Sahsya Kanetanaka
Tokyo
2013
2013
We wanted to create an escape from the bustle of downtown Tokyo in the form of a place where Kanetanaka, a storied restaurant, could serve food while acting as an art space and exploring the context of Omotesando. Installed in the entrance is a large mathematical model. A sculptural rendering of a cubic function, it presents itself like the object of worship in a shrine. By creating a sacred space or a boundary exclusive to the restaurant, it dramatizes the approach. As visitors walk through the space and up the stairs, they are greeted by a garden with scenic stones( keiseki)set among moss and a full view of the restaurant’s interior.
The relationship with the garden is the most distinct feature of this project, with the restaurant representing an auditorium and the garden a stage. Two slabs of 9.2-meter-long solid straight-grained Canadian cypress, which serve as tables, are arranged facing the garden, with the one at the back higher than the one at the front. When the sliding glass doors are opened, the interior and exterior become a single integrated space. The garden features large flat andesite stones, which have been piled up in the ranzumi style. While giving the appearance of randomness, this style actually addresses the peculiar characteristics of each individual stone.
The window in the private dining room provides an opportunity for up-close scrutiny of the large mathematical model, KUKKYOCHO, seen on the way into the restaurant. Since the shape of the chairs is a quotation from another mathematical model, visual hints pointing to Sugimoto’s approach can be seen throughout.
The garden is the most iconic place within Sahsya Kanetanaka. It looks different from one moment to next, with elements from sukiya architecture including a spicebush fence, moss, a splint door( hegi door)and paving tiles set amid a series of detailings that postdate modernist architecture. A sense of serenity within the city is created through the quotation of uniquely Japanese modes of treating and engaging with space.
Tomoyuki Sakakida
The relationship with the garden is the most distinct feature of this project, with the restaurant representing an auditorium and the garden a stage. Two slabs of 9.2-meter-long solid straight-grained Canadian cypress, which serve as tables, are arranged facing the garden, with the one at the back higher than the one at the front. When the sliding glass doors are opened, the interior and exterior become a single integrated space. The garden features large flat andesite stones, which have been piled up in the ranzumi style. While giving the appearance of randomness, this style actually addresses the peculiar characteristics of each individual stone.
The window in the private dining room provides an opportunity for up-close scrutiny of the large mathematical model, KUKKYOCHO, seen on the way into the restaurant. Since the shape of the chairs is a quotation from another mathematical model, visual hints pointing to Sugimoto’s approach can be seen throughout.
The garden is the most iconic place within Sahsya Kanetanaka. It looks different from one moment to next, with elements from sukiya architecture including a spicebush fence, moss, a splint door( hegi door)and paving tiles set amid a series of detailings that postdate modernist architecture. A sense of serenity within the city is created through the quotation of uniquely Japanese modes of treating and engaging with space.
Tomoyuki Sakakida
