建築家が思うがままに肆するがままに

今回の審査に関しては、まず受賞に至らなかった現地審査の二作品について語りたい。「睦モクヨンビル」は日本初の無垢の木造四階建てビルということになっているが、それ以上にその構成が齎す空間の強さに圧倒された。説明の際に技術的側面を可成強調されていたが、個人的にはそれを超える建築空間の意味について言及されたほうが良かったように思う。十分に大賞候補となりうる歴史上の傑作である。しかしながら特殊性が強いが故に、総合的な評価を求める今回の賞には即しないという議論があり、公開審査には至らなかったのは残念である。「Grove」は奥行きの深い町屋形式を再解釈している傑作である。オーナーの住宅部分の設えも素晴らしい。惜しむべくは、まだテナントが入っていない部分が残る状態での審査であったこと。もっと賑わいが出てから説得力があったように思う。ここからは最終審査に進んだ作品に進む。「花重リノベーション」は改装という範疇を超えて、都市の界隈の保全に深い造詣を示した傑作である。更に鉄部の詳細に込められた拘りは職人魂を映して留まることを知らない。「虎ノ門ヒルズ ステーションタワー」は、近年の超高層の中では群を抜いている。地下鉄から地上を突き抜けて中層階へと至るアーバンコアは、映画のメトロポリスの情景を思い起こさせる、レトロフューチャーの趣がある。何よりも都市として生きが良い。都市のランドマークとしてのメッセージも極めて強い。内装は多様性と包括性を含み、幾重にも重なった曼荼羅を編んでいる。なぜ大賞にならなかったかという問いには答えようがない。「天神町place」は日本史に例を見ない回答である。強いて世界史から検索すれば、ローマのカンピドリオ広場であろうか。最終プレゼンテーションで窓に焦点をあてた手法は心憎い。「熊本地震震災ミュージアムKIOKU」は、敷地の地霊を巧みに読み込んでいた。

なぜ「熊本地震震災ミュージアムKIOKU」が大賞となったのか。その違いは理屈を超えた情感にあったように思う。近年は「誰の為に作り、何を成すのか。」というストーリー性が建築評価に大きな影響を与えている。ややもすると、建物を作らないことが美談となり、開発が悪であるかのように吹聴される傾向にある。確かにバブル期に箱物を乱立させた建築設計業界の罪は深い。しかしながら、全ての功罪を建築家に帰するには無理がある。バブル経済とはいえ必要を超えた建築家の想いが籠らなければ、長谷川逸子氏作「湘南台文化センター」のような名作は生まれない。舵取りに失敗した日本は貧しくなった。建築家が肆するがままに意匠を凝らす時代ではない。しかし貧すれば鈍するでは困るのである。貧しくなったとはいえ、丹下健三氏が活躍した1960年代は決して豊かでは無かった。豊かではないが故に知恵を絞り、世界に誇る名作「国立代々木競技場」が生まれた。

KIOKUに話を戻す。阿蘇カルデラの裂け目に一筋の屋根が生まれた。細く長く引き伸ばされた佇まいは、草千里を想わせる大地を包み、秀峰へと開いている。語るは先の震災。それを悲劇とせず雄ともせず、あるがままの自然の営みとして描く。情景であると思う。情景は感情である。感情は理性を超え想いを時代に刻み込む刹那。推論は無粋である。目を凝らせば創意工夫が透ける。大棟の鉄を支える小梁の群れは、正直で飾らず成り立ちを上手に現して止まない。丁寧に吟味された柱の幅は無理なく空間と調和している。逐次土を練り込み撒かれた屋根タイルは茶目である。粋であると思う。

■手塚貴晴

建築家。1987年武蔵工業大学卒業。90年ペンシルバニア大学大学院修了。94年までリチャード・ロジャース・パートナーシップ。94年手塚建築企画を手塚由比と共同設立、東京都市大学教授。日本建築家協会賞、日本建築学会賞、BCS賞、RAIC international、WAF、ヴェネツィアヴィエンナーレ、カーネギーインターナショナル　他。

