> In collaboration with:

Megan Beange, Aaron Janushewski, Emily Monette, Sergio Navarro García, Rubén Martínez Sanchís, Borja Castillo Alberola, Juanjo Ruiz, Jose Diaz Mollá and Tatiana Ferrer Sarmiento.

> Professors: Javier Sanchez Merina and Halldóra Arnardóttir.

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Reading Drawing Working

> STORY OF NAKED HOUSE> READING4

> The house consists of one unique large space of two-story high in which four personal rooms on casters can be moved freely.

> Shigeru Ban, who from the beginning of his professional practice has worked on hu-manitarian projects, is a rare exception in the panorama of contemporary architecture, combining orders for refugee camps with first class museum. This diversity demonstra-tes the breadth of demands that the profession must respond, and the understanding of what it means to be an architect in the case of Ban.In 1996, Shigeru Ban created VAN, Voluntary Architect's Network, a network for exchan-ging information between academic and professional groups and carry out social contri-butions of architecture.

> SEE> WEB > WWW.SHIGERUBANARCHITECTS.COM> WEB > HTTP://VAN.SFC.KEIO.AC.JP/> BOOK > SHIGERU BAN, PAPER TUBE ARCHITECTURE FROM KOBE TO RWANDA. TOKYO: CHIKUMA SHOBO PUBLISHING CO. 1996 PUBLISHING CO. 1996

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Shigeru Ban interrupted the international scene with its ingenious usage of carton tubes for rapid assembly of refugees camping places after recent earth-quakes in Kobe and Turkey. This same 'paper architect' - as he was known from then on - designed a house, "naked" of any partitions, as a reply to a commis-sion for a house that had to encourage the relationship between the members of a three generations family.

> The client wanted a house with as little pri-vacy as possible, a house which does not se-parate family members from each other, but allow them space for their individual activities while retaining an atmosphere of togetherness

> STORY OF NAKED HOUSE> READING6

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> The neutral space of the shed can be orga-nised and transformed by moving the be-drooms, which even can be drawn out to the garden.

> STORY OF NAKED HOUSE> READING8

> The external walls made of two sheets of corru-gated fiber-reinforced plastics and the inner walls made of a nylon fabric are both mounted on wooden stud frames and sit in parallel. In between are atta-ched clear plastic bags, carefully stuffed with strings of foamed polyethylene for insulation purpose.

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With a similar appearance as the greenhouses nearby, a translucent enclosure was designed to protect the family's privacy and to avoid unwanted glances from the access route. The exterior of the wooden fra-mework which forms the structure is clad with corrugated translucent plastic reinforced with fibreglass, while the interior facade is covered with cotton fabric fixed with Velcro to make it easier to clean. The problem that Shigeru Ban was faced with was to find thermal insulation, which permit-ted the light to filter through. Once more following his interest in introdu-cing new materials in the building construction, and by practising with co-lourful materials such as wood splinters and remnants of recycled paper, he decided to fill the cavity left between the two planes with polystyrene shaving that in Japan is used to pack fruit. The only requirement to make this product suitable was to have to saturate it in a liquid that held back fire and to enclose it in transparent vinyl bags that were sealed and nailed to the wooden structure. With the exception to the cubicles, which were constructed with brown corrugated carton, the interior of the whole house enjoys the same milky white light that characterised the old houses with screens made of rice paper.

In the same way as the traditional Japanese house is not thought as a permanent dwelling but a place where the inhabitants stay temporarily until their situation changes, the Naked House is designed as a one space which describes the course of time like water in the river that never stands still and takes on enumerable forms.

> SELECTING A HOUSE> READING10

> STORIES OF HOUSES feature examples of dwellings from which we can all learn - both the clients during their contemplation about building a house, and the architects to understand and evaluate the life of the clients.This series of articles tries to give answers to questions concerning intimacies and oriThis series of articles tries to give answers to questions concerning intimacies and ori-gins of important international houses. They try to fill the gap left by so many History of Architecture books which, when neglecting these extreme personal sources, forget the multidisciplinary character of architecture. Stories of Houses include information about the clients, their requests and needs, without which one cannot begin to understand the final result.

> SEE> WEB > WWW.STORIESOFHOUSES.BLOGSPOT.COM.ES

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Stories of Houses has been the main source of information when develo-ping the project, since most homes are treated there is little or no information. These dwellings that are discussed in Stories of Houses are not simple projects houses of famous architects, are something else. They are stories of homes that derive from the society in which they were built, the architect and especially the user and its premises. For all these reasons, the choice of one of these houses to start with the project, it took a rigorous analysis of each of them, in order to have enough criterion when choosing.have enough criterion when choosing.

> SELECTING A HOUSE> READING12

> The interior facade is covered with cotton fabric fixed with Velcro to make it easier to clean.

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> PHOTOMONTAGE OF A CONCEPT> DRAWING14

> These are the set of photomontages made by Group 1. They reflect the cultural facts that generated the Naked House and Aktion Polophile House in the XX century.The project was first developed with the analysis of the two houses, but as we move forward in the analysis, the Aktion Polophile was pulled away to work in greater depth about the Naked House, because it offered greater possibilities for the project.

