
number of stories:2 story
structure:wood frame
design:2011.3 - 2012.4
construction:2012.5 - 2013.1

photo credit:
Ken'ichi Suzuki / 鈴木 研一

>>Article

Shore house



Near the base of the Manazuru Peninsula, on a hilly topography that slopes toward the south, the site is located where the hill's inclination eases to form a shoulder. Beyond the enclosing greenery composed mainly of broadleaf trees, the expanse of the Pacific Ocean quietly extends to the horizon. The client’s request was for a guesthouse for the family and friends to spend their weekends together.
To construct something in such a rich natural setting, it seemed inappropriate to utilize an urban-style, strictly self-contained order. What became a useful reference was to think of the family's enthusiasm for beachcombing. By taking a variety of materials washed upon the shore and heeding their individual voices and characteristics, the materials come together logically into a form expressing how they hope to be. In this instance, an order is not an absolute dictate but rather a dynamic and supple state that that continuously adjusts through considering the relationship between materials and environment. The goal was such a type of ‘open order’.
Specifically, a column and beam structure made of 38 mm-thick LVL aligned in 830 mm span is made into ‘L-shaped wall and roof’ units that are formed by supporting them with natural wooden beams and columns trimmed on both sides. These units were prepared in three different scales: large, middle and small. By positioning them so that each partially overlaps with the others, the varying internal and external heights give birth to terraces and irregular corners in different locations. The positions and angles were not determined conceptually by a strict geometry, but rather scaled in reference to a variety of specific influences, such as the landscape’s natural contour lines and sightlines to the sea, the location and canopy of existing trees, the voices of the materials expressed through their volume, texture and density, and consideration of the balance between fluidity and solidity of space. Thus the form was determined through a process of adjusting these factors in order to bring them into mutual harmony.
In the completed living space, there is no stiffness resulting from the imposition of a strict order, but there is a close ‘harmony’ arising from all the various elements coming together as if engaged in a mutual dialogue. Because the order adopted in the structure itself is taken from the open personality of the surrounding environment, this dialogue extends to the surrounding natural environment of sea, forest and contour and extends without border. To experience a connection to the world with this type of ‘serene harmony’ seems to be our design purpose.


『JT』2009.12/Shinkenchiku-sha

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data:
主要用途:週末住居
敷地面積:998.56m2
建築面積:243.84m2
延床面積:298.15m2
階数:地上2階
構造:木造
設計期間:2010年11月~2011年12月
工事期間:2012年1月~2012年12月

principal use:weekend house
site area:998.56m2
building area:243.84m2
total floor area:298.15m2
number of stories:2 story
structure:wood frame
design:2010.11 - 2011.12
construction:2012.1 - 2012.12

photo credit:
Ken'ichi Suzuki / 鈴木 研一

>>Article

Stand up, Pen!


This is a pen. “Okiagari koboshi” (tumbling bonze boy) and “Akabeko” (red cow) is a traditional lucky charm common in Aizu region of Fukushima prefecture. They are made of Hariko or papier mache, by pasting paper on top of mold made of wood or clay. Made out of paper, they are very light and by tucking weight inside, Okiagari koboshi would get up every time it is tipped, and Akabeko would lambently move its head left and right.
Being inspired by these two good luck charms, we have designed a pen that roots for the future of Tohoku.
Since it stands upright on its own, it takes up less space and its back and forth movement renders enjoyable desktop scenery. It would even work as a personal seismograph!



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data:
主要用途:ボールペン
寸法:H140xW30
設計期間:2011年11月~2012年1月
デザイン監修:MOUNT FUJI ARCHITECTS STUDIO
企画販売:EJP
製作:株式会社デコ屋敷大黒屋

principal use:ballpoint pen
size:H140xW30
design:2011.11 - 2012.1
design and supervision:MOUNT FUJI ARCHITECTS STUDIO
produce, sell:EJP
construct:Dekoyashiki Daikokuya

photo credit:
MOUNT FUJI ARCHITECTS STUDIO

>>Article

data:
主要用途:タンス
寸法:
A type:W450xD600xH240
B type:W450xD600xH120
設計期間:2011年11月~2011年12月
デザイン監修:MOUNT FUJI ARCHITECTS STUDIO
企画販売:EJP
製作:福島県大沼郡 会津桐タンス株式会社

principal use:drawer
size:
A type:W450xD600xH240
B type:W450xD600xH120
design:2011.11 - 2011.12
design and supervision:MOUNT FUJI ARCHITECTS STUDIO
produce, sell:EJP
construct:Aizukiritansu Corporation.

photo credit:
MOUNT FUJI ARCHITECTS STUDIO

>>Article

data:
主要用途:飲食店舗
敷地面積:-
建築面積:-
延床面積:174.76m2
階数:地上1階
構造:-
設計期間:2012年9月~2012年11月
工事期間:2012年11月~2012年12月

principal use:restaurant
site area:-
building area:-
total floor area:174.76m2
number of stories:1 story
structure:-
design:2012.9 - 2012.11
construction:2012.11 - 2012.12

photo credit:
Nacasa & Partners / ナカサ&パートナーズ
MOUNT FUJI ARCHITECTS STUDIO

>>Article

Geo Metria


Structure of the land
On a brow of mountain range of Hakone, along the Odawara plain is a site.
It’s sunny rolling hillside where once were fruit trees. On the south you can have clear view of distant Sagami Bay. On the north is a mountain that gives shelter from north wind. Deciduous broad-leaved trees cast soothing shadows in summer, and in winter, they shed their leaves and allow weak sunlight to penetrate and to warm the moist mountain soil. And the perfect environment for living was there, waiting quietly to be found.
It didn’t seem right to bring some irrelevant element to “the land” and complete “a house”. My mission as an architect is to draw out the latent “habitability” of “the land”, adjust and amplify it just enough for a man to “live in”. In short, we aimed to construct an architecture totally ordered by “the land”.

