Bronze Architecture, Building and Structure Design · 2025
Kouunji Kyakuden Reception Hall of Temple
- A' Design Award 2025 Bronze Winner in Architecture, Building and Structure Design
- Awarded April 15, 2025
- CLIENT: Hiroaki Iwasa Architects Workshop
- Estimated Number of Design Views: 16,476
- Verification code 2D4EB65DA8 · Verify this award
About Kouunji Kyakuden Reception Hall of Temple
The project was a reconstruction of the 140 years old reception hall, which was one of the facilities of the Buddhist temple Kouunji. The old reception hall had been loved by the local community for a long period; however, due to its severe damage over the years, it needed to go through reconstruction. The architect solved these issues by updating and harmonizing, also devising some systems to pass on the memory of local community to the next generation. As a result, not only did the new reception hall achieve a sense of nostalgia but also a presence in the historical context.
Hiroaki Iwasa's Reception Hall of Temple exemplifies contemporary sacred architecture's capacity to honor vernacular building traditions while articulating present-moment design sensibility through material clarity and geometric refinement, representing a thoughtful contribution to the ongoing conversation between tradition and innovation within temple precinct architecture. The design appears to engage with fundamental questions of appropriate architectural expression within consecrated landscapes, exploring how contemporary materials and formal vocabularies can serve ceremonial functions while maintaining cultural continuity and contextual sensitivity that respects both site heritage and evolving community needs. The compositional achievement demonstrates sophisticated understanding of volumetric massing and proportional relationships, the gabled roof form echoes traditional temple architecture's characteristic profiles while the horizontal linear cladding treatment introduces contemporary material expression that distinguishes auxiliary structures from primary worship halls, this formal strategy suggests hierarchical differentiation while maintaining visual family relationships across the temple compound. The façade treatment reveals particular accomplishment in the handling of vertical timber or timber-effect elements that provide human scale, tactile warmth, and material richness, these closely-spaced linear modules create rhythmic visual interest while suggesting traditional screen and lattice precedents reinterpreted through contemporary detailing and manufacturing precision. The material palette demonstrates admirable restraint and contextual awareness, the warm earth tones harmonize with natural landscape elements and traditional building materials while the darker roof plane provides tonal weight and visual grounding, the strategic deployment of crisp white hardscape elements introduces luminous contrast and spatial articulation that enhances processional clarity and threshold definition. The landscape integration appears carefully considered with level changes choreographing visitor approach and creating measured transition from secular public realm to sacred precinct, the foreground hardscape composition employs geometric abstraction that complements rather than competes with architectural form while providing accessible circulation and gathering space appropriate to the building's reception function. The seasonal documentation captures the structure within its living context of mature vegetation and adjacent traditional buildings, this environmental embedding suggests the design's success in achieving presence without dominance, asserting contemporary identity while respecting established site character and visual continuity within the temple landscape. The building seemingly invites contemplation on the nature of threshold and transition, the reception hall occupying liminal territory between outside and inside, secular and sacred, public and privileged access, the architectural articulation appears to honor this functional liminality through formal restraint, material authenticity, and spatial clarity that welcome approach while communicating the significance of crossing from one realm into another. The work may reference vernacular building traditions including agricultural structures, tea houses, and auxiliary temple buildings that employ simple gabled forms, natural materials, and honest construction expression, while the contemporary detailing and material specificity suggest dialogue with minimalist design movements that prize essential form, material truth, and spatial clarity over ornamental elaboration or historical pastiche. How does this contemporary interpretation of reception hall typology negotiate between architectural identity and contextual deference, and what might the visitor experience reveal about the continuing evolution of sacred architecture within traditional religious landscapes?
Press Kit
- Unique Properties
- This project was the reconstruction of the reception hall of a Buddhist temple passed 140 years. The old reception hall had been loved by the local community for long time, but it was beyond the scope of repair. Therefore architect took on various creative challenges. He aimed to solve these issues by updating it to modern functions, harmonizing it with other facilities, and devising some mechanisms to pass on the memory of local society to the next generation. As a result, this architecture was able to achieve not a sense of nostalgia but also a presence for the future.
