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Sumit Singhal
Sumit Singhal
Sumit Singhal loves modern architecture. He comes from a family of builders who have built more than 20 projects in the last ten years near Delhi in India. He has recently started writing about the architectural projects that catch his imagination.

Ginzan Onsen Fujiya in Yamagata, Japan by Kengo Kuma & Associates

 
August 14th, 2016 by Sumit Singhal

Article source: Kengo Kuma & Associates

Ginzan Onsen is known in the other there is no example in the unique landscape. Kanei hot springs out springing a year, 14 different inn was opened in tandem. But then meet to flood damage in 1913, revived in no time, three-storey with a unique design of the Taisho era, lined up in a unique wooden architecture is a deep valley at the bottom of the four-storey. So too the valley there was no deep land, inn there is no so increase more than 14 different, also the third floor in spite of the wooden, did not get a choice but to pile up to the fourth floor and above. Difficult conditions that are even people who are referred to as “high-rise of the tree” is, to generate an unprecedented unique landscape.

Image Courtesy © Daici Ano

Image Courtesy © Daici Ano

  • Architects: Kengo Kuma & Associates
  • Project: Ginzan Onsen Fujiya
  • Location: Obanazawa, Yamagata, Japan
  • Photography: Daici Ano
  • Structural engineers: K. Natata & Associates
  • Mechanical engineers: P.T. Morimura & Associates, LTD.
  • General contractors: Aiwa Construction Co., Ltd.
  • Site area: 558.13 m2
  • Building area: 366.09 m2
  • Total floor area: 927.99 m2
  • Construction Period: 2005 April – 2006 July

Image Courtesy © Daici Ano

Image Courtesy © Daici Ano

Fujiya is located in the center of the hotels 14, was the cornerstone of the landscape. In despite repeated extension to the first floor of the bathroom part is there are streets and discomfort been replaced by concrete, pain in the upper floors of wooden was intense.

If the we have selected terms of the Building Standards Law the term is a “large-scale makeover”. When the “new construction” will be to give up the “wooden third floor” itself, dense because of the valley bottom, all of the openings will be wire-reinforced glass-filled metal sash by the provisions of the “fire line”. That soft landscape of Ginzan Onsen is lost forever.

Image Courtesy © Daici Ano

Image Courtesy © Daici Ano

Leave the framework of the existing wooden, to remove the extension part of the concrete, a member of the trees one by one check, it is going to improve the earthquake resistance to replace the ones severe pain to a member of the new tree. Roof, outer wall, to remove the part by opening with the recent renovation, is developing that and then re-build all of the design only in the delicate natural materials. Such was in, even if the design continuity of the old inn adjacent wanted to further strengthen. That is not the “new construction”, in the “break” but, it was chosen the “continuous” and “repair”. We will also strengthen the continuity in space and time has become a major theme of the plan.

Image Courtesy © Daici Ano

Image Courtesy © Daici Ano

Clearly found was that while spear is the fact that how time-consuming work as compared to the “continuous” and “break”. Many time-consuming at the sight and sight. And there is a need for client-depth understanding to complete its work. FujiAtsushi’s “Fujiya”, Mrs. of Ginny’s was the you have the understanding and passion for the “continuous” to us or more. Japan and the two of you that carrying a culture of two different that the United States, through practice and discussion for 10 years, just how “silver mine” is a special place, how and its special space and time, “continuous” manner I inherited it in the meaning or the deep and I’m sure there is going to, had no waver that. That you are unaware confined to day-to-day of the laziness of the life of a place called Japan, that would overlook, forget it would, scales from the eyes learned from Ginny’s has often fallen.

Image Courtesy © Daici Ano

Image Courtesy © Daici Ano

In the individual design, for either went how to achieve the “continuity”, you can not possibly be described in its entirety this limited page. I’m going to show the whole picture in any one book. I want to show an example of only two in the middle. One was used in the opening of the first floor, a stained glass by Masato Shida. Stained glass in the window of the penthouse portion of the old Fujiya was addicted. But I wanted to inherit the image, interior basis of stained glass to everyday eyes, like no decorative and tension could not bear. Chartres acquainted with cathedral Shida’s with the repair of the experience of the stained glass, was challenged on whether the can close the stained glass in the building material of “realistic” to anywhere. I was first in the “reckless” that want to partition the inside and the outside of the only in the building stained glass try out the order of “insane”. Now it is attached as “interior material” on the inside of any stained glass also glass sash. It was tried to a ridiculous offer to get back to the way of the “Middle Ages”. If you immediately thought to be negative, it has been returned unexpected answer that might be able to be blows to 5mm thick. Shida’s is to convince the French craftsman of Saint-Gobain, which has continued to blow in a 3mm thick, it’s had really made a 5mm thickness of the hand-blown glass. Shida’s while soaking up the Zerifu discarded as “ze’s the first time Nante 5mm in the history of Saint-Gobain 700 years …,” he ended up doing. The color of the glass in pale green, the most stringent and said the Cistercian monks in the Middle Ages, is a color which is said to have arrived in pursuit of the “transparent glass” at the time of the ultimate as the “veil Dalt”. Create a bubble mix the hair and dandruff and dust in it, it is roughened surface by using a corrosion technology of hydrofluoric acid, which was developed for the Chartres restoration. However, all of the effect is too too subtle, people do not notice it as much as he does not notice also that it is a stained glass.

Image Courtesy © Daici Ano

Image Courtesy © Daici Ano

Another example is the bamboo screen called Sudarechuko (Sumushiko). The internal space we wanted to use a more delicate screen than the wooden lattice. The hot spring inn, the human body is a place to expose the most that weakness. There, such as to balance the weakness of the body, I wanted to prepare the delicate screen gently. Sudarechuko than the lattice of trees, much more delicate than the lattice using the whole of bamboo, a fine, is a delicate of about involuntarily to its elasticity If you press with your fingers would retract the here finger. Stripped Oita bamboo to 4mm width, it made the screen by using the same 1.2 million. Craftsmen revered of Kanazawa, Hideo Nakata has 1.2 million pieces of work in the son and two people over half three months.

Image Courtesy © Daici Ano

Image Courtesy © Daici Ano

On its way, the weak body, without having to disconnect from the body, the last stacked one of each is a continuous layer that leads to the streets has been completed. That in each layer, many people, craftsmen that dozens people were involved. First by stacking efforts invisible to such eyes, the term “continuous” is being achieved. A solid response of the thing called “continuous”, was able to be the first time the hand in such a form.

Image Courtesy © Kengo Kuma & Associates

Image Courtesy © Kengo Kuma & Associates

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