The resolution is to reduce the designing step and leave only fundamental constructive factors, setting frames and building a roof. Then we “listen to the land” in making all the decision.
Two set of portal frames (about 12m in length) are combined with delicate angle to fit gentle curve of the place to form a rack assembly with truss structure at midspan. The material used as frame is thin laminated veneer lumber (38 x 287mm). Such choice in material is achieved by efficiently distributing horizontal force on weak axes to back core through ridged-jointed truss on the ceiling. (The cross points in the middle part prevent 6-meter-long beams’ deflection.) These fin-like columns with shelf plates also play a role of semi-transmissive partition that separates the space loosely.
Each beams slant northward to support the roof that has enough pitch to cope with the rainy weather, and differentiate the ceiling height. Together with the ground tilt, this gives the spatial “variation” that complex life requires.

As you see, the features of this site (geomorphic characteristics, amount of rain) bring about special “geometry” to this architecture. It determines the structure and resulting dwelling space and brings harmony among them.
If you, as the origin of the word indicates, decide the order of an architecture (=geometry) by taking a close survey (=metria) of the land (=geo), the consequent architecture will have clear order while keeping continuity to the land.
“Observe the site well and find out hidden geometry.”
That accounts for almost all of our design work and, is essence of it.


『JT』2012.4/Shinkenchiku-sha

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data:
主要用途:個人住宅
敷地面積:429.40m2
建築面積:123.95m2
延床面積:155.66m2
階数:地上1階 地下1階
構造:木造 (一部RC造)
設計期間:2010年1月~2011年3月
工事期間:2011年4月~2011年12月

principal use:private residence
site area:429.40m2
building area:123.95m2
total floor area:155.66m2
number of stories:1 story, 1 basement
structure:wood frame, partly reinforced concrete
design:2010.1 - 2011.3
construction:2011.4 - 2011.12

photo credit:
Ken'ichi Suzuki / 鈴木 研一

>>Article

YOTSUBAKO


Turn the steering "commerce" to "urban space" 
The site is near Centre-Kita station, in the centre of the emerging suburban district where the number of young families keeps growing.
Here several large commercial facilities scatter forming a unique suburban cityscape. There is also positive urban planning and many energetic young people. However it is still hard to argue that it is being attractive enough as a town or urban space.
Because the commercial facilities are too self-contained to communicate with other plazas and pedestrian spaces offered by the city plan. It seems to become a conventional routine for the commercial designs to enclose their customers and shopping activities, by which surrounding urban environment loses the vigor it deserves.
On the contrary, many other commercial areas of domestic or foreign historic cities are not only open but also strongly related to the urban space in order to promote the business. A positive “circulation” takes shape here as they share a mutually beneficial relation that commerce becomes one of the charms of an urban space while it is booming because of the urban space.

As design intentions, we focused on this “circulation” and “urban space” itself.

The resolution is the simple composition of four boxes alternatively stacked, which are roughly wrapped by transparent glass skin. The composition further subdivides the contrary relationship between “exterior/interior” into “outside hako · exterior”, “outside hako · interior”, “inside hako · exterior”, “inside hako · interior” and therefore creates a smooth connection between city and architecture.

For instance, two existing public spaces on the different levels, saying “symbol plaza” and “fountain plaza”, are closely connected with commercial spaces by the intermediate territory under the box resembling eaves. A couple sits down on the step of the plaza eating pies they bought at the tenant; at the same time some people relaxing in the café have a look at them. A great number of such interrelationships happen and each space is synergistically activated and utilized.

The two ground levels ascend through the full height atrium to the upper floor where urban and commercial spaces are strongly connected, thanks to the panoramic scenery enabled by the glass skin and terraces on the box.
Moreover, a “public pedestrian corridor” that joins the station nearby and large commercial facilities behind it is taken into the design on the 3rd floor, by which its unity with the city is further enhanced.

In addition to self enrichment inside, the success of commercial facilities in the future largely depends on sustainable, attractive planning of urban space as well. It may be necessary to consider architecture as a part of the “urban space” and “continuity of time”. To achieve that, just conventionally dealing with “surface” is not sufficient. For this time, we were able to go beyond that and get further into the composition including the urban space. But it would be closer to persistent value of city if appropriate construction was applied.
We believe this is the first step of journey towards there.