Architects Think and Do as They Please

For this screening, I would like to begin by talking about two works that were part of the on-site review but did not receive awards. The Mutsumi Mokuyon Building is the first four-story building in Japan to be built using solid timber. But more than that, I was blown away by the strength of the space brought by the building’s composition. The technological aspects were considerably emphasized during the briefing, but personally, I think it would have been better if they had mentioned something about the significance of the architectural space that more than surpassed that. It is a historical masterpiece that could have well been a candidate for the JIA Grand Prix. However, because of its uniqueness, the argument was that it was not suitable for this award, which requires a comprehensive assessment, and it is unfortunate that it did not make it to the public review. Grove is a masterpiece that reinterprets the depth of the traditional Japanese townhouse. The arrangements for the owner’s residence area are also wonderful. It is a shame that the screening took place when there were still untenanted parts of the building. I think it would have been more convincing after the building had been filled. Now, on to the works that made it to the final screening. Hanaju Renovation is a masterpiece that went beyond the category of renovation and showed a profound knowledge of how to preserve urban neighborhoods. Furthermore, the attention to detail in the ironwork reflects inexhaustible craftsmanship. Toranomon Hills Station Tower stands out among the skyscrapers in recent years. Its urban core, which runs from the underground subway through the ground level and onto the middle floors, has a retro-futuristic feel reminiscent of the movie Metropolis. More than anything else, it is an urban setting full of life and energy. It also sends an extremely strong message as a city landmark. The interior incorporates diversity and inclusiveness, weaving together overlapping layers of mandalas. There is no possible answer to the question of why it did not win the JIA Grand Prix. Tenjincho Place is an answer that has never been seen before in Japanese history. If we have to search across world history, it would probably be the Piazza del Campidoglio in Rome. The technique of using the windows as the focal point in the final presentation was superb. The Kumamoto Earthquake Memorial Museum KIOKU skillfully integrated the local spirit of the site.

Why did the Kumamoto Earthquake Memorial Museum KIOKU win the JIA Grand Prix? I think the difference lies in emotions that transcend reason. In recent years, the narrative of “for whom and for what purpose is it being built” has had a great impact on the evaluation of architecture. There is a tendency to view the decision not to erect a building as a touching story, while a development is often publicly perceived as bad. It is certainly true that the architectural design industry is deeply guilty of constructing a jumble of box-like buildings during Japan’s bubble era. However, it is unreasonable to attribute everything, both good and bad, to architects. Even during the bubble economy, masterpieces like Itsuko Hasegawa’s Shonandai Cultural Center could not have been created without the architect’s passion that went beyond mere necessity. Japan failed in steering the country and has become poor. This is no time for architects to create elaborate designs as they please. But if poverty dulls the wit, then it is a big problem. Even though Japan is now poor, the 1960s, when Kenzo Tange was active, were by no means wealthy. Because Japan was not wealthy then, ingenuity was used to create the Yoyogi National Stadium, a world-renowned masterpiece.

Going back to KIOKU. A single roof was created over a crack in the Aso caldera. Its long, thin, stretched facade envelops the earth in a manner reminiscent of the Kusasenri plain, and opens up to the majestic mountains. It speaks of the recent earthquake disaster. KIOKU does not portray it as a tragedy or a heroic event, but as the workings of nature in its raw state. I think it is a “scene.” And a “scene” has emotion. Emotions transcend reason; they are moments that engrave sentiments across the ages. Reasoning lacks refinement. If one looks closely, its originality and creativity can be seen. The cluster of small beams supporting the steel ridge is straightforward and unadorned, revealing their origins well. The carefully studied pillar width blends effortlessly into the space. The roof tiles, which have been successively mixed and sprinkled with earth, are a playful sight. Quite refined in my opinion.

■Takaharu Tezuka

Architect. Graduated from Musashi Institute of Technology in 1987. Completed a master’s degree at the University of Pennsylvania Graduate School in 1990. Worked at the Richard Rogers Partnership until 1994. Jointly founded Tezuka Kenchiku Kikaku with Yui Tezuka and became a professor at Tokyo City University in 1994. Awards include the Japan Institute of Architects Award, AIJ Prize, BCS Prize, RAIC International Prize, and other awards at the WAF, Venice Biennale, and Carnegie Internationa

