島根県美郷町の旧町役場は、昭和3年の建築後に縫製工場へ転用され、増改築を重ねながら使われた末に、数十年にわたり放置されていた。トタン屋根は錆び、外壁は剥がれ落ち、庇は崩れ、大きな地震が来ればいつ倒壊してもおかしくないほど傷んでいた。江の川の穏やかな流れと四季の山々に抱かれた美しい町の中で、そこだけ時が止まったような穴が空いていた。事務所初の公共物件に着手した私たちが指針としたのは、「時を繋ぐ」「人を繋ぐ」「緩さ」という3つの姿勢である。
The former Misato town hall, built in 1928, was later converted into a sewing factory, extended and altered over the decades, and finally left empty for years. Its corrugated roof had rusted, the walls were peeling, the eaves were collapsing — damage severe enough that another earthquake might have brought the whole structure down. In a town cradled by the gentle Eno River and mountains that turn with the seasons, this one place felt like a hole where time had stopped. Taking on our studio's first public commission, we set ourselves three guiding principles: continuity with time, the threading of people together, and a deliberate looseness.
焼杉の外壁も木製の建具も、一度すべて取り外し、丁寧に補修して元の場所へ戻す。
傷みの著しい部材だけを見極め、既存に近い材でそっと継いでいく。
The charred cedar cladding, every wooden window — removed, repaired by hand, and returned to where it stood.
Only where the damage ran too deep did we bring in new material, chosen to disappear beside the old.
築100年の歪みや軋み、隙間を、この場所の個性として受け入れる緩さ。
二階の床の隙間から、木漏れ日のような光が一階へ落ちてくる。
A hundred years of warping, creaking, gaps — accepted as the character of this place, not corrected away.
Through the gaps in the second floor, light falls to the ground floor like sunlight through leaves.
焼杉の外壁や木製建具は一度すべて取り外し、再利用できる部材は一つひとつ丁寧に補修して元の位置へ戻した。著しく傷んだ部材だけは既存に近いものを選んで葺き替え、新旧の差異が目立たないようにしている。正面玄関脇の既存増築部分には誰でも使える交流サロンを設け、石見地方の伝統的な住居形式を手がかりに屋内の約半分を大きな土間として再構築し、コワーキングスペースとした。土間に面して4つのオフィスと打合せ室を繋ぐ屋内縁側を設け、施設利用者と町の人々の顔が見え合う場を目指している。
The charred cedar siding and every wooden window and frame were removed entirely, examined piece by piece, and — wherever possible — repaired and returned to their original places. Only where the decay had gone too far did we bring in new material close to the original, so that old and new would be hard to tell apart. Beside the main entrance, an existing extension became a salon open to anyone — not just the office's users, but the town itself. Drawing on the traditional Iwami dwelling, we rebuilt roughly half of the interior as a single earthen-floored doma, now a coworking space, with an engawa-like corridor linking four offices and a meeting room along its edge. Across the doma and the corridor, we hoped the faces of the people who use this place and the people who live in this town might come to know one another.
築100年の建物には、歪みや軋み、隙間がある。それを個性として受け入れる緩さこそ、この場所らしさだと考えた。地場の木材で手作りのOAフロアを組み、土間には町民の手を借りて石州瓦の破片を埋め込み、剥がした天井には再利用した焼杉をルーバー状に貼って100年間隠されていた構造材を現した。二階の床の隙間からは、木漏れ日のような光が一階へと落ちる。美しい美郷の自然と共に時を刻みながら新たな物語を紡いでいくこの建築は、美郷町との長きにわたる関係の出発点となった。
A hundred-year-old timber building carries its own warps, creaks, and gaps. We came to believe that accepting them as the character of the place — a kind of looseness — was truer to what this building is than smoothing them away. We avoided manufactured products wherever we could, favoring local material instead: an OA floor hand-built from local timber, fragments of Sekishu roof tile pressed into the doma floor by the hands of townspeople, and a ceiling stripped bare and relined with reclaimed charred cedar louvers, revealing structure that had been hidden for a century. Light still falls through the gaps in the floor above, scattering across the ground floor like sunlight through leaves. Aging alongside Misato's beautiful landscape, this building became the starting point of a long relationship between the town and our studio.
Project Information
| 所在地 | 島根県美郷町 |
| 竣 工 | 2021年6月 |
| 用 途 | サテライトオフィス |
| 敷地面積 | 911.4㎡ |
| 改修範囲 | 325.2㎡ |
| 構 造 | 木造（既存改修） |
| 構造設計 | 井上健一構造設計事務所 |
| 設備設計 | 武井設備研究所 |
| 施 工 | 彦田工務店 |
| 撮 影 | 野津研一 |
| Location | Misato, Shimane |
| Completion | June 2021 |
| Use | Satellite office |
| Site Area | 911.4㎡ |
| Renovation Area | 325.2㎡ |
| Structure | Timber (existing renovation) |
| Structural Design | Kenichi Inoue Structural Design Office |
| MEP Design | Takei Equipment Laboratory |
| Construction | Hikoda Komuten |
| Photography | Kenichi Notsu |