『SHINKENCHIKU』2012.6/Shinkenchiku-sha

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data:
主要用途:商業施設
敷地面積:1335m2
建築面積:1145.8m2
延床面積:7187.1m2
階数:地下1階 地上8階v 構造:鉄骨造(一部SRC造)
設計期間:2008年1月~2009年11月
工事期間:2010年2月~2011年11月
業務:基本構想・基本設計・実施設計

principal use:tenant building
site area:1335m2
building area:1145.8m2
total floor area:7187.1m2
number of stories:8 story + 1 basement
structure:steel frame,partly steel reinforced concrete
design:2008.1 - 2009.11
construction:2010.2 - 2011.11
scope of works:
schematic architectural design,
developed design proposal,
construction documents

photo credit:
Ken'ichi Suzuki / 鈴木 研一

>>Article

VALLEY


A New Topology
The site is long and narrow, running fifty meters north and south at four to five meters in width, switching back twice. Located in the center of a prominent city that serves as its prefectural capital, it is densely surrounded by mid- to high-rise reinforced concrete buildings as part of a fire prevention zone. The site presented itself as a valley amidst the mountainous residential structures surrounding it. What we were attempting was to regard the existing urban features as a landscape in which, by way of architecture that enhances the topological characteristics of the area, a qualitatively more optimal environment could be realized.
Our design approach was simple. Three stretches of rugged reinforced concrete walls of differing heights, low, medium, and tall, were juxtaposed within one another, conforming to the unusual outline of the site, substantiating its valley-like attributes, and creating a terrain suited to a permanent residence; a transitory structure that enforces a new topology on the permanent environment, protecting the living domain from external noise and gaze, while maximizing the limited sunlight available from above. The north-south expanses give rise to three elongated apertures that establish open areas. The white-plastered interior is segmented, the midsection functioning as a light court containing a shallow pool, with adjacent dwelling rooms on either side. The spaces remain purposely open-ended. These “frayed ends” produce two areas of emptiness that infiltrate the three functional regions of the house. The perceived effect is one of expansion, counteracting the narrowness of the building imposed by the constraints of the site. The overlapping of discrete areas via these voids creates a mixture of spatial sequences, furthering the impression of passage through a valley.
In addition, the “frays” that constitute the endpoints of these spaces counterbalance the physicality of the mass of concrete that faces them, facilitating its intervention in the space. With this physicality at its core, a sense of “place” suffuses the contours of the interior, overlaying the void spaces, completing them, and establishing an environmental “unevenness” that introduces functions that can’t be solely born out of neutral space, perhaps offering residents a feeling of ease and attachment to the dwelling that nourishes their psychological orientation within it. The frays slightly disrupt the borders of the site, as well as the distinctions between inside and out, and they promote an atmosphere of shared presence amongst the residents. This architecture, which doesn’t seek to draw itself apart from the surrounding city, possesses an open-heartedness that is also imparted by these “frayed ends”.
When I returned to the residence one morning a month after completion for a photo shoot, I spotted a wild bird bathing in the courtyard pool. It would seem that to a bird, human architecture is no different from a rocky mountain perch or a stream in the valley. The principle issue is whether it is a good place or not. It is similarly and fundamentally true of humans and all living things. The significance to us of any given open space, as based on social acknowledgment, may change in meaning as culture changes. But the innate recognition of a “good place” will maintain its universality over time, unless there is a change in our physical bodies. It was at that moment that I grasped that what we had been striving for was a “new urban topology” that would exist not merely as the containment of open “space”, but as a life-generating “place”.


『JT』2011.9/Shinkenchiku-sha

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data:
主要用途:個人住宅
敷地面積:366.01m2
建築面積:183.41m2
延床面積:241.02m2
階数:地上2階
構造:RC造
設計期間:2009年4月~2010年4月
工事期間:2010年5月~2011年5月

principal use:private residence
site area:366.01m2
building area:183.41m2
total floor area:241.02m2
number of stories:2 story
structure:reinforced concrete
design:2009.4 - 2010.4
construction:2010.5 - 2011.5

photo credit:
Ryota Atarashi / 新 良太

>>Article

Sagacho Archives


"Tom's space/ Jerry's place"
The plan was to create a space to store and exhibit the artworks that our client, Ms. Kazuko Koike had made through the activities at "Sagacho Exhibit Space" (already closed in 2002).
Harada laboratory did the planning and construction, supervised by MOUNT FUJI ARCHITECTS STUDIO.

As we check and remove the walls and ceilings for renovation, we noticed the fact that our daily life is surrounded so much by "finishing".

"Finishing" transforms "a void" into "a space" with certain purpose by labeling it and forming it to have adequate, traditional look. You can deem "finishing" as "a sign" that directs and guarantees us a traditional life. In contrast, behind the finishing, there exists a hidden world without signs, consisted of structure and non-coated materials. The scenery is rough. However, the atmosphere there is honest and transparent. Jerry mouse in the famous old animation, "Tom and Jerry" lives in such behind-the-finishing space. He is a lot more alive and ingenious than a pet cat, Tom, who leads the life surrounded by finishing. It would be safe to say that Tom's secret jealousy against Jerry well represents the society's need for art.

Art lets in vitality of the world beyond the realm of semiotics to the semiotic-oriented society of human beings, and gives it a driving force. Our goal was to create an environment that supports such role of art. And achieving coexistence of Tom's room and Jerry's place seemed to be the best way. Practical procedure was really simple. By widening the void between structure and finishing from usual width (a few centimeter) to a few meter, Jerry's exhibiting room (Room A) was created. For itユs the world behind finishing, every single finishing existed was eliminated. Then we created Room B by making large dent on a corridor wall. This room for storage can also be used as white cube for exhibition. If you see the room from corridor, it would look like neatly finished "dent on corridor" cut off by glass wall.

"Tom's space" and "Jerry's place". Two rooms with respective attributes are separated by / connected with "a big door". The door just represents art that freely traverse the border between the world beyond the realm of semiotics and human society ruled by signs and connects them.