- Dimensions & Packaging
- Specification,
Scale/ Wooden two-story building,
Structure/ Timber frame structure,
Site Area/ 3039.15 Square meter,
Building Area/ 277.26 Square meter,
Total Floor Area/ 323.77 Square meter, - Tags
- temple, reception hall, reused, minimal philosophy, local landscape, passing on the memories, historical context, local community
- Production Technology
- This project had a clear floor plan with each function directly connected around the entrance hall, but there were many difficult construction tasks in some places. Ground reinforcement and strong foundation construction for soft ground, woodwork including special joints to structurally reuse old materials, fabrication of delicate and movable cedar lattices, and the revival of forgotten traditional natural paints "Kumezo". This project was realized through thoughtful design and exceptional craftsmanship.
- Design Challenge
- Various choices and challenges were made to pass on the memory of the local community. By choosing a common wooden house construction method rather than the traditional temple construction method, they were able to shorten the construction period, reduce construction costs, and as the result have time to repair and reuse old materials. The exterior has a roof shape unique to the region, and the walls and window lattices are finished with local cedar wood and with a revived traditional natural paint "Kumezo". As a result, this architecture achieved a special harmony and presence.
- Project Duration
- The project started in February 2002 and was completed in November 2004 in Tsukubamirai City, Ibaraki Prefecture.
- Operation Flow
- Kouunji is an essential presence for the region.
Because the parishioners of Kouunji are local residents and their relatives, and annual events and celebrations and condolences are mainly held for the parishioners. The reception hall, located to the side of the main hall, functions in conjunction with the main hall during events, and is used for religious ceremonies, waiting areas, dinners using the kitchen function, and a meeting place. It also functions as an emergency temporary evacuation center in the event of a disaster. There is also a temple office that oversees them. - Research
- Type of Research: About the relationship between Kouunji and the local area.
Methodology: History, landscape and topography research, annual event research, monk behavior research, and interviews with local residents,
Conclusion: Kouunji is the core of the local community that people have visited since childhood for events and daily life. The architect concluded that in addition to modernizing the function of the ceremony hall and harmonizing it with other facilities, it was essential to create a mechanism to pass on the memory of the local community to the next generation. - Inspiration
- Researching the old reception hall and the landscape and history of the area provided architect with important inspiration. In particular, the old reception hall was tilted due to the soft ground, but it was discovered that some of the main structures, such as beams and columns, were valuable materials that are currently unavailable, and could be reused if repaired. And new architecture was important not only for its shape in the landscape, but also for its presence within the historical context.
- Image Credits
- Photographer Kozo Takayama
Colors of Kouunji Kyakuden Reception Hall of Temple
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G0E23 ShopDesign Interview about Kouunji Kyakuden Reception Hall of Temple
The principle of my work is to honestly face the situation the project is facing. I believe it is essential to make appropriate judgments about the situation, such as what does the client's situation require? What does the environment need? What should I do now to create a better future, taking history into account?
In this project, I focused on finding fragments of the topography, landscape, historical context and background, and local people's memories, and integrating them into a clear architecture that would create a presence within the historical context.
The main hall was completed in recent years, so I think it is necessary to consider future facilities along with the other facilities.
It took me about 4 years to design this concept.
However, I spent more time on the process due to local restrictions than on the design.
However, I spent more time on the process due to local restrictions than on the design.
This design was based on a concept I discovered through research into the history, landscape, and community of the area.
The architecture or interiors are not mass-produced products, but are unique and original.
When I embarked on this project, I believed this design was exactly what the area and its future needed.
I didn’t approach any specific designs or designers.
I derived the design I needed from the environment, history and people’s memories.
I derived the design I needed from the environment, history and people’s memories.
This project is a facility for the temple, its parishioners, and everyone who has been involved in the community for many years, from the past to the future.
