クサノネワーク｜建築・内装・素材考察

建築・内装・素材選定の気づきを発信しています。 街で見た空間、サイン、素材、ホテル、商業施設、海外トレンドを、設計者目線でナレッジ化。 「なんとなく良い」で終わらせず、 なぜ良いのか、実務やなどう活かせるのかを整理していきます。 noteも更新中です。 #設計 #内装 #素材

Milan Design Week continues to function not just as an exhibition, but as a distributed design ecosystem across the city. What’s particularly interesting is the increasing overlap between architecture and product design—where objects are no longer standalone, but extensions of spatial thinking. It’s a reminder that material, scale, and context are becoming inseparable in contemporary design practice.

Each spring, Milan Design Week 2026 transforms the city into a distributed platform for design culture, where prototypes, product launches, and research-driven explorations coexist across multiple scales, including a growing presence of architect-designed objects. Held from April 20 to 26, the 2026 edition once again centered around the 64th Salone del Mobile.Milano at Fiera Milano, complemented by a network of independent venues and exhibitions throughout the city. Read more about this topic by following the link: archdaily.visitlink.me/FW0BQv

@paulg Interesting take. It’s less about “lower standards” and more about shared expectations. When the rules are implicit and forgiving, interaction becomes easier— almost like good spatial design, where you don’t have to think about how to behave.

Even though nerds are socially awkward, its actually easier to hang out with them than with smooth people, because standards are lower. You don't worry that you might be making social errors; all of you always are; so it stops mattering.

@_HATORI_ 丁寧に編み上げられた生活の解像度が、そのまま空間の密度になっている印象です。 既存の躯体や設備を“制約”ではなく“前提条件”として読み替え、更新していくプロセスがとても興味深いです。 新築では成立しにくい、時間や関係性のレイヤーが重なった空間だと感じました。

B1Dの402号室も拝見させていただいた。いつも説明を聴くと、丁寧に生活する家族のことを考えつつ編み出されたアイデアやディテールであるのだが、その結果が普通じゃない。顕になった躯体や設備、新たに加わった家具や植物。既存の継承と読み替えや転換が、新築ではできない構造を獲得している。

設計は「新しくつくること」だけではない。 既存を読み替え、 生活の解像度を編み込むことで、 新築では出せない密度が立ち上がる。 制約は、設計の起点になる。

@FC0373 この言葉、建築の本質を突いている気がします。 「良い建築」かどうかではなく、 その場所の文脈とどう関係を結ぶか。 強い造形が都市の記憶を更新するのか、 それとも断絶させるのか。 森ビルのこの塔は、その問いを象徴しているように感じます。

プリツカー賞、山本理顕の言葉が鋭すぎる。 「元麻布は古いお寺や商店街があり、住みやすい非常に豊かな場所だった。そこにある日、森ビルの元麻布ヒルズフォレストタワーができた。そのタワーのあまりの醜さに驚いた。」 #森ビル #建築

建築は単体で評価できない。 都市の文脈にどう“差し込まれるか”で意味が変わる。 アイコンは都市を更新するが、 同時に、積み重ねてきた時間も切断する。 この違和感は、設計として無視できない論点。

Beautiful explanation of Sakan. What’s fascinating is that it’s not just a material system, but a climate-responsive design logic. This technique embodies how architecture can work with nature—regulating humidity, aging gracefully, and improving over time. A truly sustainable intelligence embedded in craft.

Traditional Japanese earthen plastering, known as Sakan, uses materials like clay, sand, and straw applied over a bamboo lattice to build durable walls. These walls naturally regulate humidity and help maintain a stable indoor environment.

@tmbksauatio_98 偶然性を「排除するもの」ではなく「引き受けるもの」として捉えている点に、とても共感します。 建築がすべてを規定するのではなく、関係や出来事が編み替わっていく“余白”を残すこと。 完成後も現地に足を運び続ける姿勢も含めて、 空間を“固定化しない設計”のあり方を示しているように感じました。

先日、52間の縁側を見学した際に山崎さんに偶然お会いした。 竣工後も現地に足を運び、空間の枠組が関わりや出会いをひとつの形に収めてしまいがちなことに自覚的であり続けていた。 地域介護の現場ならではの偶然性を引き受けながら、建築の役割を編み替える等身大の姿勢がとても印象的でした。