I believe this place deserve the name of "Sagacho", where new artworks had been created perpetually.


『JT』2011.2/Shinkenchiku-sha

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data:
主要用途:ギャラリー
延床面積:37.08m2
構造:木造
設計期間 2010年5月~2010年6月
工事期間 2010年6月~2010年8月
監修:MOUNT FUJI ARCHITECTS STUDIO
設計施工:MOUNT FUJI ARCHITECTS STUDIO +
芝浦工業大学 原田真宏研究室

principal use:gallery
total floor area:37.08m2
structure:wood
design:2010.5 - 2010.6
construction:2010.6 - 2010.8
supervision:MOUNT FUJI ARCHITECTS STUDIO
design and construction:MOUNT FUJI ARCHITECTS STUDIO +
Harada Masahiro Studio / Shibaura Institute of Technology

photo credit:
Ryota Atarashi / 新 良太

>>Article

near house


Nearness -the other side of smallness-
The site is located in a dense residential area in Tokyo where inhabitants are allotted only limited lands. A landowner sold the already limited land to two owners by dividing it. Quite small. Also, irregular in shape. Viewed from above, it looks just like vertically-long flag and pole. Perimeter is long for its size, and the walls and the trees of the houses next-door stands very near. But they don't give oppressive feeling. Rather, the closeness -the houses look just like they're cuddling each other- creates some intimacy.

The site is small, all right. But when you change your point of view, its "nearness" can be constructive advantages. We wanted to bring the best out of it.

The professions of the owner couple and issue of building coverage divided the architecture into two small buildings and a court (*1). The buildings sit near each other. So the court seems more like a part of building that connects two room spaces.

Each building has bonded wood (larch) post-and-beam placed at 450mm intervals. The narrowness of the interval defines whole scale of architecture. Near House is more a furniture or a product than architecture (*2). It interacts with people so closely. And that's why we have the surfaces of bonded wood, softwood MDF and mortar finely textured like that of peach. Such delicate finish can only be possible thanks to the size, which would normally be considered as disadvantage. The house doesn't have so much space. But the high-resolution world beyond the compass of architecture creates a sense of depth in different spheres.

By finding "nearness" in "smallness" and making the most of it, the house transcends the realm of architecture, and takes a step into the world of product. In that sense, Near House can be considered as "Something near to be a house".

(Masahiro Harada) (*1: The areas that allow construction are the "flag" part, and the "grip" part of the "pole" that is originally designed as parking and has some more width than the "pole" itself.)

(*2: Typical Japanese mini storage shelf is 450mm in width and 15mm in board thickness. Near House is almost like consisted of so many of this.)


『JT』2010.7/Shinkenchiku-sha

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data:
主要用途:個人住宅
敷地面積:66.42m2
建築面積:37.65m2
延床面積:75.30m2
階数:地上2階
構造:木造
設計期間 2008年9月~2009年4月
工事期間 2009年7月~2010年2月

principal use:private residence
site area:66.42m2
building area:37.65m2
total floor area:75.30m2
number of stories:2 story
structure:wood frame
design:2008.9 - 2009.4
construction:2009.7 - 2010.2

photo credit:
Shigeo Ogawa / 小川 重雄

>>Article

in flakes


Snowflakes in frosty winter, petals of cherry blossoms in beautiful spring, flickering sunlight through foliage in hot summer, golden leaves in chilly autumn. Something is always fluttering down the clear atmosphere of Towada. And now, stainless bent plates/benches scattered down flutteringly, and yet, as if keeping the moment forever.
The surfaces of the plates that are well polished to have mirror gloss would cut out various sceneries wafting around. In springtime, theyユd let you have special experience just like hovering up and down in pale rose colored world. in flakes: benches that cherish the world that never stays the same.”



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data:
主要用途:ストリートファニチャー
作品サイズ:1350 × 330 × 45cm
所蔵:Arts Towada
設計期間 2008年9月~2009年10月
工事期間 2009年10月~2010年3月

principal use:street furniture
dimensions:1350 × 330 × 45cm
own:Arts Towada
design:2008.9 - 2009.10
manufacture:2009.10 - 2010.3

photo credit:
Sadao Hotta / 堀田 貞雄
Kuniya Oyamada / 小山田 邦哉

>>Article

PLUS


The mass of white
The site locates on mountainside of Izu-san, where Pacific Ocean can be looked down on the south.
The untouched wilderness, covered with deciduous broad-leaved trees such as cherry trees and Japanese oaks, gives little level ground.
But we saw faint glimmer of architectural possibility along the ridge.
The architecture would be used as villa for weekends.
I didn't want to just form the undulating landscape dotted with great trees as normal, nor design an elaborate architecture bowing down to the complex topography.
What sprang to my mind is a blueprint for an architecture which is perfectly autonomous itself, at the same time seems to emerge as an underlying shape that the natural environment has been hiding. It's abstraction of nature, to say.
The architecture was realized by crossing two rectangular parallelepipeds at very right angles.
The lower one contains private rooms and bathroom, and sticks half of the body out to existing narrow level ground.
The upper one incorporates salon and kitchen, and lies astride the lower one and the mountain ridge.
It almost seems like an off-centered cross pinned carefully on natural terrain.
One axis of the cross stretches toward the Pacific Ocean on south, and the other, the forest of Japanese oak and some white birch on west.
The rooms in the lower structure and terrace on it enjoy broad vista of the sea and blue sky.
And gentle shade of natural forest embraces the space in the upper one.
Water-polished white marble (cami #120) was chosen as interior finishing material.
It glows softly like Greece sculptures to blend blue light from the south and green light from the west gradationally, thus creates delicate continuous landscape of light, which suggests the character and usage of the space.
Exterior is also finished with white marble.
The surface get smoother as it approaches to the southern/western end till it takes mirror gloss (cami #1000) at the ends.
The southern end of white cross melts into the blue of sky and sea, and the eastern end to the green of forest.
Abstraction is nothing to conflict with nature here.
Carved out of nature, it never stops being a part of nature itself, however highly abstracted.
Never relativizes the nature with its foreignness, nor generate contradiction to settle for being "artificial nature" by giving up being abstract and mimicking the nature.The abstraction inspired by Mother Nature defines the nature itself, and still, stays natural.
That's what I wanted from this abstraction and architecture.