What makes this project different from typical temples is that it is not bound by the style and construction methods of traditional Japanese Buddhist architecture, but instead creates an essential function and a new presence in the history of the region.
”Kouunji Temple" was given the name "Banshozan Kouunji" by the head temple of the Soto sect at the time of its founding due to the impressive scenic view of clouds floating over the pine forest that spreads across the hills beside the large river.
"Kyakuden" is the name of the facility that functions as a reception hall among various Buddhist facilities.
"Kyakuden" is the name of the facility that functions as a reception hall among various Buddhist facilities.
During the design process, we went back and forth between CAD and mockups.
Rather than special shapes or colors, I like to collect various elements from environmental and historical research, and integrate them into architecture that can be passed on to the next generation.
For this project, we received cooperation from a judicial scrivener for administrative procedures, a design firm specializing in wooden construction and regional ancillary facilities, and a master carpenter for traditional Japanese wooden joint techniques.
The design technology is orthodox; I used CAD to improve efficiency and carefully considered mock-ups.
The purpose of the research was to understand the local situation. It was not a way to obtain quantitative data, but to find out the local history, environment, and potential needs and important elements of the people.
Based on the results, I decided to integrate these improvements and elements that can be passed on to the next generation into the architecture.
Based on the results, I decided to integrate these improvements and elements that can be passed on to the next generation into the architecture.
There were many challenges in realizing the project, such as constructing the building on soft ground on a hill by the river, how to reuse materials from the old facility in the new facility, how to resolve local legal restrictions, and how to pass on the community's emotional memories to future generations through architecture.
Ultimately, the most important challenge was how to integrate such complex and diverse elements into a clear design.
Ultimately, the most important challenge was how to integrate such complex and diverse elements into a clear design.
I was interested in how my design, which has been in useful many years since its completion, would be evaluated internationally, and I was confident, so I entered the competition as a source of pride for the temple, the local residents, and everyone involved in the project.
Through this project, I found important hints not only through dialogue with the client, but also from a broader perspective, by researching the environment and history. I once again realized the importance of sincerely addressing each piece of the problem, making improvements and refinements, focusing on the essential elements, and designing clearly.
Grand Interview about Kouunji Kyakuden Reception Hall of Temple
Balancing tradition and modern function.What I really aimed for was to carry on the memory of the original guest hall while also making it work as a contemporary public space—something that could last another 200 years. A key idea from the start was to create a space that embodies a sense of “quietness,” which I see as the spiritual heart of the temple.The old hall had tilted due to long-term ground movement, so we decided to reinforce the foundation by driving steel pipe piles down to the stable soil layer, ensuring the new structure would remain sound over time.To me, preserving tradition doesn’t mean copying old styles—it means passing on values using today’s technologies. I chose natural materials above ground that will age gracefully over time, while the underground structure is designed to resist future ground shifts.As for the functional side—like the office, kitchen, and utilities—they meet all modern standards, but we kept them tucked away so they wouldn’t distract from the calm, clean look of the main space.That main space is intentionally simple. It’s built from natural materials, uses proportions, shadows, and acoustics to quietly reach people on a sensory level. Designing for “quietness” became the bridge that connected memory and public life.
Challenges in reusing historical materials.The original hall used high-quality timber that’s really hard to get today, so one of the big challenges was figuring out how to reuse that old wood in a way that was safe and up to current standards.That meant assessing the structural integrity of each piece, reinforcing where necessary, and finding ways to blend traditional carpentry with modern construction techniques. I worked closely with a master carpenter and his young apprentice, and we did everything from hand-cut joinery to delicate repairs.Seeing those skills passed on through the project was deeply meaningful for me. And when we finished, locals naturally gathered around the old pillars and started sharing stories. That’s when I realized this wasn’t just a rebuild—it was an act of carrying forward memory itself.That’s what architecture can do when tradition and technique come together in the right way.
