天神町place，东京 / Hiroyuki Ito Architect

项目场地坐落于东京文京区高原的边缘，靠近某著名神社。近年来，随着城市的快速发展，地区特征也快速转变，当地的许多酒店已被公寓大楼所取代。

The site is located along the approach to a renowned shrine and on an edge of a plateau in Yushima, Tokyo. In recent years, numerous hotels in the area have been replaced by apartment complexes, resulting from a rapid transformation of the area’s character.

▼从院子望向道路，建筑的两侧由横梁连接，Looking towards the road from the courtyard. The two sides of the building are connectedby beams © Masao Nishikawa

场地的双重复杂性是设计的重要因素 —— 场地的形状，以及场地三侧周围的高层建筑所产生的照明条件。通过弯曲的U形体量，场地内围合出一处中央庭院空间，进而为每套公寓都引入了光线、微风和景观视野。

Two complexities of the site have been significant factors for the design–the shape of the plot and the lighting conditions resulting from high-rise buildings surrounding it from three directions. By wrapping a curved volume around a central void, each residential unit obtains light, wind, and views.

▼鸟瞰图，弯曲的U形体量与相邻建筑创造出庭院空间，Aerial view. The distorted U-shaped volume creates space between it and the adjacent buildings © Masao Nishikawa

建筑中央的庭院不免显得昏暗，为了使该空间重新焕发出活力，并使其受到居民们的欢迎，建筑师采用了三个关键策略来引入光线和开放感。首先，建筑师最小化了沿着庭院轮廓的走廊的数量，以减少阴影的形成。通过将每条走廊的末端转化为一套跃层的公寓住宅单元，走廊空间得到了有效地划分。

▼透视平面图，perspective plan © Hiroyuki Ito Architect

The courtyard in the centre of the building turned dimly lit. In our efforts to revitalize this space and make it more welcoming, we implemented three key strategies to introduce a sense of light and openness. Firstly, we minimized the number of corridors that follow the contours of the courtyard to reduce shadow formation. By converting the end of each corridor into a maisonette residential unit spanning two floors, we effectively divided the corridors.

▼从前路看建筑，两栋又高又窄的建筑并排而立，View from the front road. An impression of two high and narrow buildings standing side by side © Masao Nishikawa

▼主入口视角，庭院从狭窄的小巷向外展开，View From the main entrance. A courtyard spreads out beyond the narrow alley-like space © Masao Nishikawa

其次，建筑师规划了一系列面向庭院的侧部开窗，作为公共区域和住宅的阳台。这些开窗将光线和空气从庭院周围的各个方向引入室内。第三，设计为30米高的墙壁采用了最合适的材料肌理，使最微弱的光线也能得到增强。通过采用非典型性的建筑材料，设计实现了线性但不规则的外观效果。

Secondly, we created side openings facing the courtyard, serving as balconies for both common areas and residences. These openings allow light and air to enter from various directions around the courtyard. Thirdly, we applied a texture suitable for a 30-meter-high wall to enhance the perception of even the slightest light. Through the application of materials unsuitable for typical construction onto the formwork, we aimed to achieve a linear yet irregular appearance.

▼从楼梯望向庭院，庭院比街道低一层，View from the stairs towards courtyard. The courtyard is one story below street level © Masao Nishikawa

▼从七楼的通道俯瞰庭院，Overlooking the courtyard from a private passageway on the 7th floor © Masao Nishikawa

目前，只有居民才能进入庭院。然而，考虑到该地区的发展和建筑的预期使用寿命，庭院被设计成未来的公共空间，可用于共享办公空间、商店、咖啡馆或市场等活动。

Currently, access to the courtyard is limited to residents. However, considering the developments in the area and the building’s expected lifespan, the courtyard was designed to the evolve into a public space in the future, with proposed activities such as a co-working space, store, café, or market.

▼从四楼俯瞰庭院。光线透过阳台照进室内，View of the courtyard from the 4th floor. Light streams in through the balcony © Masao Nishikawa

浇筑庭院一侧立面的模板由日本雪松原木制成，这些木材来自千叶三木市的“木制车站项目”。该举措旨在通过在一个被称为“木材站”的整理点，从森林所有者那里获取薄木材和木材余料来维持森林的健康。

The formwork of the courtyard was made from Japanese cedar logs sourced from the ‘Wooden Station Project’ in Sammu City, Chiba. This initiative aims to sustain healthy forests by acquiring thinned wood and forest residue from forest owners at a collation point known as the ‘Wooden Station’.

▼从正门向上看，连接建筑两侧的阳台起到了雨棚的作用，Looking upwards from the main entrance. The balconies bridging the two sides of the building also function as a roof © Masao Nishikawa

近年来，林业面临着众多困难，真菌疾病的扩散导致树干变得脆弱并出现永久性的沟槽。通过重新发掘这些材料的价值，能够为林业实践做出适度的贡献。

In recent years, the forestry industry has faced difficulties, attributed to the proliferation of fungal diseases, resulting in trunks becoming permanently grooved and weakened. By finding the value in these materials, we aimed to make a modest contribution to forestry practices.

▼602公寓室内视角，庭院一侧为木质装饰，而向外一侧则为白色涂料，Interior view of flat 602. Wood finishing on the courtyard side, whilst white colored finishing on the outwards-facing side © Masao Nishikawa

▼302公寓，作为前花园的阳台， Flat 302. Balcony as a front garden © Masao Nishikawa

在施工过程中，原木被切成15毫米的薄片，保留一侧的树皮，并粘贴到胶合板上以制成浇筑模板。这种技术使原木的有机形状和轮廓转印到混凝土中，从而形成一处充满各种光影作用的庭院。

During construction, logs were sliced into 15mm pieces, retaining the bark on one side, and affixed onto plywood to create the formwork. This technique allowed us to capture the organic shapes and contours of the logs into the concrete, resulting in a courtyard where diverse interplays of light and shadow abound.

▼804公寓室内视角，家具排布在柱网内，Interior view of flat 804. Furniture is positioned within each span of the columns © Masao Nishikawa

▼403公寓室内视角，光线洒落在柱子之间的长凳上，Interior view of flat 403. Light falls on the bench placed between the columns © Masao Nishikawa

▼003公寓室内视角，通往公寓上层的楼梯，Interior view of flat 003. Staircase leading up to the upper floor of the maisonette © Masao Nishikawa

最终，充满光影的庭院如同一座神圣的教堂遗址，以壮观的空间感带来了趣味与深度，进而为居民和游客提供了理想的日常休憩场所。

Ultimately the cast of the courtyard adds to an impression of a space resembling that of a church in ruins, bringing play and depth to an imposing space meant to allow for a break in the everyday of its residents and visitors.

▼夜景，各种尺度的开窗，Evening view. Various sizes of windows © Masao Nishikawa

▼夜景，从院子里往上看，Evening view. Looking upwards from the courtyard © Masao Nishikawa

▼隔层平面图，plans © Hiroyuki Ito Architect

▼剖面图，section © Hiroyuki Ito Architect

▼剖面图，section © Hiroyuki Ito Architect

▼节点细部，details © Hiroyuki Ito Architect