@Nicotama222 田草川さん、おやすみなさい。

限界です。 おやすみなさい。 本日まだ続けるアクティブユーザー⇩

@ane5mama @Nicotama222 どうぞよろしくお願いします。

@Nicotama222 まだまだアクティブd(˙꒳​˙* )

都市の質は「目立つ建築」ではなく、 こういう見えない設計で決まる。 排水口にネットを仕込むだけで、 環境負荷の“下流”を変えられる。 インフラ＝デザイン。 この発想はもっと広がるべき。

@LicypriyaK Small interventions like this are powerful. It’s not just infrastructure—it’s designing behavior at the city scale. Catching waste early in the system changes the entire downstream impact. Would love to see more cities adopt these invisible but effective details.

The little things in Singapore the LGU can adopt to start looking like Singapore.

@sciencegirl Sakan isn’t just a finish — it’s a system that integrates structure, climate control, and material logic. What’s fascinating is how low-tech processes achieve what we now try to solve with high-tech systems. There’s a lot to relearn here for future sustainable design.

Sakan is a traditional Japanese plastering method that uses clay, sand, and straw over a bamboo lattice to create durable walls that naturally regulate humidity and stabilize indoor conditions.

@sciencegirl This is why cork is such an underrated architectural material. A renewable skin that can be harvested without killing the tree — it’s almost a perfect model of circular material thinking. We should be using this logic more in how we design finishes and envelopes.

This is how cork is harvested, The Quercus suber (the cork oak) is the primary source of cork used for many products including wine bottle stoppers Bark can be stripped without permanent damage and is regenerated about 12 times during the tree’s life

What’s compelling here is that the project doesn’t treat context as a constraint, but as a generator of form. The building isn’t placed on the site — it emerges from it. Material, color, and geometry all seem to translate the landscape into architecture. “Rooted” here feels less like a concept, and more like a method.

Designs that get executed when a country has masters using the basic materials it has. The Douban Museum sits in the farmlands of Ande Town, Sichuan, surrounded by rice paddies, bamboo groves, and traditional farmhouses. The architects didn’t build over that landscape. They built around it. Every mature tree above 20cm diameter was marked before design began. The building mass wraps and weaves through the bamboo, not clearing it, coexisting with it. The red corrugated roof isn’t decorative either. It reads the color language of traditional Sichuan rural roofscapes and scales it into something monumental. From above, the building looks like it grew from the fields. This is the argument China keeps making quietl, that the most advanced architecture isn’t the most imported. It’s the most rooted. 📍The Douban Museum, Ande Town, Dujiangyan, China. Architects: CSWADI. 📷 404NFSTUDIO

@KurakataA こういう「一度整理する時間」って、本当に効きますよね。 個別のプロジェクトで見ていたものが、横断すると急に一本の線になる感覚があります。

建築鑑賞、東京建築祭、北九州建築祭、なごや建築まつり、建築ツーリズム、黒川紀章研究など 大阪公立大学の本研究室で取り組む研究テーマは幅広いのだが、今日は一日かけて、なすべきことや共通点を整理できた だから、ゴールデンウィークはありがたい

Breaking density into volumes is effective — but what’s more interesting is how the “gaps” become the real architecture. Spacing here isn’t just for privacy, but for light, air, and layered views. Density isn’t reduced — it’s redistributed. Can this strategy scale in tighter urban contexts?

@Architizer Interesting approach to density. The separated volumes make the project feel much lighter, and the gaps between them seem to create privacy, light, and a more residential scale. It feels dense, but not compressed.

This residential project breaks down density into five separate volumes, using spacing and orientation to create privacy and a villa-like feel. 📍 Munich, Germany Project by: blocher partners Details: hubs.la/Q04f7fFk0

What stands out is how brick is no longer just a material, but a spatial system. The repetition, color variation, and depth turn structure into ornament — almost like a tectonic gradient rather than a static wall. Behrens was already thinking beyond surface, designing space through assembly.

An astounding example of Backsteinexpressionismus (Brick Expressionism): the Technical Administration Building interior of the former Hoechst AG in Frankfurt, designed by Peter Behrens (1920-4). Photographs by Klaus Peter Hoppe

Brick here isn’t just expression — it’s a spatial system. Structure, ornament, and light are merged into one logic. What looks decorative is actually controlling depth, rhythm, and perception. Hard to replicate today without losing this intensity.