{"id":40194,"date":"2023-03-26T04:33:37","date_gmt":"2023-03-25T19:33:37","guid":{"rendered":"http:\/\/kochihen.replan.ne.jp\/?p=40194"},"modified":"2023-03-27T13:43:31","modified_gmt":"2023-03-27T04:43:31","slug":"%e3%80%90%e6%9c%a8%e6%a9%8b%e3%83%9f%e3%83%a5%e3%83%bc%e3%82%b8%e3%82%a2%e3%83%a0%e3%80%8c%e9%9b%b2%e3%81%ae%e4%b8%8a%e3%81%ae%e3%82%ae%e3%83%a3%e3%83%a9%e3%83%aa%e3%83%bc%e3%80%8d-%e5%9b%9b%e5%9b%bd","status":"publish","type":"post","link":"https:\/\/kochihen.replan.ne.jp\/?p=40194","title":{"rendered":"\u3010\u6728\u6a4b\u30df\u30e5\u30fc\u30b8\u30a2\u30e0\u300c\u96f2\u306e\u4e0a\u306e\u30ae\u30e3\u30e9\u30ea\u30fc\u300d \u56db\u56fd\u30fb\u68bc\u539f\u3068\u9688\u7814\u543e-3\u3011"},"content":{"rendered":"

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\n\"\"<\/a>
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\n\"\"<\/a>
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\n\u3042\u3057\u305f\u3082\u3053\u306e\u6728\u7d44\u307f\u306e\u67b6\u69cb\u3076\u308a\u3092\u5199\u771f\u8868\u73fe\u306a\u3069\u3067\u7d39\u4ecb\u3057\u3066\u307f\u305f\u3044\u3002<\/p>\n

English version\u2b07<\/p>\n

Wooden Bridge Museum “Gallery Above the Clouds” Yusuhara, Shikoku and Kengo Kuma-3
\nKengo Kuma’s creative policy is to sublimate the traditional Japanese wooden construction techniques that have maintained the large Yusuharaza space in terms of design. …<\/p>\n

Following the Kengo Kuma building in Yusuhara and the Yusuharaza that inspired it is this building. Yusuhara, which is located at a height so high that it is described as “above the clouds” from the Kochi area, is about 80 kilometers away. The expressway runs out on the way, so you will have to follow the mountain roads of ordinary roads. It is probably the largest relay point and key point of the “overland route over mountains” from Kochi Prefecture to the Ehime Prefecture area.
\nIn fact, Ryoma Sakamoto, who escaped from Tosa and headed for Nagasaki overland, took this road. It is also famous as the “Road of Ryoma’s Departure from the Domain. There are several expressions in Kengo Kuma’s architecture that say “above the clouds,” but I wonder if it has become a local term of endearment.
\nThis building is located on the front side of the last tunnel leading to downtown Yusuhara. Kengo Kuma described his impression of Yusuhara as “suddenly appearing in front of you” when he passed through the tunnel and encountered the city of Yusuhara, and we had almost the same feeling.
\nThis uniquely shaped building is adjacent to a public hot spring facility, so visitors from other areas understand it as a popular “symbol of the area. Visitors from other areas will understand it as a popular “symbol of the community,” as if to say, “Welcome!
\nIn pursuit of a design that integrates small sections of laminated wood, we adopted a forgotten structural form called a “decapitation bridge,” in which a series of “decapitation timbers” (timbers that support the eaves of a wooden structure by lifting them up) are brought out from both ends and placed on the bridge girders.<\/p>\n

In order to adapt the bridge to the topography of the site, a new structure called the “Yajirobe-type decapitation bridge” was constructed by balancing the vertical load (the load acting on the building in the same direction as gravity. The bridge is balanced at both ends around the piers, which are subject to the building’s own weight, loading, snow loads, etc.), resulting in a new structure form that should be called a “Yajirobe-type decapitation bridge”. At the edge of the cliff is an atelier gallery with an inverted roof form of the same type of structure.
\nKengo Kuma explained that the building was designed with “the bare skin of the wooden structure. It is visually evident that the inspiration for the Yusuhara-za building led to the development of this kind of design technique. When we consider the architectural use of the building as an atelier gallery, it is interesting to see the sense of harmony.<\/p>\n

The photo immediately above is an interior view of Yusuhara-za. Personally, I was struck by the wooden ceiling (a square made of thick square timbers assembled in the shape of a well, on top of which boards and other materials are attached or inserted) that shows the bare wood surface in the large space and yet firmly supports the load from the roof. Kengo Kuma’s creative approach of sublimating the wooden technology that has supported the framework of Japanese architecture and the exquisiteness of its construction into design is something I can relate to.
\nI would like to introduce this wooden structure through photographs and other forms of expression in the future.<\/p>\n","protected":false},"excerpt":{"rendered":"

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