Interview about Kouunji Kyakuden Reception Hall of Temple, winner of the A' Architecture, Building and Structure Design Award 2025
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.
View detailed images, specifications, and award details on A' Design Award & Competition website.
View Design DetailsBalancing 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.
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