在群山之間，大阪建築事務所 RID 為神石高原的一棟傳統農屋展開建築改造計畫：「House in Jinseki 2nd」

 

Photo by Yoshiro Masuda

 
 

位於廣島縣東部山區的神石高原町，是海拔約四百至七百公尺的高原聚落，距離福山市車程約一個半小時。這裡四面環山、地勢開闊，農田與林地錯落分布，構成緩慢而寧靜的日常風景。住宅坐落於一處高地之上，由主建物、附屬棟與穀倉三棟木構建築組成。它們沿著東西軸線，排列於山坡邊緣。

來自大阪的建築設計團隊 REIICHI IKEDA DESIGN 池田励一建築事務所，從 2021 年起即展開第一期的整修。他們先行著手修復主屋與穀倉的結構與機能，使其回復住宅日常使用的狀態，替整體空間的更新打下良好的基礎。

而在冬雪漸融、春意初現之際，第二期的整修工程也隨之展開。這次重點是位於主屋與穀倉之間的附屬棟，設計團隊計畫將其轉化成供親友短暫停留的客室，同步也啟動了主庭與水井的施工。隨著庭園逐步展開，遠方群山的風景被納入視野之中，附屬棟的存在，逐漸成為構成整體景觀不可或缺的一環。

 
 

  • Located in the eastern highlands of Hiroshima Prefecture, Jinseki-Kōgen is a plateau village set between 400 and 700 meters above sea level, about a ninety-minute drive from Fukuyama. Surrounded by mountains and open fields, the landscape unfolds in a quiet rhythm of farmland and woodland, forming a calm and unhurried way of life. The residence stands on a gentle rise, composed of three timber structures —a main house, an annex, and a granary— arranged along an east-west axis at the edge of the slope.

    Osaka-based practice Reiichi Ikeda Design began the first phase of renovation in 2021, focusing on restoring the structure and daily functions of the main house and granary. The aim was to bring them back into use as a residence and to lay the foundation for a gradual renewal of the entire property.

    As the winter snow melted and spring approached, the second phase began. This stage centered on transforming the annex, located between the main house and the granary, into guest rooms for friends and family. At the same time, the main garden and well were constructed. As the garden took shape, distant mountain views were gradually drawn into the composition, and the annex became an integral part of the larger landscape.

 
 

Photo by Yoshiro Masuda

 
 

相較於已有一定年歲的主屋與穀倉，附屬棟因建造時期較新，結構穩定，無需補強。然而，它在材料與外觀上的「新」，卻衝擊場域原本的時間感與協調性。為了修復這份視覺上的斷裂，RID 團隊拆除原本的鋁製窗框，改以木窗取代，使其在材質與造型上更貼近主建物的形貌。

設計亦援引廣島鴨方地區的傳統形式「藏造（いぐら造）」，這種建築以雙層屋頂為特徵：上層小而陡、下層大而緩，輪廓層次分明。設計團隊借用這種手法，透過屋頂的重構延續水平線條語言，同時柔化附屬棟原有的稜角，使其更自然融入場域之中。

內部配置方面，一樓重新劃設為三間客室與清潔空間。其中最大的一間保留原有挑高，使天花高度達五米以上，空氣與光線得以自由流動。當視線穿過新設的庭井，延伸至遠方層疊起伏的山巒，室內空間於是向外開展，也重新與自然建立起連續的關係。

 
 

  • Compared with the older main house and granary, the annex was built more recently and required no structural reinforcement. Yet its newer materials and appearance disrupted the sense of time and harmony across the site. To restore visual continuity, the team replaced the original aluminum window frames with wooden ones, aligning the material and proportion of the openings with those of the main house.

    The design also drew inspiration from the traditional IGURA-TSUKURI house of Hiroshima’s Kamo region, known for its distinctive double-roof form: a smaller, steeper upper layer above a broader, gentler one. By reinterpreting this technique, the architects extended the horizontal lines of the roof while softening the annex’s angularity, allowing it to settle more naturally into its surroundings.

    Inside, the ground floor was reorganized into three guest rooms and a utility area. The largest room retained its double-height ceiling, reaching more than five meters, enabling air and light to flow freely. Through the newly created courtyard well, the view extends toward the layered ridges of the distant mountains, connecting the interior once again with the landscape beyond.

