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法多山 尊永寺
愛染堂
Miyadaiku
Hattasan Sonei-ji
Construction of Aizendo
Building Crafts of Aizen-do: The Fusion of Traditional Techniques and Modern Architecture
Although Aizen-do stands as a traditional building, it was actually constructed with a balance of classical and modern techniques. The architectural techniques used are explained below.
During the foundation work, the results of the ground survey showed that the ground was uneven in strength, so after calculating the load, steel pipe piles were used to secure a safe foundation. In addition, because there was a lot of water from the hillside behind the hall, measures were needed to prevent dampness and landslides, so the high foundation with retaining wall functions was used.
The foundation was built using mikageishi (御影石) and has a double foundation structure, which is rare in Japanese shrine and temple architecture. It is modeled on the Yumedono of Hōryū-ji.
As for the wooden structure, we designed it based on traditional construction methods, but it also complies with current building regulations.
As for the roof tiles, the onigawara（鬼瓦) placed at the eaves each have a face with a particular meaning. In addition, in order to be able to respond to recent heavy rainstorms, the roof was made with specially-ordered long roof tiles, and the construction was carried out using the hikkake-sanbuki method so that the roof tiles would not shift during earthquakes. In this way, the roof is made using a modern construction method that is lighter than in the past because it does not use soil.
As for the paint, the boards used in masugumi (斗組）, the part that forms the top of the pillars, are painted with the same paint used in modern car paint.
However, the standard white color of the paint is slightly bluish compared to the surrounding plaster. So, the paint was adjusted to look like the actual plaster and the finish was made to look natural. This method was chosen for this part, which will be difficult to maintain in the future.
As for the plastering, after two coats of sand-based plaster are applied to the walls between the pillars, honjikkui(本漆喰） is applied. This method was adopted for two reasons. The first reason was to prepare for earthquakes. Even if the walls develop cracks during an earthquake, this method makes it possible to carry out maintenance work. The second reason was to prevent condensation. The floor inside the hall is made of stone, so the walls are finished with natural materials to help regulate the humidity.
The external lattices, renjikoushi(連子格子), have sheet metal on the back to prevent fire and rain.
The heavy-looking outer doors are made of thick Japanese cypress boards with metal fittings. The interior fittings, which at first glance appear simple, have been made to match the height of the exterior lattices, and the proportions have been altered from normal. The fittings have been made on both sides to look the same whether viewed from the inside or outside. Furthermore, the interior diamond-shaped transom, hishiranma(菱欄間）, has been designed at a moderate angle so that the indirect lighting inside can come through.
The shape of the hall's ceiling is arched to evoke the night sky and the universe. The surface is decorated with Ao-urushi and mother-of-pearl inlay, and in the center of the ceiling, an aggregation of energy is expressed using the technique of Tsugaru Urushi Lacquering to depict the phenomenon of an object being generated. Furthermore, Tenkyū-Aizen-Myō-ō(天弓愛染明王） is made using the production technique of dry lacquer sculpture from the Nara period, and the appearance of the arrow being shot is expressed using a radiation-shaped canopy.
As for the equipment, we installed SECOM security using wireless devices, and the cameras have a recording function. By installing LED lighting in nageshi（長押）, it is possible to adjust the light with indirect light. We arranged the fire alarms, wiring, and electric outlets to be hidden as much as possible, and we have taken care not to make them unnatural to the atmosphere of the hall.
In this way, Aizen-do has been built in all situations by considering and combining modern and classical construction methods, considering the local environment and extreme weather, considering future maintenance, and incorporating various challenging traditional crafts and modern environmental equipment.