公開審査・公開プレゼンの可能性

世の中には数々の建築の賞がありその審査方法も様々である。書類審査のみのものもあれば、加えて現地審査を行うものもある。現地審査で書類では伝わりにくい情報がもたらされ、評価が一変することもある。この建築大賞は書類審査を経て現地審査を行い、さらに公開審査で大賞を決めるという手順となっている。その意図するところは何だろう。審査の課程でなされる議論自体が建築の価値を社会に伝えていくために重要だということではないか。公開審査の場で建築家によるプレゼンが行われる意味もそこにあろう。すでに書類や現地で説明が尽くされているにもかかわらず、あらためて公開の場でプレゼンをお願いするのは、畢竟建築家の社会に向けての「語り口」を問うということである。そのように考えると、JIA建築大賞においては公開でのプレゼンも重く評価されるべきではないか。そのような観点から、私は公開審査で「天神町Place」を推した。

「天神町place」は、高密な街に挿入された強い輪郭を持つ屋外空間が印象的な建築である。沈み込んでいくアプローチも静謐な屋外空間とマッチしている。公開審査では、この特徴的な屋外空間が住民にさりげなくまたささやかに働きかけているさまが伝えられ、現地審査でも把握できなかった住民の日常生活についての情報が加わり、見事なプレゼンテーションであった。賃貸集合住宅という収益性が前面に出るビルディングタイプにおいて、レジデンツプライドを導く強度のある空間を出現させたことは衝撃的であった。

大賞に選定された「熊本地震震災ミュージアムKIOKU」は、公開審査での新たな発見こそ乏しかったが、阿蘇の雄大な風景の中に、伸びやかに展開していく屋根が圧倒的に美しかった。震災遺構との関係などランドスケープに若干気になる部分もあるが、多くの方々が訪れ、ボランティアがいきいきと説明をしているシーンをみると、地域にとって大切な建築と受けとめられていることが理解できた。建築的にも高い完成度を誇り、大賞にふさわしい作品といえよう。

「花重リノベーション」は年代の異なる町家の再生をはかるものであった。既存建物の木造軸組に精度の高い極細の鉄骨フレームが付加され、新旧が見事に融和されている。フレームで中空に建物の外形を浮かび上がらせる手法もユニークで、ともすると旧の建物のトレースに終始しがちなリノベーションを、見事に建築作品へと昇華させていた。その手法の普遍性・可能性を語って欲しかった。

「虎ノ門ヒルズ ステーションタワー」は、周辺と接続するパスが中央を貫通するといった大きな飛び道具を軽やかに使いこなす一方で、個々のディテールも密度濃く、大規模開発でありながら見応えのある建築作品となっていた。東京という都市の魅力向上までターゲットにしたプレゼンは壮大であったが、建築家協会の賞として受けとめにくい部分も感じられた。

上記４作品に加え現地審査対象となった「睦モクヨンビル」は木造4階建てにチャレンジした作品であった。限られた敷地条件でのみ成立するものではあるが、特殊な工法や材料に頼らず、ローカルな技術で実現できることを示した意義深いプロジェクトであった。同じく「Grove」は町家状の奥行きの深い敷地にポーラスな建築を配し、その隙間で様々なアクティビティが引き起こされることが企図されていた。構造との不整合をあえて生じさせることで、不思議な回遊性が生み出されていたのが印象的であった。

■小泉雅生

建築家／東京都立大学大学院教授／小泉アトリエ 主宰。学校建築、ホール、環境配慮建築を主軸に、住宅から公共建築、広場、まちづくりまで幅広く手がける。主な作品に、「戸田市立芦原小学校」、「アシタノイエ」、「象の鼻パーク／テラス」、「LCCM住宅デモンストレーション棟」、「港南区総合庁舎」など。主な著書に『環境のイエ』、『LCCM住宅の設計手法：デモンストレーション棟を事例として』、『環境建築私論』など。

Possibilities of the Public Review and Presentation

There are numerous architectural awards in the world, with a variety of screening methods. Some only require a document screening, while others also require on-site review. On-site reviews can provide more information that is difficult to convey through documents, which can drastically change ratings. The procedure for the JIA Grand Prix involves screening the documents before conducting an on-site review, and then finally deciding on the winner through a public review. What is the intent behind this? I believe that the very discussions that occur during the review process are crucial for conveying the value of architecture to society. This is also what makes the architect’s presentation significant at the public review. Even though the explanations have all been given in the documents and on-site, requesting for an additional presentation at a public forum is ultimately a way of asking the architect about “what they want to say” to society. Thinking in this way, shouldn’t the public presentation be given more weight in the evaluation for the JIA Grand Prix? From that perspective, I recommended Tenjincho Place at the public review.

