本项目坐落于京都五大名山之一的船山的山脚下，船山以其夏季的篝火而闻名，在当地民俗中，当熊熊火焰燃烧起来的时候，也就是灵魂进入天堂的神圣时刻。Reigenko-ji是日本後水尾天皇（Emperor Gomizuno-o）于1638年为大师Isshibunshu修建的皇家寺庙，坐落于京都风景优美的Nishi Kamo区内。後水尾天皇以其修建的修学院離宮（Shugakuin Imperial Temple）而闻名。在Isshibunshu于1671年去世后，这位已经退位了的天皇为了纪念已故大师生前居住和授课的地方，将这里重建为了一座Butsuden（主厅：日本佛教寺庙建筑物的术语），并将Seiryo-den（皇帝的住处）从皇宫搬到了这座寺庙里。如今，Reigenko-ji寺庙仍然是日本皇室举行祈祷仪式的庙宇。
The site is located at the foot of Mr. Funayama, one of five northern Kyoto hills famed for their summer bonfires, burnt to suggest souls entering paradise. Reigenko-ji is an imperial temple built by Emperor Gomizuno-o in 1638, within the scenic splendor of Kyoto’s Nishi Kamo district. Gomizuno-o, who is perhaps best known for creating the Shugakuin Imperial Temple, constructed Reigenko-ji for the priest Isshibunshu. After Isshibunshu’s death in 1671, the retired emperor, wishing to honor the site where the priest had lived and taught, went to great trouble to move the Seiryo-den (emperor’s quarters) from the Imperial Palace to this temple for its reconstruction as a Butsuden (Main Hall). Today, Reigenko-ji remains a temple for rites of imperial prayer.
When I first visited the temple compound, I felt that my mission would be to respect its long and dignified history and, at the same time, to convey to the future the transparent teachings and pure white spirit of the priest Isshibunshu. The Butsuden (Main Hall), with its slightly convex roofline and the light upswing of its eaves, presented a graceful figure. Originally, the roof had been thatched with shingles, the historical record said. Later, when evidence of that shingle roof was discovered during restoration work on the building, I saw clearly how this building had lived and “breathed” within the flow of time from past to present, and I wanted to ensure the continuance of its life into the future.
▼建筑外观，花园的地上铺满了白色的砾石，建筑在地面视角上呈现出玻璃盒子的外观，exterior view, the garden is spread with white gravel, and the temple is a glass box viewing from the ground level
Working, thus, within the flow of time, I sought to overlay our own time on the past in a way that would render it distinct. This was a necessary courtesy, I felt, in intervening in this place of our ancestors, and a matter of proper form in addressing history. In its relationship with the existing buildings, the site could be perceived in terms of four territories. Each — the cherry tree garden, rock garden, pond garden, and maple tree garden — presented a different expression. The new building would be placed in the maple tree garden. A maple tree growing on the site since ancient times was as conspicuous in its presence as the Main Hall.
▼白色主空间，阳光透过玻璃屋顶进入空间内部，the white core volume, natural light is introduced into the interior space through the glass roof
The new building was conceived as an architecturalization of the garden. The entire building was placed underground. With exceeding care, I situated a void — 6x22m in plan and 6m deep — at a slight, 5-degree angle to the Main Hall and Study, centering on the maple tree. Inside the void I inserted a white volume, 15×3.6m in plan and 6m high. Only a transparent glass box appears above ground, as a top light for the white underground space.
▼充满自然光线的地下洗浴空间，bath area with ample natural light located at underground
▼从建筑内部向上看，透过玻璃屋顶看到天空，looking up from the interior temple, the sky is at the sight through the glass roof
A light court of frosted glass vertically penetrates the building. This court is a void, in terms of the exterior, but within the building it is perceived as a volume of light. Thus, the relationship of void to volume in this building reverses as one travels between its interior and exterior spaces. A soft, balanced light diffuses through the frosted glass into the interior space. A different kind of light penetrates the transparent glass of the top light, imparted a contrasting expression within the building. All light that enters the building is amplified in the space of the white interior, so that it erases all form and contour.
▼磨砂玻璃围合出的采光天井局部，partial view of the light court made of frosted glass
Above ground, the garden is spread with white gravel. Through the arbitration of the garden, the new space responds to, and finds connection with, the existing Main Hall and Study. Enveloped by the lush natural greenery of Nishi Kamo, the new building and the old buildings from the ancient past stand mutually independent, yet joined in a relationship of harmony for their journey to the future.
▼建筑入口，整个建筑都位于地下，the entrance of the temple, the entire building is placed underground
▼室内的光影效果，interior light and shadow
Project name: Glass Temple
Design: Takashi Yamaguchi & associates
Design year: 1995-1997
Completion Year : 1998
Leader designer & Team: Masahiro Kato
Project location: Kyoto, Japan
Gross Built Area (square meters): 250㎡
Photo credits: Masahiro Kato
Clients: Reigenkou-Ji Temple