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.

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.