Jun
09

Glass Temple

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glass temple TAKASHI YAMAGUCHI & ASSOCIATES

glass temple TAKASHI YAMAGUCHI & ASSOCIATES

glass temple TAKASHI YAMAGUCHI & ASSOCIATES

glass temple TAKASHI YAMAGUCHI & ASSOCIATES

glass temple TAKASHI YAMAGUCHI & ASSOCIATES

glass temple TAKASHI YAMAGUCHI & ASSOCIATES

glass temple TAKASHI YAMAGUCHI & ASSOCIATES

glass temple TAKASHI YAMAGUCHI & ASSOCIATES

glass temple TAKASHI YAMAGUCHI & ASSOCIATES

La ubicación se encuentra a los pies de Mr. Funayama, una de las cinco colinas del norte de Kyoto, famoso por las hogueras de verano. Reigenko-ji es un templo imperial, construido por el emperador Gomizuno-o en 1638. Gomizuno-o, quizás más conocido por crear el Templo Shugakuin Imperial, construido para el sacerdote Isshibunshu. Después de la muerte Isshibunshu en 1671, el emperador se retiró, con el deseo de honrar el lugar donde el sacerdote había vivido y enseñado. Hoy en día, Reigenko-ji sigue siendo un templo para los ritos de la oración imperial.

Cuando TAKASHI YAMAGUCHI & ASSOCIATES visitó por primera vez el recinto del templo, sintió que su misión sería la de respetar su larga y digna historia y, al mismo tiempo, transmitir al futuro las enseñanzas y el espíritu transparente de color blanco puro del sacerdote Isshibunshu. El Butsuden (Sala Principal), con su línea de techo ligeramente convexo y el ascenso luz de sus aleros, presentó una figura agraciada. Originalmente, el techo había sido techo de tejas según el registro histórico. Más tarde, el techo de teja fue descubierto durante los trabajos de restauración del edificio, con lo que se vio claramente cómo había vivido y "respira" este edificio en el flujo del tiempo del pasado al presente.

En su relación con los edificios existentes, la ubicación se percibe como cuatro territorios. Cada uno - el jardín de árboles de cerezo, jardín de rocas, estanque de jardín y jardín de árboles de arce - representa una expresión diferente. El nuevo edificio se colocó en el jardín de árboles de arce. 

Todo el edificio fue puesto bajo tierra. Cuenta con 6x22m en planta y 6 m de profundidad - con una ligera inclinación de 5 grados con respecto a la Sala Principal y el estudio. Sólo una caja de vidrio transparente aparece por encima del suelo, y dota al subterráneo blanco de luz. Un lucernario de cristal esmerilado penetra verticalmente el edificio. Dentro del edificio se percibe como un volumen de luz. Así, la relación de vacío con el volumen de este edificio se invierte cuando se viaja entre sus espacios interiores y exteriores. Toda la luz que entra en el edificio se amplía en el espacio del interior blanco, por lo que borra toda forma y contorno.

En la superficie, el jardín se extiende con grava blanca. A través del arbitraje de la huerta, el nuevo espacio responde y encuentra conexión con la actual Aula Magna y el Estudio. Envuelto por la exuberante vegetación natural de Nishi Kamo, el nuevo edificio y el antiguo edificio coexisten independientes entre sí, pero unidos en una relación de armonía para el camino hacia el futuro.

Location: Kyoto, Japan

TAKASHI YAMAGUCHI & ASSOCIATES

Photographer: TAKASHI YAMAGUCHI & ASSOCIATES

 


The site is located at the foot of Mr. Funayama, one of five northern Kyoto hills famed for their summer bonfires, burnt to suggest souls entering paradise. Reigenko-ji is an imperial temple built by Emperor Gomizuno-o in 1638, within the scenic splendor of Kyoto's Nishi Kamo district. Gomizuno-o, who is perhaps best known for creating the Shugakuin Imperial Temple, constructed Reigenko-ji for the priest Isshibunshu. After Isshibunshu's death in 1671, the retired emperor, wishing to honor the site where the priest had lived and taught, went to great trouble to move the Seiryo-den (emperor's quarters) from the Imperial Palace to this temple for its reconstruction as a Butsuden (Main Hall). Today, Reigenko-ji remains a temple for rites of imperial prayer.

According to TAKASHI YAMAGUCHI & ASSOCIATES: "When I first visited the temple compound, I felt that my mission would be to respect its long and dignified history and, at the same time, to convey to the future the transparent teachings and pure white spirit of the priest Isshibunshu. The Butsuden (Main Hall), with its slightly convex roofline and the light upswing of its eaves, presented a graceful figure. Originally, the roof had been thatched with shingles, the historical record said. Later, when evidence of that shingle roof was discovered during restoration work on the building, I saw clearly how this building had lived and "breathed" within the flow of time from past to present, and I wanted to ensure the continuance of its life into the future. "

"Working, thus, within the flow of time, I sought to overlay our own time on the past in a way that would render it distinct. This was a necessary courtesy, I felt, in intervening in this place of our ancestors, and a matter of proper form in addressing history. In its relationship with the existing buildings, the site could be perceived in terms of four territories. Each -- the cherry tree garden, rock garden, pond garden, and maple tree garden -- presented a different expression. The new building would be placed in the maple tree garden. A maple tree growing on the site since ancient times was as conspicuous in its presence as the Main Hall."

"The new building was conceived as an architecturalization of the garden. The entire building was placed underground. With exceeding care, I situated a void -- 6x22m in plan and 6m deep -- at a slight, 5-degree angle to the Main Hall and Study, centering on the maple tree. Inside the void I inserted a white volume, 15x3.6m in plan and 6m high. Only a transparent glass box appears above ground, as a top light for the white underground space. A light court of frosted glass vertically penetrates the building. This court is a void, in terms of the exterior, but within the building it is perceived as a volume of light. Thus, the relationship of void to volume in this building reverses as one travels between its interior and exterior spaces. A soft, balanced light diffuses through the frosted glass into the interior space. A different kind of light penetrates the transparent glass of the top light, imparted a contrasting expression within the building. All light that enters the building is amplified in the space of the white interior, so that it erases all form and contour. "

"Above ground, the garden is spread with white gravel. Through the arbitration of the garden, the new space responds to, and finds connection with, the existing Main Hall and Study. Enveloped by the lush natural greenery of Nishi Kamo, the new building and the old buildings from the ancient past stand mutually independent, yet joined in a relationship of harmony for their journey to the future."

 

Location: Kyoto, Japan

TAKASHI YAMAGUCHI & ASSOCIATES

Photographer: TAKASHI YAMAGUCHI & ASSOCIATES

 

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