Reviving the natural paint “Kumezo”.“Kumezo” used to be a common natural coating for protecting wood, but it faded away when synthetic paints took over. I learned about it through conversations with local craftspeople and from old documents, and we worked together to bring it back.It’s made from a mix of soot and red iron oxide combined with natural preservatives. It’s low-impact environmentally and can be recreated in other places, which gives it broader potential too.But it’s more than just a finish—it gives wood a warm, soft depth that grows richer over time. That gradual change brings a subtle presence to the building and, in a way, became one of the links connecting past to future in this reconstruction.
Reflecting community memories in the design.Kouunji has always been part of people’s lives—for ceremonies, festivals, or just a place where kids played. I wanted the new design to honor that relationship.So I gathered memories—what people recalled seeing, hearing, feeling. The moment when the roof comes into view as you climb the hill, the darkness under the big eaves, the breeze through wooden latticework, the soft light filtering through shoji screens, the sound of footsteps on gravel, the echo of chanting—those kinds of details.I took those impressions and translated them into the design, turning fragments of memory into spatial elements. That helped embed the building into the emotional and historical landscape of the community.
The roof and cedar: design inspirations.I wanted the building to feel like it belonged in the landscape—not flashy or radically new, but familiar and welcoming. That’s why I went with a simple roof shape and local cedar for the exterior.After the 2011 earthquake, it made sense to switch from heavy roof tiles to metal to improve earthquake resistance, without compromising the look. The cedar siding, protected by deep eaves, will age beautifully over time.The façade, with its gentle and rhythmic latticework, fits into the temple grounds but also has its own quiet presence. Altogether, the design reflects a deep respect for the region’s history and environment.
Layout and flexibility.The layout is pretty straightforward: two large halls branching off from a central entrance space. That makes it easy to host different kinds of events—rituals, meetings, meals, or just a waiting area for the main hall.I designed the walls with sliding panels so the rooms can be opened up or closed off depending on the need. In an emergency, the space can function as a temporary shelter, with areas for sleeping, cooking, bathing, and storing supplies.There’s also a corridor linking to the main hall next to the Kyakuden, so they work together during large events. That kind of flexibility is something I think modern temple buildings really need.
Ground reinforcement and structural strategy.The old building had tilted due to uneven ground settlement, especially since the site is on a terrace edge. Soil tests showed that while the surface layers were unstable, there was solid ground about 10 meters down.So I drove steel pipe piles all the way to that layer and built the foundation on them. That created a stable base that will keep the building secure for years to come. I also used traditional joinery techniques in parts of the above-ground structure, especially where reclaimed timber was used, combining old wisdom with new engineering. I think this is a great example of how tradition and technology can work hand in hand.
Designing for the senses.Absolutely. I always try to design with all five senses in mind—not just how things look, but how they sound, feel, and even smell.It’s about more than just materials or visual beauty. It’s how light filters in, how air moves, how sounds echo, how scents linger—those subtle, layered experiences are what give a space its richness. They invite people to pause, feel, and connect with themselves.I don’t think of architecture as something to “figure out.” I think of it as something to be felt. And that belief is very much alive in this project.
Impact and significance moving forward.I think this award sends a strong message—that temple architecture isn’t just about preserving the past. It can also be a foundation for the future of its community.I hope the way we approached this project—balancing tradition with modern needs—can serve as a reference point for similar efforts around the world, not just in Japan.
A Vision That Integrates Spirituality and Community Functionality. Kouunji Kyakuden was designed to combine spirituality as a place of prayer and gathering with practical functionality that supports the daily life of the community. Through the selection of materials rooted in the community and a focus on people's memories, the dual nature of a "spiritual place that calms the mind" and a "place that supports the daily life of the community" with a clear structure and excellent functionality is integrated into this architecture.This quietly standing architecture will surely speak to visitors in a variety of ways through all five senses, and when the memories of the local people are shared with future generations through this architecture, transcending time, I believe that my design philosophy will have been realized.