{"id":40207,"date":"2023-03-27T04:47:36","date_gmt":"2023-03-26T19:47:36","guid":{"rendered":"http:\/\/kochihen.replan.ne.jp\/?p=40207"},"modified":"2023-03-27T13:44:42","modified_gmt":"2023-03-27T04:44:42","slug":"%e3%80%90%e6%9e%b6%e6%a7%8b%e3%81%a8%e4%b8%80%e4%bd%93%e5%8c%96%e3%81%99%e3%82%8b%e6%9c%a8%e3%81%ae%e3%83%87%e3%82%b6%e3%82%a4%e3%83%b3-%e5%9b%9b%e5%9b%bd%e3%83%bb%e6%a2%bc%e5%8e%9f%e3%81%a8%e9%9a%88","status":"publish","type":"post","link":"https:\/\/kochihen.replan.ne.jp\/?p=40207","title":{"rendered":"\u3010\u67b6\u69cb\u3068\u4e00\u4f53\u5316\u3059\u308b\u6728\u306e\u30c7\u30b6\u30a4\u30f3 \u56db\u56fd\u30fb\u68bc\u539f\u3068\u9688\u7814\u543e-4\u3011"},"content":{"rendered":"

\"\"<\/a>
\n\"\"<\/a>
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\n\"\"<\/a>
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\n\"\"<\/a>
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\n\"\"<\/a>
\n\"\"<\/a>
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\n\u3053\u3046\u3044\u3063\u305f\u6587\u8108\u306e\u4e2d\u3067\u3001\u9688\u7814\u543e\u5efa\u7bc9\u7fa4\u304c\u3044\u308f\u3070\u30e9\u30f3\u30c9\u30b9\u30b1\u30fc\u30d7\u30c7\u30b6\u30a4\u30f3\u3068\u3057\u3066\u63a1\u7528\u3055\u308c\u3001\u305d\u306e\u5f79\u5272\u3092\u679c\u305f\u3057\u3066\u3044\u308b\u3068\u3044\u3046\u3053\u3068\u306a\u306e\u3067\u3057\u3087\u3046\u3002<\/p>\n

English version\u2b07<\/p>\n

Yusuhara, Shikoku and Kengo Kuma – 4
\nThe movement to “utilize wood” in public buildings is accelerating across Japan. Kengo Kuma Design is extremely busy (laughs). Is Yusuhara the epicenter of this trend? Yusuhara is the epicenter of this trend.<\/p>\n

The explanation of Kengo Kuma’s architecture was written on the on-site panel display at the Mokuhashi Museum, but the expression is a bit difficult to understand.
\nThe entire structure, which overdrives the traditional expression of “tokyo,” or “wooden structure” with its overlapping splintered timbers, is what might be called a “kumi-zukuri zukuri,” or “wooden structure,” and it exudes a sense of presence (concreteness) and abstraction that cannot be achieved with an axial structure.
\nIf it were shown in a photograph, this photograph would be a togue. It is placed at the top of the column or above the shaft to support the eaves girder. It is true that the expression “kumi-zukuri zukuri” is appropriate and that this kind of structure gives the viewer an image different from that of a normal wooden frame structure. In a broader sense, the “tohoku” structure technique is probably best understood as one of the “kumimono” types commonly used in shrine and temple architecture.
\n\u301cBy bridging various subjects such as “revitalization of local culture,” “urban design,” “erection technology,” and “materials and traditional expression,” Kuma attempted to create a new way of thinking about public architecture. \u301cKengo Kuma explains his design intent in the following postscript: “I wanted to create a new way of thinking about public architecture.<\/p>\n

In contrast to the wooden bridge side, which looks as if the shaft of a fan rises up vertically and spreads out, the atelier gallery has a structure that looks as if the structure extends from the top of the roof to the underside. The thick timbers of the tohoku are painted white on the wall surface, showing a unique geometric pattern. The pigment, which appears to be a preservative applied to protect the cross section of the wood, seems to correspond to the wooden bridge.
\nThe following photo is an interior view of the wooden bridge side.<\/p>\n

Yusuhara must have thought that giving viewers this kind of “tree hugging” sensation, this kind of spatial experience, would be an important message for the region. And this message was certainly conveyed to me this time.
\nIn Japan today, there is a growing trend toward the use of wooden structures in public buildings. Kengo Kuma’s design of the National Stadium for the Tokyo Olympics 2021 has become the talk of the town, and it may indeed be the signal for the shift to wood construction in public buildings.
\nThe origin of this concept is contained in this kind of spatial experience.
\nKochi Prefecture is a “forest kingdom” with more than 80% of its total forest area. Yusuhara, which is located on the border with Ehime Prefecture and at the headwaters of the Shimanto River, has 91% forest area.
\nIt is in this context that Kengo Kuma’s architectural group has been adopted as a landscape design, so to speak, and is playing a role in this context.<\/p>\n","protected":false},"excerpt":{"rendered":"

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