『JT』2009.12/Shinkenchiku-sha

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data:
主要用途:週末住居
敷地面積:988.58m2
建築面積:232.77m2
延床面積:279.92m2
階数:地下1階 地上2階
構造:RC造
設計期間 2007年5月~2008年4月
工事期間 2008年5月~2009年7月

principal use:weekend house
site area:988.58m2
building area:232.77m2
total floor area:279.92m2
number of stories:2 story + 1 basement
structure:reinforced concrete structure
design:2007.5 - 2008.4
construction:2008.5 - 2009.7

photo credit:
Ken'ichi Suzuki / 鈴木 研一

>>Article

data:
主要用途:テーブル
材料:アルミニウム
製作販売:KATZDEN ARCHITEC
設計期間:2008年2月~2009年3月

principal use:table
material:Aluminium
produce, sale:KATZDEN ARCHITEC

design:2008.2 - 2009.3

photo credit:
Kenshu Shintsubo / 新津保 健秀

>>Article

Tree House


This house for a couple is built in a residential area on a gentle hill in the northern Tokyo.
The site is located at the top of a hill connected with a narrow path leading to the actual building lot.
The ground level is gradually climbing higher from edge of the site.
Although the site has particular sense of oppression and dusky feel, and the actual building lot is completely enclosed by the adjacent houses, we realized with the characteristic of the place as the depths of the urban condition without exposing to the outside, and secluded from the town.
In this case, it is more suitable to extend the volume vertically rather than horizontally.
Similar reason can be found in the nature that a tree enclosed by other tall trees in a deep forest tends to have vertical directivity for its growth.
The geometry achieved through “Cartesian coordinates system” is typically applied in architecture since it has advantage in terms of the repetitive expansion in a fixed orientation.
However, this system is not suitable here as previously described. Rather, it is desirable to apply a geometric rule, which can pick up the subtle, close relationship and the balance between the site and its edge conditions.
Thus, we decided to utilize the “polar coordinates system” as the geometry defining this architecture, which describes the location of an element by the distance and the angle from the center of the site. (Please picture the 2-dimentional Voronoi diagram.)
In detail, the arch-shaped “column-beam” frame structure made by LVL/Laminated Veneer Lumber in 51 mm thickness is rotated in the regular angle of 11.25 degree (360 degree/32 frames) to form this architecture.
Each frame gets 55 mm higher than the previous one, therefore there is the height difference of 1.7 m in frame as they go around 360 degree.
This system forms the fluent Hyperbolic Paraboloidal curve surface providing the entrance to the roof terrace, while it also functions as the high side light that brings in the only open sky toward the east and the greenery of the neighboring house as a framed picture.
At the center of the polar coordinate is condensed with 32 pieces of the LVL columns, forming a large central pillar with the diameter of about 1.1 m.
The interior is divided into four territories by this central pillar, in the similar format found in the traditional Japanese houses in square shaped plan divided into four territories _ although the division does not occur in fixed 90 degree because the system is based on the polar coordinate.
In addition, the central point is defined at the eccentric point in the planar to differentiate the distance from the circumference, while the rotation angle of the column-beams is maintained in regular manner. With this system, the outer columns far away from the center have larger intervals, while the inner columns near to the center have denser intervals.
The frames rising up spirally make variations in the ceiling height, which define the characters of each four territories.
For instance, the intimate shadowy territory by the denser distance of the columns and lower ceiling is defined as the sleeping space, and the bright, high-ceiling territory applicable with large window opening by the larger distance of the columns can be suitable for dining space, The floor level is also shifted as skipped floors according to the division of the territory by the central pillar, although the height difference is based on the topographic condition of the existing site.
The completed house was formed by the strict rules of the geometry, but somehow it achieved the atmosphere unlike the artificial object.
When we sit down at the bottom of the central pillar and lean against to look up, those radially extending beams appear to be the branches of a large tree.
Surrounding of the central pillar stem provides the “place of inhabiting” for the life peacefully. Here, there is a different quality of the place, unlike the transparent “space” to be called as a “house”.
This make us realize that the center of a “space” may reflect on a social “meaning”, while the center of a “place” would consist of the sense of “existence”.


