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 DetailsOn the balance between tradition and modern functionality.In reconstructing the 140-year-old Kyakuden with a vision of passing it on to the next 200 years, what I valued most was the balance between “the inheritance of memory” and “contemporary publicness.” In particular, embedding “tranquility,” the spiritual core of the architecture, into the space was the starting point of the design.The former Kyakuden had tilted over time due to ground movement. Anticipating future shifts, we adopted a foundation system using steel pipe piles to transfer the building load to deep, stable strata, thereby ensuring structural reliability.To me, inheriting tradition is not a matter of replicating styles, but an act of transmitting it into the future through the integration of contemporary technologies. Architecture, as it endures exposure to the elements and gains dignity over time before eventually returning to nature, should express this duality—structural stability below ground and an acceptance of material honesty and aging above ground.Additionally, we met modern performance standards—such as fire resistance, ventilation, insulation, and barrier-free access—while providing facilities like an office, kitchen, and bath. These functions were discreetly placed behind the main spaces to preserve a sense of visual quiet.The main spaces were composed without ornamentation, using familiar natural materials, the shadows cast by shifting daylight, and the resonance of sound—sensory elements that quietly engage the human interior. This deliberate “design of tranquility” lies at the heart of connecting inherited memory with contemporary public relevance.
The reuse of high-quality timber from the old Kyakuden—which is now difficult to obtain—was a central challenge in the project. Assessing the structural integrity of the old wood and reinforcing it to meet modern standards required advanced technical solutions.Together with the master carpenter and his apprentice, we addressed these challenges by combining traditional joinery techniques with modern construction methods, all executed by hand. Witnessing this generational transfer of skills in practice was deeply meaningful as a designer.After completion, I saw local residents naturally gathering around the reused pillars, sharing stories and memories embedded in the wood. This reaffirmed for me that the reconstruction was not just a physical restoration, but a return to the architectural act of “inheriting memory.” This experience embodies the true essence of architecture: the seamless fusion of tradition and technique across time.
“Kumezo” is a traditional weather-resistant coating once widely used, later replaced by synthetic paints. I learned of its existence through local repair work and historical documents, and worked with local artisans to revive the formula.Made by blending charcoal and pigment with natural preservatives, Kumezo differs from synthetic paints in both environmental impact and reproducibility. It gives wood surfaces depth and softness, and deepens in character over time. This evolving texture brings a quiet presence to the space, forming a gentle connection between past and future within the architecture.
Kouunji has long been part of the community’s mental landscape—hosting ceremonies and serving as a playground for children. I sought to respect that relationship by drawing from people’s sensory memories: the anticipation of seeing the roof cresting a hill, the sheltering eaves, breezes through latticework, soft light through shoji, the sound of chanting and gravel underfoot.These fragments of memory were reinterpreted into architectural elements, embedding the building within its historical and emotional context. Creating a structure that embodies the collective memory of the place was a fundamental mission of this design.
The gently sloping roof and use of local cedar lattice and walls reflect a desire to blend with the surrounding landscape rather than stand out. In the aftermath of the 2011 earthquake, we replaced heavy tiles with metal roofing to balance seismic resilience with visual harmony.The wide eaves shelter delicately finished cedar surfaces coated in Kumezo, allowing them to age gracefully. The large, relaxed roof and rhythmic lattice composition offer an abstracted yet familiar presence, establishing both continuity with the temple complex and a quiet new identity. The design expresses respect for the region’s history and natural environment.
The clear layout—centered around an entrance hall and two main rooms—allows flexible use for rituals, gatherings, meals, and as a waiting area for the main hall. Sliding partitions add adaptability, and in emergencies, the building transforms naturally into a shelter with space for evacuation, rest, bathing, and supplies.A corridor connects to the main hall to accommodate larger events. This combination of flexibility and multi-functionality defines the ideal form of contemporary temple architecture.
The site sits on the edge of a hillside, where the old building had experienced uneven settlement. Ground surveys revealed unstable surface layers but a stable stratum about 10 meters deep. We designed a foundation using small-diameter steel pipe piles reaching that bearing layer, ensuring long-term stability.In the superstructure, traditional joinery was used for portions incorporating reused timber. These decisions reflect the project’s core value: integrating tradition and modern engineering for enduring architecture.
The design engages not only sight but also sound, touch, and even smell. It incorporates the texture and warmth of materials, natural light, wind, water, and human movement—all layered into a sensory environment that subtly envelops the visitor.Rather than a device for intellectual contemplation, I believe architecture should be a space that is felt. This project, in its quiet depth of perception, most fully embodies my architectural philosophy.
The A’ Design Award affirms that temple architecture is not merely an object of preservation but can become a platform supporting the future of local communities. I hope its ideas and methods serve as a reference for revitalizing historic architecture and public spaces—not only in Japan, but globally.
A Vision That Integrates Spirituality and Community Functionality.Kouunji Kyakuden was designed to merge two essential roles: a spiritual space for prayer and gathering, and a practical base that supports the rhythms of everyday community life. Through the careful selection of locally rooted materials and a sensitivity to collective memory, the building unifies two seemingly contrasting aspects—the serenity of a contemplative space, and the clarity and functionality required of a community facility.This duality is crystallized in its quiet presence: enveloped by deep eaves and wooden latticework, the architecture offers a place of stillness for individuals and a sustainable foundation for the community. It is a design that seeks a new point of connection between the spiritual and the civic, and it stands as a concrete realization of my architectural vision.
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