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From essay by Jun Aoki

  • In crude terms, there are two types of architects – one type appreciates plastic forms as architecture, while the other type appreciates the atmosphere embrace within those forms as architecture. Needless to say, architecture is a physical environment that takes shape using materials. Essentially, architecture is a plastic thing. But if the plastic forms are considered to be the negative of the work, there is also the atmosphere contained within, or the positive of the work. With a negative-positive combination, neither can stand onits own. Yet even so, every architect places gravity on one or the other, and this differentiates architects into the ‘plastic group’ or the ‘atmospheric group’

From essay by Taro Igarashi

  • For architecture, which must always obey the laws of gravity to exist on our planet, the elimination of weightness is the ulimate drea. In Gothic cathedrals, for instance, even with their structures of solid stone, there are dematerialized, radiant interior spaces created in which the feeling of the stone material seems to have vanished> even Modernism, which was liberated from wall structure via the use of transparent glass, its abstract compositions that could retain form even when reversed, and its use of pilotis and other devices to elevate buildings, may well be said to ahve been seeking such a buoyancy.
  • … I was rather surprised by the conversation between Junya Ishigami and his assistants. They were going over the design studies and saying things like, ‘Which one’s cute?’ The focus of their value judgements was on ‘cute’.
  • It was in late 2007, when the project planner Tomoharu Makabe organized a design symposium called ‘Cute Paradigm’, that the theme of cute bagan making the rounds of the Japanese architecture scene.
  • But the members of Junya Ishigami’s firm are actually using the word ‘cute’ as they create. According to Ishigami, during his sojourn at SANAA, he often heard Kazuyo Sejima speaking of things as being ‘cute’.
  • Exterme Nature: Landscape Of Ambiguous Spaces (16 mm square pillars and girders. 8mm glass hung like a curtain, ordered specially from Japan as they could not be procured locally in Venice)
  • Architecture as Air: thin pillars 0.9 mm by 4 m tall


cuboid balloon


japanese pavillion




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