irregular-angled 'phase dance' residence wraps around a large tree in japan

nestled among a sloped woodland area in shizuoka, japan, ‘phase dance’ takes shape as a weekend residence. rather than remove a large orangebark stewartia tree set almost in the center of the architectural site, takeshi hirobe architects decided to shape the building around it. becoming part of the structure, the dwelling is wrapped around the tree to emphasize the importance of nature while coexisting with the architecture.all images courtesy of koichi torimura

takeshi hirobe‘s strategy was to generate an asymmetrical layout with a sequence of irregular angles and different levels, setting the stewartia tree as a centripetal force. with this in mind, the architects sought to create a comfortable sense of scale in each space, adding to the interior a cozy and playful touch. large openings, following the uneven edges of the walls, offer sweeping views towards the greenery landscape, flooding natural light into the double-height interior.

an ongoing concern that triggered the architects was how to place the structure on the ground on that point where the terrain had an intense elevation drop. in order to avoid an overly large and deep foundation, takeshi hirobe architects allotted about one-third of the building footprint to an overhang. as for the materiality, the ground level is clad in board-formed concrete, providing the occupants with a more secluded and calm area, while the upper is wrapped in stained cedar panels creating a warm atmosphere yet a harmonious cohesion with the lower level.

the upper level — serving mostly as a reading area — has the same footprint as the lower floor, including a triangular roof. although the roof is divided into multiple sections, it maintains continuity creating the impression of a single piece covering the whole building. the peak is around the center of the building, while the two narrow end sections slope down to the first story via a mezzanine and a void. the name ‘phase dance’ draws from the ‘dance move’ of the architects to respond to various phases or aspects of the project, partly from the building’s crescent-shaped form and partly from the transparency and speed of guitarist pat metheny’s song of the same name.