本案中待整修的建物所在地區曾是鄉間的農地，但是因為戰後經濟成長快速而歷經工業化，後來開發成為住宅工廠混合使用區。現在這個地區使用多元；有些工廠仍在營運，有些倒閉的廠房整修為住宅，有些仍閒置著，有些則拆除後由新住宅取而代之。業主深感這棟曾是染坊兼住宅的建物極具潛力，就買下這筆距離京都市中心約二十分鐘車程的物業，將其整修為工作室兼自宅。現有建物樓地板面積近 100 坪（330 平方公尺），歷經數次擴建與整修；上一位業主把地面層用作染坊及卸貨區，樓上作自宅使用。我們調整了面積配比，把整個木構部分安排在北向立面，既有的一樓鋼構體是後方的工作室，其餘則是起居空間。臨街的一、二樓享有自北向立面引進平均且穩定的自然光，成為薄久保香的工作空間。相較之下，大庭大介的工作室不需要大量的自然光，因此夾在後方噴漆房與一道新建的牆中間。我們加入了由 6mm FRP 板構成的立面，成為介於街道和建築之間的元素，一方面構成室內工作環境的一部分，另一方面也向外傳達了室內所進行的活動。FRP 是一種玻璃纖維強化塑膠，雖然是工業產品，但是具有不規則性和透明的特質。因此，由外而內和由內而外的光線都經由此媒介漫射分散；平面內外的風景與活動投射成為抽象的影像。在二樓的木構部分，天花板的木夾板與既有的柱子上了銀色的油漆，讓不飽和色調與作品形成對比，也將穿透 FRP 平面的漫射光引導至空間深處。內部的再反射模糊了對空間深度的感受。
整修建案的核心是調整環境裡既有的元素。換句話說，就是重新界定那些已存在元素的現狀。在本案中，以油漆作為觸發點，最終實現的建築不僅盤踞介於使用者與周遭環境之間的空間，還透過 6mm FRP 立面本身的漸層表現斡旋兩者間的界線。實體界線與視覺界線並不相同，卻都同時將內部和外部的現狀轉譯至平面的另一端。
The clients are painters; Daisuke Ohba + Kaoru Usukubo. Ohba’s work is characterised by a special technique in the application to the canvas, allowing the patina to take on various forms and which, depending on the angle and distance from the surface one stands, convey varying impressions to the viewer. Usukubo’s work is also two dimensional, and through traditional painting techniques, an incredibly strong gift in drawing and composition, the viewer is confronted with a surreal experience. When facing the pair’s work, one instinctively appreciates that paintings can form an interface between us and the multi-faceted world which surrounds us.
The building to be renovated was situated in an area which was originally a belt of rural farmland but, due to the rapid economic growth which followed the end of the war, experienced industrialisation - and as a result, was developed into housing and factories. Nowadays, the area is varied; factories still in operation, those that have been closed and converted into housing, those that stand vacant, and those that have been torn down and replaced with further housing developments. Roughly 20 minutes by car from the centre of Kyoto, the clients saw particular potential in a former dye-factory/residence, deciding to purchase it and renovate it into a studio and home. The existing structure was a little under 100 Tsubo (330m2) and had been expanded and renovated a number of times, culminating in the previous owners utilising the ground floor as a Dye factory and cargo loading space, and the floor above as a home. Adjusting these area distributions, we set aside the entire timber frame portion on the north face, and the first floor of the existing steel frame structure to the rear, for studio space - with the remaining area to be used for living. From there the 1st and 2nd floor facing the road, due to the constant even natural light apparent on the northerly facade, became Usukubo’s workspace. In contrast to this, as large amounts of natural light were unnecessary for Daisuke’s studio, we arranged it between a spray booth at the rear and a newly constructed wall. We inserted a facade of 6mm FRP flat sheet; resulting in an element situated between the road and architecture that composed the internal studio environment and expressed the internal activities to the exterior. FRP is a glass fibre reinforced plastic which whilst being an industrial product, possesses a characteristic irregularity and transparency. Because of this, the diffused reflection of light passing through the surface from both inside and out is mediated and dispersed; mutually projecting the abstracted imagery of the scenes and activities on either side of the plane. On the second floor of the timber structure, we applied silver paint to the ceiling plywood sheets and existing columns; creating a de-saturated color scheme that contrasted with the work and further guiding the diffused light that passed through the FRP plane to the far side of the room. By once again producing reflections of the interior, the result was a space that lacked a distinct sense of depth.
Architectural renovations are at their core focused on adjusting elements already present in a given environment. In other words, it is a case of redefining the state of those pre-existing elements. In this project, the tectonics of painting acted as the trigger, and architecture was realized that not only occupied the space between the user and surrounding environment but one that mediated this boundary through the graduation inherent in the 6mm FRP facade. It is a boundary that differs physically and visually; one that simultaneously translates the state of the interior and exterior to the other side of the plane.