『GA Houses 114』2010.1/A.D.A.EDITA Tokyo

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data:
主要用途:個人住宅
敷地面積:162.69m2
建築面積:78.76m2
延床面積:80.45m2
階数:地上2階
構造:木造
設計期間 2008年7月~2009年3月
工事期間 2009年4月~2009年10月

principal use:private residence
site area:162.69m2
building area:78.76m2
total floor area:80.45m2
number of stories:2 story
structure:wood
design:2008.7 - 2009.3
construction:2009.4 - 2009.10

photo credit:
Ken'ichi Suzuki / 鈴木 研一
Ryota Atarashi / 新 良太

>>Article

Rainy/Sunny


Architecture in the Climate
The site is there in a residential area in Tokyo, dense with low-rise buildings, located a little bit west to the center of the Kanto plain.
The climate there is about to change from warm humid climate to rainforest climate in near future.
I'm not making a "house" this time. It should be a lasting "terrain" that induces "habitation".
My goal is to shape the terrain up to a freshly designed メresidenceモ with no preestablished harmony sensed.
If I want a landscape with high habitability, the architecture should go beyond some abstract morphology.
After all, a terrain is created as a consequence of long time conversation held between physical substances such as rocks and soils and unique climate of the area.
Finding a best balance between materials and climate and incarnate that in the form of architecture...
This is a challenge to take elements that modern architecture has long been ignored - climate, materials and many problems posed by aging - into design factor once again and shift them to architectural blessings.
The project started with questing the best structure and materials to realize "a terrain that lasts forever".
One existing way to match the structure and finished shape is to use bare reinforced concrete as walls.
But it's of questionable value when it comes to durability.
Rain washes alkali away from wall surface and makes it extremely short-lived.
Shuttering of coated plywood board makes a smooth surface that looks great on the day of completion, however, weather-beaten, it will look sad and old within a few years.
So I invented new construction system.
Bare reinforced concrete wall with creasing (h=18mm) every 500 mm apart would keep alkali in and stain off.
Larch plywood is used as mold instead of coated plywood in order to transfer wood grain to the surface of the wall to make it textured.
That way, aged deterioration turns into something of aesthetic value, just like wrinkles of well- used jeans.
The block of reinforced concrete thus made is placed on the site at an angle to separate exterior into two spaces: to the north, the "front garden" on the road, used as parking.
To the south, the "private garden" surrounded by main building and neighboring houses where wind is gentle and sun shines warmly.
The private garden offers privacy and security and makes it possible for the architecture to have large window that views sunny garden and "vault of heaven".
The architecture geometry is not conventional rectangular.
Its unique shape brings about "darkness" to the corners everywhere, provides it with appearance of depth and liberates the air of the rooms.
Residents enjoy a life under boundless sky indoors.
On sunny days, unevenness of the exterior walls cast strong shadows.
On cloudy days, the architecture sucks in humidity and turns into a dark crag.
And on rainy days, it wears lace of raindrop.
It transforms itself according to the weather.
Here, a modern architecture that lives in harmony with climate is born.


『JT』2008.11/Shinkenchiku-sha

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data:
主要用途:個人住宅
敷地面積:108.3m2
建築面積:53.1m2
延床面積:79.5m2
階数:地上2階
構造:RC造
設計期間 2007年1月~2007年7月
工事期間 2007年8月~2008年7月

principal use:private residence
site area:108.3m2
building area:53.1m2
total floor area:79.5m2
number of stories:2 story
structure:reinforced concrete
design:2007.1 - 2007.7
construction:2007.8 - 2008.7

photo credit:
Ryota Atarashi / 新 良太

>>Article

ART SITE


Earth Mold Architecture: building up architecture based on mold on the earth.
Plainly speaking, operation of our design proposal means this.
Concrete speaking, we propose the process explained below:
We dig a hole on the surface of the mexico site.
Arrange reinforcements in the whole and pour concrete.
After solidified, use crane to lift up concrete piece, and make structure of the museum combining with other pieces.
The digged holes are kept as they are to be used as quasi-independent spaces.
This construction process what we should call it as “earth mold concrete” is an environmentally friendly construction method conserving forest resources by not producing enormous amount of waste frame materials which normally are wasted.
“Soil” of the site which are attached on one side of the structure is its evidence, and provide museum feeling of site specific space.
Also, concrete forms and exhibition space forms exactly correspond to each other.
In another word, the process which made the architecture also decides the composition of the museum.
If we say that essence of contemporary art is the process of endless present productions, there will be some kind of sympathy between the museum which production process being the architecture itself and exhibited art.
This quality of sympathy is our design intention and is our prime concern.


『design miami/base, Switzerland』2008

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data:
主要用途:現代美術館
敷地面積:4746m2
建築面積:3173m2
階数:地下1階 地上1階
構造:RC造(サイトPC)

principal use:Contemporary Art Museum
site area:4746m2
building area:3173m2
number of stories:1 story + 1 basement
structure:reinforced concrete(site PC)

