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EXPERIENCE IN MA TERIAL NO.47设计方案(EXPERIENCE IN MA TERIA

娱乐建筑 2020/1/26 11:35:43 © 作品由园林屋上传,最终解释权归作者所有 园林屋
EXPERIENCE IN MA TERIAL NO.47设计方案(EXPERIENCE IN MA TERIA

设计师:RYOJI SUZUKI

位置:日本 Kagawa

分类:其它建筑

内容:实景照片

图片:59张

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The site is a flat surface carved out from the steep hillside of Mt. Zozu. Expansion works since late Muromachi period have grown its horizontal frontage to measure over 200 meters wide including the artificial ground. While the northwest slope is a mass of rocks and trees that closes in from the mountainside, the southeast slope is a sheer precipice commanding an extensive prospect over to Seto Inland Sea in the distance. On this ground 238 meters above sea level are a number of buildings that date back to Edo period: Hongu (main shrine), Mihotsuhime Shrine, Kaguraden (hall of Shinto music and dance), Emado (votive tablets repository) among others. This ‘Shrine zone‘ centered around Hongu is the climax that appears at the end of the long approach with about eight hundred stone steps from Kotohira, the shrine town, leading all the way up to Kotohira-Gu Shrine. With the existence of an intact, overwhelming nature and the amazing tradition which traces back some 500 years, it was required that facilities such as shrine offices and ceremonial spaces be added anew, besides restructuring open spaces and pathways and readjusting the existing vista and circulation diagram, not to mention keeping the mountain and trees intact
in order to respect the landscape that has been cherished by worshippers for a long time.
The facilities are arranged in two areas, and both are single-storied with one basement floor. A flat, ar-tificial ground of steel at the same level as the "Shrine zone‘, reminiscent of an aircraft carrier deck, separates the aboveground from the underground. This horizontal plane is a sort of an ‘absolute horizontal‘ that divides the world in two, and is a ‘kekkai (spirit shield)‘ in terms of levels.
To support this artificial ground of ‘absolute horizontal‘, the deteriorated existing concrete retaining walls were to be replaced by vertical stone retaining walls, so that Kotohira-Gu‘s original verticality would be expressed more clearly. These retaining walls of ‘absolute verticality‘ are more than 10 meters high at their maximum, almost unprecedented both in Japan and around the world. It appeared to me that they would be most appropriate in relation to the ‘absolute horizontal‘. Stone pillars (3 to 4 meters high) with 320 mm x 320 mm section are made of granite called Aoki-lshi found in the vicinity.
‘Shrine zone‘ consists of aboveground buildings, and was conceived within the framework of ancient Japanese style so that it corresponds to the existing buildings. Especially the roof which plays a highly characteristic role in Japanese architecture was entirely made of wood, thatched with cypress bark or roofed with traditional clay tiles. However, apart from the roof, steel and glass were introduced in a modern context to the columns, openings and inner spaces, to avoid intervention in the tradition, all the while carrying down the classical grid pattern. For spaces outside ‘Shrine zone‘, visual axes and circulation diagram were restructured. Also, a part of existing buildings, namely Kaguraden, was moved to the outer end of the artificial ground‘s cantilever. In this manner, an even wider expanse for a better view was obtained, along with an open plaza and paths for circulation.
In contrast, the underground space accommodates most of the facilities to provide a maximum of exterior space aboveground. It is conceived as the other world, inverted at the ‘absolute horizontal‘ plane. Artificial ground itself and wall pillars are steel-frame structures with fully welded steel plates (12 to 24 mm thick). Recognizing the difficulties of construction work in the mountains, factory-made parts of transportable size were brought onsite to be assembled by full welding: the process was closer to shipbuilding rather than architecture. The surface of steel was left to rust in order to respect the material‘s properties, as it would record the passing of time. Underneath this artificial ground is a semi-open space. Each facility was built separately by blocks as a frame structure using H-shaped steel. The given result is a landscape that is in a sense almost urban. Ryoji Suzuki

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