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Mekari Shrine

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Innovation
Functionality
Creativity
Eco-Social Impact
Total
JURY VOTES
Cultural Space
6.83
7.75
7.08
7.67
7.33
Sergio Mannino
Sergio Mannino Founder at Sergio Mannino Studio
8
8
8
8
8
Amrita Mahindroo
Amrita Mahindroo Director at DROO - Da Costa Mahindroo Architects
5
9
7
8
7.25
Nasim Köerting
Nasim Köerting Head of Design at The Office Group (TOG)
7
8
7
7
7.25
Caro Lundin
Caro Lundin Co-founder & Creative Director at ARC Club
7
8
8
8
7.75
Waad El Hadidy
Waad El Hadidy Design Director at SH Hotels and Resorts/Starwood Capital Group
6
7
6
7
6.5
Esra Lemmens
Esra Lemmens Founder & Design Strategist at Esra Lemmens Agency
7
8
8
7
7.5
Roel Slabbers
Roel Slabbers Interior Architect Co-Founder at De Nieuwe Context
7
8
8
8
7.75
Shao Feng
Shao Feng Architectural Photographer at SFAP
Taking the inevitability of "existe...
6
8
7
8
7.25
Anne-Laure Pingreoun
Anne-Laure Pingreoun Founder at Alter-Projects
8
9
7
8
8
Venelin Kokalov
Venelin Kokalov Design Principal and Principal-in-Charge at Revery Architecture
6
7
6
7
6.5
Kai LIU
Kai LIU Founder & Design Director at RIGI design
8
6
7
7
7
Martijn Hoogendijk
Martijn Hoogendijk owner / creative director / designer at Martijn Hoogendijk
7
7
6
9
7.25
Designer
Client
Mekari Shrine
Floor area
83 ㎡
Completion
2019
designer

Since ancient times, it is believed that the Gods exist everywhere, and dwell in all things. There are Gods for the sun, moon, wind, lightning, mountains, earth, rivers and sea, to name just a few. There are said to be eight million gods, and shrines were built to be places to worship these gods. Throughout Japan there are thought to be around eighty thousand shrines. Mekari Jinja (Mekari Shrine) is located at the northernmost tip of Kyushu, and stands facing the Kanmon Straits. Legend has it that Mekari Shrine was founded approximately 1,800 years ago by Empress Jingu after returning victorious from the battle of Samhan (now Korea) as a way to show appreciation to the gods. Mekari Shrine houses Princess Seoritsu- the Goddess of the Moon who controls the ebb and flow of the tides, and guides us forward. The theme of this plan is the concept of "returning to the roots" and the inevitability of "being". When considering the renovation of the award office, rather than exchanging gifts under an ordinary roof, such as one you would find in any building in Japan, we felt that we had to change the physical space in order to create a spiritual space worthy of the auspicious act of gift-giving. Accordingly, one enters the space and is immediately able to calm the mind. The gifts are selected and then placed upon the ​Iwakura​ (the sacred stone altar) where the priest rings a bell and then deliberately and carefully performs the sacred rites to strip the object back to its soul, thus revealing its original form. We aimed to create a space where one can feel the spirituality of the shrine by eliminating the act of explanation as much as possible. When something is reduced to its original form, no explanation is required. The materials, finishes and techniques used in the building are drawn from traditional methods of construction handed down from ancient times, with a specific focus on allowing the current younger generation of craftspeople to continue these traditions with an eye to the future. Materials can be re-used or upcycled during the future renovations. Structural, or external parts of the building are finished in black plaster, while internal surfaces are finished in white plaster. Not only is this a pragmatic decision due to the environmental factors (being able to withstand wind and salt damage due to its location on the Kanmon Straits) but also due to the fact that the Moon Goddess (shadow side) is enshrined here. The design of the building is crucial in conveying this spirituality. In addition, the large glass doors on the facade can slide away, and be stored inside the wall. At times when many people visit the shrine (during various Shinto rituals or at New Year’s for example) the building becomes a space that seamlessly connects to the outside. Many more people are able to use the space which means that during a natural disaster, the shrine also functions as an evacuation point and shelter, once again going back to its roots as the shrine’s ​raison d’etre. Mekari Shrine has survived for more than 1,800 years by adapting to changing social customs, yet has never lost its identity or sense of purpose. Renovating the award office as a place to convey the most important spirituality has enabled it to acquire a new channel of contact with society, and has been able to establish itself as a legitimate religious institution. As mentioned above there are almost countless shrines in Japan, yet to our knowledge, there has never been a space which balances primitivism and the ​less is more​ philosophy. This is a small intervention in the shrine world, but one which we believe will become a guide to a new way of thinking about Japanese shrines, their role in society, and their nature of existence. We endeavoured to find the answer to the question of what the correct shape of the shrine should be, by examining historical texts, works of literature and of course the shrine’s history. It wasn’t enough to just trace the shape of an old shrine. We believe that in using modern structural solutions and techniques, mapped against the historical records, that we’ve managed to pare the shrine back to its original form, to show it as it should be shown. Throughout its history, Mekari Shrine has stood watch over the Kanmon Straights, and will continue to light our path and guide us on our way.