愛染堂は伝統的な建物として佇んでおりますが、実は古典的な部分と現代の手法も織り交ぜて納まっていまして、業種に分けて説明させて頂きます。
○地業については地盤調査の結果、強弱のムラがあった為、荷重を計算後、鋼管杭を採用し安全地盤の確保をしました。加えて裏山からの水が多く湿気対策と崖対策に擁壁を兼ね備えた高基礎としました。
○基壇については、夢殿を手本に日本の社寺建築でも数少ない二重基壇を御影石で組み上げました。
○木部の構造的な観点では、伝統工法を主体に考え、現代の建築基準法を当てはめる設計になっております。
○瓦については、それぞれの鬼が意味合いを持った顔になっており、現代のゲリラ豪雨に対応できるように、特注で長い瓦を差し込み本瓦葺きとし、地震時に瓦がズレないよう引っ掛け桟空葺き工法で施工しました。
そうすることで昔のように土を使用しないため、軽量化された現代工法の屋根になっています。
○塗装については、柱上部の斗組の間に嵌め込まれている板に、現代の車の塗装で使用される塗料で施工。
ですが、単純な白では青み掛かっている為、実際の漆喰に見えるよう色を調合し、違和感の無いように仕上げてあります。これは将来的にメンテナンスが困難な場所に採用しました。
○左官については、柱と柱の間の壁に、砂漆喰下地２回塗り+本漆喰となっており、地震時に亀裂が入ってもメンテナンスできる工法となっています。また床面も石張りの為、結露対策として、調湿効果が期待できるよう自然素材で仕上げてあります。
○外部の連子格子には防火防雨対策の為、裏面に板金を仕込んであります。重厚な外扉は桧厚板に金具、
サラッと見える内建具も外部連子格子の高さに合わせて、通常よりも比率を変えてあることと、内外どちらからも同じ見え方になるよう、両面細工になっています。さらに内部の菱欄間からは、内側の間接照明が零れるよう角度を起こし気味に考えました。
○天井は夜空や宇宙を連想させるよう弓型になっており、表面に青漆と螺鈿（貝殻の裏のキラキラ）を散りばめ、中心部にはエネルギーの集合体を津軽漆器の技法を用いて、物体が発生する様を表現。更には天弓愛染明王様を奈良時代の製作技法（乾漆像）とし、その矢が放たれた様を放射天蓋で表現しました。
○設備については、SECOM警備を無線機器で設置しカメラには録画機能を備え、長押にLED照明を仕込むことで間接的な光で調光できるようになっております。火災報知器や配線、コンセントは極力隠れるよう配置し、堂内のしつらえに不自然にならぬよう気を配りました。
このようにあらゆる場面で、現代での工法、古典的な工法を検討し融合させ、立地環境、異常気象も視野に入れた対策と、将来的なメンテナンス面の考慮、伝統的手法での挑戦的工芸の数々、現代環境設備を兼ね備えた御堂となっています。
Building Crafts of Aizen-do: The Fusion of Traditional Techniques and Modern Architecture
Although Aizen-do stands as a traditional building, it was actually constructed with a balance of classical and modern techniques. The architectural techniques used are explained below.
During the foundation work, the results of the ground survey showed that the ground was uneven in strength, so after calculating the load, steel pipe piles were used to secure a safe foundation. In addition, because there was a lot of water from the hillside behind the hall, measures were needed to prevent dampness and landslides, so the high foundation with retaining wall functions was used.
The foundation was built using mikageishi (御影石) and has a double foundation structure, which is rare in Japanese shrine and temple architecture. It is modeled on the Yumedono of Hōryū-ji.
As for the wooden structure, we designed it based on traditional construction methods, but it also complies with current building regulations.
As for the roof tiles, the onigawara（鬼瓦) placed at the eaves each have a face with a particular meaning. In addition, in order to be able to respond to recent heavy rainstorms, the roof was made with specially-ordered long roof tiles, and the construction was carried out using the hikkake-sanbuki method so that the roof tiles would not shift during earthquakes. In this way, the roof is made using a modern construction method that is lighter than in the past because it does not use soil.
As for the paint, the boards used in masugumi (斗組）, the part that forms the top of the pillars, are painted with the same paint used in modern car paint.
However, the standard white color of the paint is slightly bluish compared to the surrounding plaster. So, the paint was adjusted to look like the actual plaster and the finish was made to look natural. This method was chosen for this part, which will be difficult to maintain in the future.
As for the plastering, after two coats of sand-based plaster are applied to the walls between the pillars, honjikkui(本漆喰） is applied. This method was adopted for two reasons. The first reason was to prepare for earthquakes. Even if the walls develop cracks during an earthquake, this method makes it possible to carry out maintenance work. The second reason was to prevent condensation. The floor inside the hall is made of stone, so the walls are finished with natural materials to help regulate the humidity.
The external lattices, renjikoushi(連子格子), have sheet metal on the back to prevent fire and rain.
The heavy-looking outer doors are made of thick Japanese cypress boards with metal fittings. The interior fittings, which at first glance appear simple, have been made to match the height of the exterior lattices, and the proportions have been altered from normal. The fittings have been made on both sides to look the same whether viewed from the inside or outside. Furthermore, the interior diamond-shaped transom, hishiranma(菱欄間）, has been designed at a moderate angle so that the indirect lighting inside can come through.
The shape of the hall's ceiling is arched to evoke the night sky and the universe. The surface is decorated with Ao-urushi and mother-of-pearl inlay, and in the center of the ceiling, an aggregation of energy is expressed using the technique of Tsugaru Urushi Lacquering to depict the phenomenon of an object being generated. Furthermore, Tenkyū-Aizen-Myō-ō(天弓愛染明王） is made using the production technique of dry lacquer sculpture from the Nara period, and the appearance of the arrow being shot is expressed using a radiation-shaped canopy.
As for the equipment, we installed SECOM security using wireless devices, and the cameras have a recording function. By installing LED lighting in nageshi（長押）, it is possible to adjust the light with indirect light. We arranged the fire alarms, wiring, and electric outlets to be hidden as much as possible, and we have taken care not to make them unnatural to the atmosphere of the hall.
In this way, Aizen-do has been built in all situations by considering and combining modern and classical construction methods, considering the local environment and extreme weather, considering future maintenance, and incorporating various challenging traditional crafts and modern environmental equipment.