 
 

Photo by Yoshiro Masuda

 
 

Photo by Yoshiro Masuda

 
 

延續第一期整修以來的設計精神，此次附屬棟的室內，也持續與黑谷和紙職人波多野渉（Wataru Hatano）合作。透過色彩和紙的鋪陳，為每個房間注入專屬的光線表情與情緒基調。

這些由對話與現地觀察所延伸出的色彩判斷，是設計團隊與職人共同試圖捕捉空間氛圍的方式。他們意圖運用紙張的肌理、透光度與色層，回應光影變化及使用者的感受，牽引著自然與空間之間，最細微的聯繫。

和紙主要以天花板的形式出現，靛藍、苔蘚綠、赭紅等色調，分別與不同房間的朝向、採光狀況與尺度相互協調，創造出或沈穩、或寧靜、或包覆感強烈的場域體驗。這些色彩像是一層溫柔的氣息和媒介，讓人意識到空間的表情，也醞釀著一種可被感知的安然狀態。

 
 

  • Continuing the spirit of the first phase, the interior once again involved collaboration with washi craftsman Wataru Hatano from Kurotani. Through the careful use of colored handmade paper, each room was given a distinct tone of light and atmosphere.

    These color choices emerged from direct dialogue and on-site observation, reflecting how the team and craftsman sought to capture the space’s emotional balance. They used the paper’s texture, translucency, and layered hues to respond to shifting daylight and human perception, tracing the subtle relationship between nature and interior.

    The washi appears primarily on the ceilings, where shades of indigo, moss green, and ochre red correspond to each room’s orientation, lighting, and scale. Together they create environments that feel grounded, serene, or gently enveloping. These tones act as a quiet medium, allowing the space to breathe and nurturing a sense of calm that can be felt rather than described.

 
 

Photo by Yoshiro Masuda

 
 

Photo by Yoshiro Masuda

 
 

Photo by Yoshiro Masuda

Photo by Yoshiro Masuda

 
 

與室內設計同步展開的，是附屬棟前方的庭園與水井工程。設計團隊保留建築與地景之間的留白，透過延伸的平台、鋪石與植栽的佈局，讓空間在其邊緣形成一種過渡的呼吸。從客室望出，大片木窗引導視線越過庭井與碎石鋪面，最終落在遠方群山與田野交錯的風景，亦體現出設計者對於「觀看」與「留白」的細膩安排。

 
 

  • Parallel to the interior work, the garden and well in front of the annex were designed as extensions of the architecture. By preserving open ground between the building and landscape, and by layering platforms, paving, and planting, the architects created a soft transition where the space seems to exhale at its edges. From the guest rooms, the broad wooden windows frame a sequence of views—from the well and gravel path to the distant mountains and fields—expressing a refined sensitivity toward both sight and pause.

 
 

Photo by Yoshiro Masuda

 
 

《House in Jinseki》的整修並非一次性的大規模改造。建築師池田励一讓建築集結材料、工藝與情感等形式，共同參與空間的再定義。

這次附屬棟「House in Jinseki 2nd」的更新，即秉持這樣的態度。設計的核心不在於形構新物，而是使場域回到與生活共構的狀態。池田励一選擇尊重每一道既存的時間痕跡，以低限介入的方式，在細部中調和過去與當下，讓空間對應人的停留與四季遞嬗，將建築逐步調整為能承載親密關係、感官經驗與環境對話的容器。

如此一來，居住的意義也不再只是功能的實現，而是與空間共生、彼此滋養的過程。如同這片高原上的四季，在時間的佈景推移裡，緩慢地相互塑形。

 
 

  • The renovation of House in Jinseki was never intended as a single, large-scale transformation. For Reiichi Ikeda, architecture becomes a convergence of material, craft, and emotion, each participating in the process of redefining space.

    This second-phase renewal, House in Jinseki 2nd, embodies that philosophy. The intent was not to create something new, but to let the place return to a state of coexistence with daily life. By respecting every trace of time and intervening only minimally, Ikeda harmonized the past and present through subtle details. The architecture now evolves with its inhabitants and the passing seasons, becoming a vessel that holds intimacy, sensory experience, and dialogue with its environment.

    In this way, the meaning of dwelling extends beyond function. It becomes a shared process of living with space, shaping and being shaped by it—much like the slow transformation of the highland landscape itself, where time quietly molds everything it touches.

 
 

Photo by Yoshiro Masuda

 
 

Photo credit/ REIICHI IKEDA DESIGN
Text/ ChichiL

 
LIVINGChichiLhome, archi