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The Kyoto Imperial Garden, where the Kyoto State Guest House is located, is similar to the usual parks, from the earliest imperial garden to the current open park. It was completed in 2005 and opened to the general public in 2016. The architectural design is by Nikken Japan, familiar high-rise and TOD specialists, who infuse their own understanding of Japanese architecture and courtyard and nature into this project.
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In the general plan, the garden of the Kyoto State Guest House is centered on a wide pond with a view of the Kyoto Imperial Palace, and the series of reception ceremonies are connected to form an enclosed complex. The overall building adopts the roof style typical of traditional Japanese houses, and the roof curve is soft, which perfectly blends into the area full of traditional Japanese culture in Kamigyo Ward, Kyoto. The light green roof looked at me from afar, and I thought it was a copper plate, but after listening to the introduction, I realized that it was a nickel and stainless steel composite material. The delicate green of nickel oxide is particularly beautiful in the sun.
Starting from the entrance, the interior is like a journey through a museum of traditional Kyoto craftsmanship. Lacquerware, mother-of-pearl, bamboo weaving, gold relay and other craftsmanship techniques are slowly unfolded, and every detail is properly crafted. Typical Japanese landscape elements, such as gold objects, old stones, koi carp, and mosses, are used to decorate the Zen-inspired space. The Japanese style atmosphere cannot be created without the Japanese paper made by Gifu Mino, which filters the sunlight into a soft reflection of light, soft and mysterious. The low-hanging eaves have deep eaves, creating a natural gray space. The ceiling is designed as a sloping structure that leads the eye to the garden outside the house, and a natural transition is made from indoors to outdoors. The lighting in the corridor is based on the same theme as the lights in the outer garden, and the origami-themed shapes are made using the traditional technique of "kyo-shibori". From washi paper to stainless steel, the classical craftsmanship is interpreted with modern techniques, and there is both inheritance and innovation.
The design is simple and elegant despite the many crafts, and each space is filled with the designer's obsession with details.
The starting point of the space sequence begins at the main entrance of the Welcome Hotel. A 700-year-old zelkova-paneled door from Fukui Prefecture opens slowly, and a copper doorknob with Kyoto's characteristic Kyoto ribbon motif, "hook-and-line enamel," has slender proportions. Since you need to take off your shoes, you will notice that the floor is also made of zelkova boards, and the synthetic resin WPC process has been added to ensure that the floor is not eroded.
Whole beech board gate
Here looking back toward the outer courtyard, the horizontality from the deep eaves is soothing. Walking inward through the aisle, the courtyard comes into view through the huge floor-to-ceiling windows and doors. The rocky waterfalls and mossy pines are framed by the windows, and the landscape is painted.
The entrance of the Kyoto State Guest House looks back at the outer courtyard
Paper windows frame the courtyard and skylight.
In the courtyard, a bridge in the shape of an overturned ship connects the east and west buildings, and divides the garden into two parts: the "ocean" and the "paddy field". The bridge connecting the east and west buildings is full of details. The window panels are carefully carved in relief, with "butterflies" and "crickets" on the east corner, and "dragonflies" and "golden bells" on the west corner. The rockeries are scattered on the side of "Ocean", forming the intention of islands in the sea. Several groups of rocks are stacked in the pond, with red maple and pine forest in the background, outlining the beautiful outline of the building's roof in an orderly manner. On the other side of the "paddy field", evergreen aquatic sedge is planted in a zig-zag pattern, and the rocks are arranged in an array, which demonstrates the Japanese farming and paddy field imagery. The ponds on both sides have different water depths, and the north side is stocked with koi carp that survived the Niigata Prefecture earthquake. The pond is shallow and clear, with stones at the bottom, and the koi balk at the shimmering waves.
The Wisteria Hall, the largest hall in the Kyoto State Guest House, is used for Western-style dinners and is compatible with a multi-functional traditional Noh theater and dance stage. The lights of the lattice ceiling can be moved up and down to adjust according to different scenes and brightness needs, and 15 different light modes can be changed. Sliding doors are used as partitions to divide the space flexibly. The sliding door is made by Sayoko Esato, a "national treasure of the world" in Japan, using the "gold cutting" technique, after several pieces of pure gold leaf and silver white gold leaf are melted, cut into extremely thin strips, and then collaged with gelatin and algae mixed with glue. This technique was introduced to Japan from China during the Asuka period, but it remains only in Japan today. The warm color of the room is decorated with a carpet of "Lihua" by a Japan painter, 400 kinds of dyed threads, various shades of blending, and the wisteria waterfall with the weaving technique "welcome" as the language of flowers, embellished with 39 kinds of flowers and plants, and the transition between the shades of the floor carpet to outline the scene of wisteria flowers falling in the wind. The chairs are also uniformly purple, and the details are all decorated with rattan blossom patterns, and the details are dizzying. Looking out through the hanging low eaves, the green of the courtyard is filtered and reflected by washi paper, and the whole space is filled with a soft and fresh texture.
Along the path to the Awamori Hall, the ceiling and lintel are made of Awamori boards and 260-year-old Yoshino cedar boards inlaid with gold and platinum leaf, and the wood is hard and has a clear grain. The lacquered low table placed in the center is about 12 meters long and is made of 8 boards of equal thickness stacked on top of each other, with 5 boards spliced along the long side. The tabletop is repeatedly dyed with the sap extracted from the lacquer tree, polished to a glossy finish, emits a black, quiet luster, and mirrors the surrounding scenery, revealing the skill of Japanese craftsmen. The chairs are also lacquered, and the color of the gold-painted leaves and "Go-Shichi Kiri" on the back of each chair varies slightly, so there are no chairs with the same pattern. Each corner of the room is decorated with the "Go-Shichi-Kiri" logo, which is both the official seal and the insignia of the Kyoto Welcome Hotel. There are no windows in this room, so it is difficult for natural light to be reflected, so the chair cushions are made of brightly colored "Nishijin-ori" fabric, which makes them look elegant and luxurious.
The beauty of the artifacts and craftsmanship promoted by the Japanese master of folk art, Yanagi Sogetsu, is also reflected in the elegant and locally inspired materials used for the decorative "decorative hardware" used as detailing in the rooms to cover the nail caps. All the draperies used to separate spaces are made of damask, a thin silk thinner than gauze, and the seams of each piece of fabric are connected by strips of cloth called "nosuji," which are embroidered with Kyoto-style floral motifs of rattan, chrysanthemums, and lotuses. The distinctive crease in the center of the straw mat is made by a traditional technique called "naginata," in which only the best part of the corduroy is used to join the mats in the center. The edges of the tatami mats are trimmed with a blue-dyed linen cloth and then edged with silver, and the craftsmanship is as impressive as that of a luxury haute couture product.
Japanese dense in the bones of elegance will be covered with buildings, where the design of aesthetic and lifestyle unity figurative landing.
Floral art tea ceremony, burning incense column tripods, screen set up barriers, flower arrangement point to show welcome.
The Kyoto State Guest House perfectly interprets the Japanese aesthetic under the modern Japanese style, and Masayuki Kurokawa's "Eight Festivals of Aesthetic Consciousness in Japan" discusses the details and touches people's aesthetic qualities with far-reaching influence.
- Author:japan guides
- URL:https://japan-guides.com/article/culture-33
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