> SEE> WEB > WWW.RE-READINGSTORIESOFHOUSES.BLOGSPOT.COM.ES/ > G1/NAKED HOUSE//TRANSFORMATION AND INTEGRATION > G1/THE CULTURAL EVOLUTION OF THE REQUEST

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A photomontage is a design technique whereby images can be combined in order to create a new composition. It is an appropriate technique at the begin-ning of a project, because it has not yet material and knowledge to create their own drawings, and it is a quick way to agglomerate simple ideas in order to create one more complex.

With these photomontages attempted cultural extract data generated that archi-tecture. In short, this is an analysis of the essence of the house, captured by the union of all concepts. As well as reflecting the transformation of these concepts, which were in the XX century, to the XXI century.

> Currently the most populous city in the world is Tokyo, whose population is estimated between 30 and 34 million people, so have a field that can contain a house of over 100m2 is a privilege.

> PHOTOMONTAGE OF A CONCEPT> DRAWING16

> In traditional Japanese culture, the grandpa-rents assume that their children and grandchildren would live with them in the same house until the end of their days. Although Japanese society has chan-ged and westernized, nowadays many families take up this tradition due to the high cost of the housing.

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This second photomontage represents certain contrasts between the past lives of the family, against the change of living in the Naked House for them.

The family lived in Tokyo, which responds to model a large and crowded city, where despite being surrounded by people you do not have any emotional bond or relationship with them. It is a busy city, where everyone is in a hurry and in which all are unknown. These large cities promote that family relationships become weaker. No place for three gene-rations living together.

Faced with this situation arises the Naked House, which is situated in a small town away from the big city of Tokyo. A quiet town, where there are hardly any neighbours. The Naked House is surrounded by rice fields, greenhouses and nature that the river provides. It is a peaceful environment that promotes self-emotional relationships between family and also between different inhabitants.

> PHOTOMONTAGE OF A CONCEPT> DRAWING18

> Photomontage made in the group after the first two singles. It seeks to reaffirm cultural concepts on which we have been working and analyzing

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> RE-WRITING ARCHITECTURE> DRAWING20

> The external walls made of two sheets of corru-gated fiber-reinforced plastics and the inner walls made of a nylon fabric are both mounted on wooden stud frames and sit in parallel. In between are atta-ched clear plastic bags, carefully stuffed with strings of foamed polyethylene for insulation purpose.

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At this point of the project, when we have analyzed enough the housethe story of the inhabitants of the house, and cultural factors in which develops .. The next step is to ask how they have developed to the XXI century the inhabi-tants of the house, the neighborhood, etc.. In short, how the story has changed depending of these cultural changes of the XX century to the XXI.

Once the story has been rewritten with all the changes that have taken place, it raises new actions occurring into the housing, for which is not ready. The house was designed for conditions and actions which were to be developed at long term and at a given time, but now in the XXI century conditions and ac-tions have changed, and everything changes from the point of view of cultural factors.

These actions belong to a set that has developed individually, in which all team members have contributed with a drawing, an idea or an action.

N

> RE-WRITING ARCHITECTURE> DRAWING22

> Scheme of how the neighborhood has been invading the surrounding land to the Naked House. With the exception of its south facade facing the river Shingashi nature.

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> RE-WRITING ARCHITECTURE> DRAWING24

One of the cultural factors that have been considered for drawing actions was that the Japanese work culture has softe-ned a bit these past 20 years. Largely due to the crisis in the country, the effects of which were exacerbated by the earthquake of 2011, date when companies have begun to break the hitherto taboo subject of disto break the hitherto taboo subject of dis-missal. Although there aren’t drastic mea-sures, large companies have begun to re-lieve their senior workers to make way for the new generations, where they have esta-blished early retirement programs for people who are leaving.

Because of this, the parents of this family were pre-retired, enjoying much free time, and the kids have gone to study abroad, so two cubicles have become empty.

This action involves the re-use of one of the cubicles, destining it for leisure of the mother that is painting. This cubicle-art studio generates movements looking for the best light along the day.Each of these positions along the day are Each of these positions along the day are not random, these are the result of the search of optimization the light for painting.But also corresponds to that from each But also corresponds to that from each could have a different view of the garden so that throughout the day you could compose a full view of the garden which varies with the different lights of the day, from sunrise (first position) until sunset (last position). You could always generate multiple and di-fferent views of the garden, as they pass fferent views of the garden, as they pass the hours, months, or seasons.

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> RE-WRITING ARCHITECTURE> DRAWING26

The panel includes many drawings that represent the three main actions are going to happen in the house from the cultu-ral changes. One of these actions is already explai-ned in the previous page, it re-uses one of the cubicles as art studio.

Another action, that is proposed, is to re-use the other cubicle which is empty, as a greenhouse for bonsais. This action would be carried out by the grandfather, who after losing his wife and because of his illness, he spends his time in the art of bonsais,, an acti-vity that is quiet enough, so he can do it wi-thout effort.This cubicle generates two diffe-rent types of movements that arise from the need to care for bonsais. The first movement responds to the need for watering and sunli-ght daily. The first two positions do not allow sunlight to fall on bonsais, because two hours must elapse from watering until they can be exposed to the sun. The remaining positions allow good sunlight along the day. The second movement is not daily, it takes a much longer time period.This comes from the thermal need of bonsais, according the diffe-rent seasons pass, and therefore the daily movement is not the same in winter than in summer.Moreover, it studied the best posi-tion of the bonsais in the cubicle.