photo credit:
Sadao Hotta / 堀田 貞雄

>>Article

SAKURA


A home office for a couple planned in a residential neighborhood in Tokyo.
The site is situated in an area where land costs are among the highest in Tokyo.
The area is typically cluttered, like most residential areas in downtown Tokyo.
It is hard to say that quality of living environment deserves the price of land.
I felt that creating a better living environment was a top priority upon squeezing in yet another house into this neighborhood.
What came to my mind were the two classic 'Glass Houses'※ by Mies and Philip Johnson.
The sense of freedom and openness that makes us want to walk naked inside these houses surely owes to the transparency of the glass itself, but it is the fact that the buildings are surrounded by a pleasant environment 'the forest' that counts the most.
Since 'the forest' itself already provides a comfortable living environment, it is left for the architecture to separate internal to external atmospheres with thin, transparent membranes.
They clearly demonstrate that as long as there is an environment suitable for living, a 'house' is no more necessary.
What I looked to create here was a presence that would replace this 'forest'.
More precisely, I attempted to generate a quality living environment by placing two large, swirled belt-shaped surfaces on the premises.
The pair consists of self-standing walls measuring 7.5 m and 5 m high respectively, made of lace-like steel 3 mm thick that filters light like sunshine through foliage, with holes punched out in a floral pattern depicting cherry blossoms, a traditional Ise paper stencil pattern.
As we make our way into the abstracted forest of cherry blossoms, we are greeted by an 'environment filled with 'anticipation' for a living comfort.
ユ There, nothing can be found that suggests a 'setup' of a 'house'.
The place is a pure 'living environment' and is neither a symbol called 'house' nor a 'residential area.'
A bright depth, beyond the reach of urbanism, is born in Tokyo.

※ Mies van der Rohe : Farnsworth House
Philip Johnson : Johnson House


『GA Houses 99』2007.5/A.D.A.EDITA Tokyo

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data:
主要用途:個人住宅 一部オフィス
敷地面積:131.41m2
建築面積:75.43m2
延床面積:279.58m2
階数:地下1階 地上3階
構造:RC造(一部鉄骨造)
   自立壁:ステンレスパネル造
設計期間 2005年6月~2005年12月
工事期間 2006年1月~2006年12月

principal use:private residence, office
site area:131.41m2
building area:75.43m2
total floor area:279.58m2
number of stories:3 story + 1 basement
structure:reinforced concrete structure, partly steel frame and stainless panel
design:2005.6 - 2005.12
construction:2006.1 - 2006.12

photo credit:
Ryota Atarashi / 新 良太
kenshu Shintsubo / 新津保 建秀

>>Article

M3・KG


"dialogue" between the old and the new "substance"
This is a house to be built in Tokyo, for a movie producer couple.
This architecture is consisted by combining L-shaped blocks of reinforced concrete and sequential frames of box-shaped engineer-wood. We put bedrooms, film archive and galley in solid concrete part for security, and living room in engineer-wood part for openness.
As material that consist an open space that is 6m in height, 5.5m in width, 14m in depth, we choose thin engineer-wood (38mmx287mm).
Main theme for this architecture is to bring out a sense of mass and material, which were denied by modern architecture which pursued "white, flat wall" as a style.
We intentionally left the wood grain of mold on the surface of concrete, and choose textured stones and irons.
It goes without saying that a house is a relaxing place. A house like a white-cube, surrounded by flat, white walls everywhere, gives a person very abstract image.
But that image could only be sensed when we use intellective part of our brain.
The problem is that we're not all-intellective-creature. For the people like this client, who do enough intellectual labor on a daily basis, white-cube would only bring sense of fatigue.
The role of architecture, especially the ones for living, is to soothe the sensory side of people, not to stimulate the intellectual side. That's my take.
Sure, intellectual living would have got some meaning as a fashion at the time when modern architecture was born.
However, now that it became a part of everyday life, its identity has been lost.
We have to examine whether our approach is rational or not every time we build architecture.


『Words from Conference "Extreme East / CONTINUITY VS MUTATION" in Romania』2006

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data:
主要用途:個人住宅
敷地面積:177.27m2
建築面積:106.33m2
延床面積:259.72m2
階数:地下1階 地上2階
構造:RC造(一部木造)
設計期間 2004年10月~2005年6月
工事期間 2005年8月~2006年5月

principal use:private residence
site area:177.27m2
building area:106.33m2
total floor area:259.72m2
number of stories:2 story + 1 basement
structure:reinforced concrete. partly wood frame
design:2004.10 - 2005.6
construction:2005.8 - 2006.5

photo credit:
Ryota Atarashi / 新 良太
Satoshi Asakawa / 淺川 敏

>>Article

Gothic on the Shore


A projects for a rental villa in Hayama-cho along the Pacific coast.In front of the villa is the immense ocean, with a distant view of Mount Fuji beyond the horizon seen on a clear day. In the back lie the mountains of Miura peninsula. The site is positioned right on the topographic border between the sea and mountains - a typical Hayama landscape. I felt an uneasiness about the universal/urban scent emitted by the geometry - Cartesian coordinate system - generally used in architectural design, inside such rich natural environment.
As an alternative geometry basis, I opted for a polar coordinate system, defining space in terms of distance and angle from a center . It seemed to me that the polar coordinate system, which gives description of position within a relationship between entities independently from panoramic viewpoints, would be 'better off' in an environment like this one.
A sequence of three circumscribing circles with different radius makes up a system of reference lines that is seemingly random in structure but rational in terms of structure/existence.
Boomerang-shaped 'column-beam' parts made of die-cut steel plate 6 mm thick are rotated and reproduced along the reference lines, forming a tree structure. They are interconnected to create a strong framework of successive arches. Finally to shape the architecture, three layers of such framework are then trimmed to the extent of ensuring necessary floor area.
the building has a face of a ultra-thin Gothic architecture, abstracted/simplified to 6 mm thick. It is also suggestive of a crystallized aggregation of a forest. Maybe a structurally/existentially rational building is infinitely close to nature.
'Blending of nature and architecture' - one of the ideas of Gothic, as I recall.