Tenjincho Place is an impressive piece of architecture with an outdoor space possessing strong contours that have been inserted into a densely populated city. The sunken approach matches the tranquil outdoor space. During the public review, the subtle and modest impact on the residents of this distinctive outdoor space was shown, along with additional insights into the residents’ daily lives that were not observable even during the on-site review, resulting in a brilliant presentation. In a rental apartment building, where profitability is of utmost concern, it was striking to see the emergence of a powerful space that instills pride in its residents.

While the JIA Grand Prix-winning Kumamoto Earthquake Memorial Museum KIOKU did not reveal many new discoveries during the public review, its roof, which expands unconstrained toward the magnificent landscape of Aso, was stunningly beautiful. I had some concerns about the landscape, such as its relationship with the earthquake ruins, but the large number of visitors and the sight of volunteers giving lively talks made it clear that the architecture is regarded as an important part of the local community. Architecturally, the design is of the highest level, making it worthy of the JIA Grand Prix.

Hanaju Renovation was an attempt to revive a townhouse from a different era. High-precision, extra-thin steel frames were appended to the wooden posts and beams of the existing building, perfectly fusing the old and the new. The technique of using frames to make the building’s contours stand out aerially was also unique, transforming the renovation project, which tends to end up being a mere tracing of the former building, into a wonderful architectural work. I would have liked to hear them talk about the universality and potential of this technique.

The Toranomon Hills Station Tower seamlessly incorporates large, eye-catching elements, such as paths that run through the center and connect to the surrounding area, while each individual detail remains meticulously crafted. This has resulted in a spectacular architectural work, despite it being a large-scale development. The presentation was grand, with the greater aim of enhancing the urban appeal of Tokyo. However, I felt that there were some aspects that made it difficult to confer the Japan Institute of Architects’ award.

In addition to the four works mentioned above, the Mutsumi Mokuyon Building, which also underwent the on-site review, was an attempt to build a four-story wooden building. Although the building could only be built under limited site conditions, it was a highly significant project that showed what could be created using local technologies and without relying on special construction methods or materials. Similarly, Grove features a porous architecture located on a site with the depth of a traditional Japanese townhouse, and was designed to encourage a variety of activities in its gaps. It was striking how mismatches in the structure were deliberately generated to produce a strange sense of navigability.

■Masao Koizumi

Architect, professor at the graduate school of Tokyo Metropolitan University, and chair of Koizumi Atelier. Has worked on a wide range of projects from residential housing to public buildings, public squares, and urban development, with a core focus on school buildings, halls, and environmentally friendly buildings. Main works include the Toda City Ashihara Elementary School, Open Ended House, ZOU-NO-HANA Park/Terrace, LCCM Demonstration House, and Konan Ward Office and Fire Station. Main authored works include “Environmental House,” “LCCM Housing Design: Example of a Demonstration Building,” and “Essays on Environmental Architecture.”

ロケーション・人・日常・スケール

178作品の書類選考から現地審査へと、複数の目で見て議論しながら最終選考者の公開での発表を経て選ぶという、丁寧なプロセスを経て最終的に選ばれた大賞と優秀の賞に選ばれた4作品の設計者および関係者には敬意を表したいと思います。ロケーションも規模も用途もまったく異なる建築を、同列に並べて評価するのは大変難しい作業であったと感じていますが、その建築を使うのは人であり、人は都市にも田舎にも生活しているわけですから、そのロケーションに応じた建築のあり方をしっかり見たいと考えました。

大賞に選ばれた「KIOKU」は、阿蘇の雄大な自然を眺望しながら、震災を伝える展示物などから、穏やかさと震災のギャップを感じる、日常と非日常が隣り合わせに存在することを私たちに伝える場となっています。展示室内だけではなく、周辺の散策路をたどりながら、東海大学の震災遺構や山肌が崩落した姿を見渡す事によって、より現実的な自然災害の脅威を感じ取れるようになっています。帯状の細い展示空間が、草原の中にフワーっと舞い降りたような、穏やかな姿が印象的で、単に震災ミュージアムとしての役割だけでなく、四季折々自然を感じる展望プレースとしての役割も大きく担っていると感じました。