On the other hand we have analysed the actions that take place when there are guests at home. From cooking food, starting with time spent on food preparation, up to a correct disposal of food and the guests at the table, and the movements of the guests from entering the house until they leave it.

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> TECHNICAL INTERVENTION> DRAWING28

The format corresponds to 1x1m section, in which not only are perceived housing cons-truction details, it also represents the action that will be possible through this constructi-ve solution.

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0 5 10 20 cm

The last phase of the project is an intervention in the housing starting from the proposed actions. This change must respond appropriately to the needs of action raised. In this case it is proposed that a series of holes, through which one can see the garden and thus, it can perform the action.

> TECHNICAL INTERVENTION> DRAWING30

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Because of the early retirement of the parents, the leisure time in the Naked House is higher, so the house must be reformed for these new activities which will be developed.The skin of the housing provides a diffuse light, creating an open space and translucent. This hides the outside, what happens inside the house. But at the same time, impedes vision outward from the interior.This proposal consists of opening several holes in the facade, in keeping This proposal consists of opening several holes in the facade, in keeping with the light of day, trying not to break the aesthetics of the home. It using transparent polycarbonate sheets, located in the outer envelope, providing vision to the garden outside. On the inside, it will be a system to try hiding these holes, when not needed. So trying that is not perceived from the inside, without breaking the continuity of the envelope.

As for the new outer shell, it would only be necessary to install in areas As for the new outer shell, it would only be necessary to install in areas where the holes should go. Thus we should not change the entire envelope. The proposed material is a polycarbonate sheet 1 cm thick, because it is a material that was not available in the XX century. It is common to use this material for greenhouses or roofed enclosures, guard houses or soundproof walls. It presents good thermal insulation properties, good transparency and high resistance to breakage. In short, it is a suitable material for this cons-tructive solution, because well as the features already mentioned, provides tructive solution, because well as the features already mentioned, provides interesting solutions in regions with earthquake hazards (such as Japan) and for fast applications in disaster areas. Therefore, this material is symbo-lically continues the work of Shigeru Ban.

As for the inward envelope, the proposed system is to continue the original interior fabric, but creating a network of hidden zippers which would cover the windows to the naked eye. In case you want to see, just have to open and fold the fabric. It would be like sewing with zippers the inside envelope to show or hide the windows based on usage, and thus does not alter the aesthetics of the home.

> TEAM WORK> WORKING32

> The two main ways of communication, which have been used,  are Facebook and GoogleGroups. The first was used  when we had to decide things in common or discuss a topic, because it was a fast and direct way to communicate. Furthermore we used GoogleGroups for more serious issues, or to discuss things long term.

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Re-reading of Houses from the beginning was presented as a workshop that would have to work hard, in large groups, with international students and where most of work would be online. When you start working with a group, and as in this case, he realizes that it will not be easy, it takes a lot of organization and responsibility on the part of the members to do a good job. In our case the start was difficult, there was no good communication, misunderstandings ... but after the first few weeks all start to do our part and work as a real team. My opi-nion is that is a really good experience and educational, it shows us that there nion is that is a really good experience and educational, it shows us that there are more ways to work for the XXI century architect. On the other hand these 7 weeks have passed very quickly, and I certainly believe that with a few weeks we had reached even better results.

> WORKING34

BIBLIOGRAPHY >

BOOK> Verb Crisis (ISBN: 987-84-96954-01-4)

WEB> http://storiesofhouses.blogspot.com.es/

WEB> http://www.shigerubanarchitects.com/

WEB> http://www.interempresas.net/Plastico/Articulos/2606-Lami-nas-de-plastico-transparente-como-material-de-construccion.html

WEB> http://hablajapones.org/foro/japon/la-occidentalizacion-de-japon/

WEB> http://www.kirainet.com/japon-despues-de-20-anos-de-crisis/

WEB> http://www.eikyo.es/2012/la-mujer-japonesa-mito-y-reali-dad-conferencias/

WEB> http://laplatahochi.com.ar/

FILM> El sol del membrillo, (1992).

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MANIFESTO > At the beginning of the workshop it looked really com-plex and almost impossible to get to make interesting changes in a house that we knew it had been designed by great architects. The development of the project has not only provided an architectural and teamwork lear-ning.

Before making any changes in space, we must analyse it, study and understand it from multiple points of view. A space can not be designed so that the activities that they take place inside have to adapt to it. Instead of this, first we have to know what kind of premises has the project, what kind of actions and situations will be developed within that space, and so, consequently, design the architecture that will allow those actions to have place. Thus we obtain efficient and useful spaces. The view from the end of the workshop is that it really is possible to achieve interesting solutions about complex houses designed by great ar-chitects, just need to go step by step, analysing and studying every move-ment.