Company Details | |
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Company Name | Tsuruta Architects |
Company Address | Unit 9E VANGUARD COURT REAR OF 36-38 PECKHA London SE5 8QT United Kingdom Map It |
Your Contact Details | |
Name | Taro Tsuruta |
Job Title | Director |
Email hidden; Javascript is required. | |
Phone | 07739714640 |
Role of this organisation in the project being entered | Director |
Category - Interior |
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Entry Details | |
Name of organisation entering the Awards (if different from above) | Tsuruta Architects |
Role of this organisation in the project being entered (if different from above) | Tsuruta Architects |
Project/Product Name (written how it should appear) | Dragon Flat |
Project Address | Unit 9E VANGUARD COURT REAR OF 36-38 PECKHA London SE5 8QT United Kingdom Map It |
Client Name | Fang Ma |
Designer/Architect Name | Masunami Shimoda |
Contractor Name | Jarek Kaminski |
Project/Product Description | Dragon Flat represents a refurbishment of a flat situated within a 1950s council block. Originally constructed in a then-decrepit area of London to accommodate low-income households post-war, the vicinity has since metamorphosed into one of London's most affluent quarters. The block's enduring concrete structure and the flat's low floor-to-ceiling height, slightly under 2.4m, posed unique challenges that demanded innovative solutions. In many London flats, the dichotomy between the ownership of the flats and their structural integrity often complicates design interventions. This was no exception. The flat's inherent dual aspect was a latent advantage, obscured by the subdivided kitchen, dining, living, and stairwell areas. Our intervention sought to unveil this concealed potential. By diligently removing non-load-bearing partitions, informed by thorough structural surveys, we transformed the lower level, liberating it from its post-war austerity blueprint. The result is a space bathed in varying intensities of natural light throughout the day. A prominent engraving of the River Thames, spanning wall-to-wall and reaching full height, serves a dual purpose. It not only diverts attention from the constrained ceiling height but also harmoniously integrates with the corner sofa and its embedded projector screen. By embedding utilities such as the kitchen, storage, seating, and toilet into the perimeter walls, we ensured the central space remained unobstructed. This allowed for the introduction of a floating perforated timber stair, positioned reminiscently of the original 1950s stairway. Upstairs, we eschewed conventional design wisdom that champions higher ceilings. Instead, we deliberately lowered the ceiling. The tatami bedroom, elevated on a storage platform, now boasts a floor-to-ceiling height of approximately 2m, crafting a uniquely intimate ambience within the confines of the original council flat dimensions. Our design approach also extended to the surfaces. Oriented Strand Board (OSB), a nod to the flat's modest origins, was innovatively employed as wallpaper, accentuated with brass clips and engravings. Contrary to the Arts and Crafts movement's aversion to burgeoning technology, we harnessed contemporary tools at our disposal. The engraved peony flowers adorning the walls, for instance, were conceived from AI-driven suggestions. These artificial creations serenely coexist with the organic peace lily, offering a juxtaposition of the natural and the technologically crafted. On the lower floor, we juxtaposed the commonplace OSB with opulent Carara marble slabs in the toilet. **The primary motivation behind all our efforts was to enrich the lives of the occupants.** The choice of the Thames River engraving is not merely aesthetic. It is intended to spark dialogue between occupants and their guests, infusing their daily interactions with depth and intrigue. Regarding the cost of the project, it remains confidential at the client's discretion. Completion Date: March 2022. |
Materials Used | For the Dragon Flat refurbishment, we primarily employed conventional sheet and board materials: plywood, pine boards, OSB boards, and marble tiles. Despite their ubiquity in standard building projects, we approached these materials in a slightly unconventional manner due to structural constraints. Our focus on surfaces emerged from the limitations imposed by the existing structure. With minimal flexibility to alter wall positions or ceiling heights, we delved deep into the surface design to imbue the space with richness and meaning. A notable example is our use of OSB board, a commonplace building product often relegated to the background. We brought it to the forefront, making it the visible finish in the main bedroom. This was further enhanced by engraving peony flowers, designed using an AI image generative tool and executed via CNC routing, a nod to human craftsmanship. Historically, movements like Arts and Crafts and Art Nouveau championed surface ornamentation to enrich occupants' lives, emphasizing human craft as a counter to rapid technological advancements. In contrast, we embraced contemporary digital tools to transform these everyday building materials. A striking experiment juxtaposed OSB with marble, contrasting one of the least expensive materials with a premium one. This exploration showcased the potential of common building products when approached with innovative design thinking. In essence, our material choices and their application, rooted in both history and modern technology, make a compelling case for the Surface Design Award. |
Sustainability | Dragon Flat's refurbishment prioritised sustainability by predominantly utilising low-embodied carbon materials. The project's essence lies in its adaptive reuse, transforming a space initially designed for low-income households to cater to an affluent demographic, mirroring the area's evolution. This approach not only preserved the existing structure but also minimised the need for extensive new construction, thus reducing the environmental impact. Material Carbon Footprint (A1-A3): Fitting, Furnishing, and Equipment: Transportation Carbon Footprint (A4): Construction Carbon Footprint (A5): From the provided data, the total embodied carbon for the project is 7,152 kg CO2, which translates to 86.87 kg CO2e/m^2 for a space of 82.33 m^2. This calculation, combined with the use of sustainable materials and the project's adaptive reuse approach, showcases Dragon Flat's commitment to environmental responsibility. |
Issues Faced | One of the primary challenges we encountered pertained to the engraving of OSB. Given the material's inconsistent and porous nature, achieving precision with CNC cutting was demanding. The spindle's rotation speed and the blade's width required meticulous calibration to ensure the engraving was both smooth and visually appealing. We opted for a wider blade, which not only facilitated a smoother engraving process but also enhanced the graphic's aesthetics. Another challenge was striking the right balance in the engraving's contrast. It was crucial to ensure the design was discernible without being overly pronounced or too subtle. The digital realm offers a plethora of options, but the final decision rests in human hands. To this end, our contractor produced several samples with varying finishes. This iterative process allowed us to visualize the outcomes and select the one that best aligned with our vision. The endeavor underscored the importance of collaboration and the fusion of technology with human judgment in achieving the desired result. |
Additional Comments | n/s |
Video Link | vimeo.com |
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