優秀作品に選ばれた３作品ですが、「花重リノベーション」は、残しながら新しい場を挿入する事で、豊かな居場所が周辺にも広がるような意欲作です。改変される歴史を読み込みながらも、鉄という新しい素材を導入して、軽やかに新しい居場所を生み出している点が評価されました。

「天神町place」は、高層化する周辺環境に対して、内側に大きなヴォイドを設けて、風の流れや視線の行き来や光の道を巧みに取り入れ、周辺環境に頼らない新たな居住を提示している点が評価されました。

「虎ノ門ヒルズ ステーションタワー」は地下鉄からのアプローチも、路面からのアプローチも、これまでの高層ビルとは異なり、アート性や親近性を感じられる工夫がなされ、大規模開発の中に、ヒューマンスケールと近未来性を感じるデザインが散りばめられている点が評価されました。

■工藤和美

シーラカンスK&H代表取締役・東洋大学教授。1960年鹿児島生まれ。1984年IAESTEにてスイス研修留学、1985年横浜国立大学建築学科卒業、1986年IAESTEにてオランダ研修留学、1986年シーラカンスを共同設立、1987年東京大学大学院修士課程修了、1991年同博士課程修了、1998年シーラカンスケイアンドエイチに改組、代表取締役。2002年〜東洋大学建築学科教授。

Location, People, Daily Life, and Scale

I would like to express my deep respect to the designers and people involved in the four works that were ultimately selected for the Japan Design Award and Awards for Excellence after a thorough selection process that started from a document screening of 178 works, to an on-site review, multiple viewings and discussions, and a public presentation by the finalists. Lining up and comparing architecture with completely different locations, scales, and uses was a quite difficult task. But since it is people who use buildings, and people live in both cities and the countryside, I wanted to look at how well the architecture suited its location.

The winner of the JIA Grand Prix, KIOKU, is a place that highlights the difference between calm and disaster, showing how both the ordinary and extraordinary coexist alongside each other. It does this through various exhibits featuring the earthquake disaster, while offering a view of the majestic nature of Aso. Visitors can more realistically feel the threat of natural disasters not only in the galleries but also by walking along the neighborhood paths and observing the remains of the Tokai University building and the collapsed mountainside. The serene image of the narrow, ribbon-like exhibition space, which seemed to have softly floated down onto the grassland, was impressive. This made the museum serve not only as an earthquake disaster memorial but also as a place to observe and enjoy nature through the changing seasons.

Of the three works selected for the Award for Excellence, Hanaju Renovation is an ambitious project that preserves the old while introducing new spaces, seemingly expanding its abundant location to the surrounding areas. While incorporating its history of modifications, the introduction of steel, a new material, to create a light-hearted and fresh look to the place was highly commended.

Tenjincho Place was highly commended for its large void within the building, which skillfully assimilates the flow of air, lines of sight, and the path of light against the backdrop of its high-rise neighborhood. It presents a new way of living that does not rely on its surrounding environment.

Toranomon Hills Station Tower was recognized for the ingenious design of its approach from both the subway and the streets, which gives a sense of artistry and intimacy unlike those from other high-rise buildings, as well as for the human scale and futuristic feel of its design throughout the large-scale development.

■Kazumi Kudo

Representative Director of Coelacanth K&H Architects Inc. and professor at Toyo University. Born in Kagoshima, 1960. Participated in an IAESTE internship in Switzerland in 1984, graduated from the Department of Architecture and Building Science, Yokohama National University in 1985, participated in an IAESTE internship in the Netherlands and co-founded Coelacanth in 1986, completed a master’s degree at the University of Tokyo Graduate School in 1987, and completed a doctorate at the same university in 1991. Reorganized Coelacanth into Coelacanth K&H Architects Inc. in 1998, and is currently serving as its Representative Director. Professor at the Department of Architecture, Toyo University since 2002.