『GA houses 86』2005.3/A.D.A.EDITA Tokyo -GA HOUSES PROJECT 2005

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data:
主要用途:ゲストハウス
敷地面積:456.84m2
建築面積:118.80m2
延床面積:496.82m2
階数:地下1階 地上3階
構造:鉄骨造 + 鉄筋コンクリート造

principal use:guest house
site area:456.84m2
building area:118.80m2
total floor area:496.82m2
number of stories:3 story + 1 basement
structure:stainless frame + reinforced concrete

photo credit:
MOUNT FUJI ARCHITECTS STUDIO

>>Article

LIGHT-LIGHT SHELTER


thin-walled architecture by apposing 4 HP curve shell units
This is a delicatessen store built in poor ambient environment. Walls of neighboring house surround three side of it. And the only side free from the dominant wall is facing north. In order to place many kitchen instruments, we were obliged to create much floor space, making the most of the small budget and small plot of land.
My answer to this challenge was to create well-lighted, strong, thin-walled architecture by apposing 4 HP curve shell units. Each unit has crooked roof, just as you see right now in this picture.
We used the same technique as the one used for XXXX to strengthen the structure. What makes this work unique is its HP curve shell roof.
Sunlight is gathered with curved HP roof, comes in through the triangle-shaped slits, reflected by curved HP ceiling and throws a soft light all over the room. At night, the light thrown by lighting equipments without shades is reflected by the same curved HP ceiling and illuminates the room efficiently. In addition to its original role as a structure that creates interior space, this architecture serves as a huge lampshade itself.
There’s no boundary between architecture and lighting equipment here. Eliminating it was a mighty solvency that meets so many requirements.


『SHINKENCHIKU』2004.11/Shinkenchiku-sha

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data:
主要用途:精肉・総菜店舗
敷地面積:122.31m2
建築面積:97.10m2
延床面積:86.13m2
階数:地上1階
構造:鉄骨造
設計期間:2004年4月~2004年7月
工事期間:2004年8月 ~2004年9月

principal use:shop
site area:122.31m2
building area:97.10m2
total floor area:86.13m2
number of stories:1 story
structure:steel frame
design:2004.4 - 2004.7
construction:2004.8 - 2004.9

photo credit:
MOUNT FUJI ARCHITECTS STUDIO

>>Article

data:
主要用途:サロン 広告塔
延床面積:75.72m2
構造:鉄骨造
設計期間:2004年1月~2004年2月
工事期間:2004年3月~2004年4月

principal use:salon
total floor area:75.72m2
structure:steel frame
design:2004.1 - 2004.2
construction:2004.3 - 2004.4

photo credit:
MOUNT FUJI ARCHITECTS STUDIO

>>Article

Secondary Landscape


From a bird's eye view, the alignment of roofs in Tokyo forms a "second landscape," "another surface. "Tokyo seems to emerge from virgin terrain, still to be discovered.Students, creators in training, are constantly confronted with an urban milieu fragmented into multiple designs. This contract came from a student aesthetician who wished to set up a beauty salon on the roof of a building over forty years old in the Shibuya district.
Mount Fuji wished to make the frontier between these two "landscapes" perceptible to students, the one of the roofs and the one of the city beneath. So they sought to recreate the feeling of another land, to materialize this "second landscape," by covering the roof, cluttered with a mishmash of utilitarian objects, with a rough envelope in wood to give it a new unity and artificiality.
The project was all the more challenging because Tokyo is filled with irregular roofs, distorted by regulations restricting oblique lines. This has resulted in a "relief" of polygonal hills.Though the architect's job is usually to build on a given site, here, to the contrary, Mount Fuji has to create a site from existing heterogeneous architectural structures.


『Archilab japon』2006.11

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data:
主要用途:陶芸製作のアトリエ
敷地面積:502.86m2
建築面積:22.30m2
延床面積:16.70m2
階数:地上1階
構造:木製パネル構造
設計期間:2003年1月~2003年4月
工事期間:2003年3月~2003年9月

principal use:atelier for ceramist
site area:502.86m2
building area:22.30m2
total floor area:16.70m2
number of stories:1 story
structure:wood panel
design:2003.1 - 2003.4
construction:2003.3 - 2003.9

photo credit:
MOUNT FUJI ARCHITECTS STUDIO

>>Article

XXXX


Automobile is our rival to beat.
Came one day a client who offered us a business. He wished to have an atelier which can be used also as a gallery to present his work of ceramic art, which he made for pleasure.
With mere 1.5 million yen(=11,000 euro)which he saved to originally purchase a business-purpose Toyota Corolla sedan to spare as total budget, we started our project.
1.5 million yen. Ridiculously small sum of money for building any kind of architecture. Yet, it's good sum if you're going to pay away in everyday life. At least it affords you a "mobile room" with fancy air conditioner, car navigation system and power window. Question arisen. Are we sure we properly translate the money into the quality of architecture? Can ever be born objects that embody beauty and rationality in such architectural world, which is highly specialized and socially defined? These kinds of skepticism were something that bothered us over years. That's why we felt great appeal for the small budget he offered.
To beat an automobile in value by holding a thorough investigation into closed payment structure of architectural industry; to quest an object which is most rational and reasonable by treating an architectural structure as a plain object...
Motto of this project was like this: "Make great use of 1.5 million yen, and architecture get ahead of automobile".


『SD-Review』2003.12/Kajima Institute Publishing Co,Ltd

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