日常、非日常を支える建築の力

優秀建築選100作品の中から大賞にふさわしいと考えられる建築6作品を現地審査対象として挙げ、そのうち4作品が最終の公開審査として選ばれた。

日本建築大賞を受賞した「熊本地震震災ミュージアムKIOKU」は現地に赴き、不思議な感覚にとらわれた忘れられない建築である。震災ミュージアムというある意味で重いテーマ、内容、展示物があるなか、周辺環境、地形を読み解きながら、近景、中景、遠景でそれぞれに着目して建築空間がつくられており、建築と風景の相互作用により自然の魅力と畏怖を同時に感じることができる極めて優れた作品であった。周辺を囲う山々と建築の関係を考えた時に、その雄大な自然の別の側面として引き起こされた2度の大地震を、建築空間を体験しながら感じられ、震災へ深い想いを共有できる、優れた建築となっていた。

「天神町place」は、各住戸へのアクセスが異なるデザインの共用部を備え、建物の中まで小道が続いているとも感じられる共同住宅である。周囲にひしめく同規模の共同住宅群をみると、都心で集団的に生活することの厳しさを感じるが、この作品では静謐ともいえる中庭を計画し、それに面して家具を構造体の厚みを利用して配し、各住戸と共用部、中庭に適切な距離感と居場所を生み出していた。多層、中高層の共同住宅になるほどに構造、設備がデザインに与える影響は避け難くなる。それらの技術的制約を見事にコントロール、統合し優れた建築に昇華した作品である。

「花重リノベーション」は、過去だけではなく未来を含めて時間を意識させる建築である。建築は竣工すると、建築家が関わり続けるのが難しいが、ここではオープンエンドな架構の仕組みを提案することで、長い時間的スパンでプロジェクトの可能性を提示している点が評価できる。一方で挿入した新たなフレームにどのような可能性があるのかをより具体的に提示できるとより魅力が顕在化したように思う。

「虎ノ門ヒルズ ステーションタワー」は、規模が大きく、用途が複合化したプロジェクトを一つの「繋げる」というデザインコンセプトにまとめ上げるために、相応の検討と極めて密度の高い設計をおこなった計画である。周辺建物と一体的、総合的に設計されている提案が評価される一方で、それら地域全体でとらえるべき提案を一つの建築として評価するのには疑問が残ったのも事実である。

どの作品も大賞にふさわしいというのが正直な感想である。どうしても一点を選ばなくてはならず「天神町place」を大賞作品として推すこととした。「天神町place」は共同住宅である。これまでの建築大賞受賞作品は美術館や公共性の高いものが多く、その非日常的な空間、公共空間が受賞することに異論はないが、一方で日常を支える建築も重要であり、受賞する機会を与えたいという気持ちが強かった。料理で例えるなら美術館や公共建築物が、コース料理だとすると共同住宅や住宅は白飯に味噌汁である。それを比べること自体にあまり意味はなく、それぞれのものとして優れていることが重要なのである。そういう意味でどれも大賞にふさわしいのであるが、これまでの建築大賞の受賞作品、日本建築家協会が与える賞であることを考慮にいれるのであれば、日常を支える建築が受賞しても良いのではないのかという思いが強かった。

惜しくも最終の公開審査に至らなかった「睦モクヨンビル」「Grove」ともに周辺環境を読み解き独自の解釈で生まれた優れた建築であったことを最後に記したいと思う。

■大野博史

構造家。1974年大分県生まれ。1997年日本大学理工学部卒業。1998年一般社団法人日本国際学生技術研修協会による海外研修（ユーゴスラビアENERGOPROJEKT）。2000年日本大学大学院理工学研究科建築学専攻修士課程修了。2000年〜04年 池田昌弘建築研究所。2005年 オーノJAPAN一級建築士事務所設立。日本構造デザイン賞、国土交通大臣賞耐震改修優秀建築賞、BCS賞などを受賞。著作に『ヴィヴィッドテクノロジー』（学芸出版社）共著、『構造設計プロセス図集』（オーム社）単著など。

The Power of Architecture in Supporting Both the Ordinary and Extraordinary

From the 100 candidate works for the Award for Excellence, six works deemed to be worthy of the JIA Grand Prix were selected for on-site review. From the six works, four were selected for the final public review.

Kumamoto Earthquake Memorial Museum KIOKU, the winner of the JIA Grand Prix, is an unforgettable work of architecture that captivated me with a mysterious feeling during my visit. As a memorial to an earthquake disaster, the museum carries somewhat heavy themes, content, and displays. In spite of that, the architectural space was designed with an emphasis on varying ranges of distance—close-range, mid-range, and distant views—while interpreting the surrounding environment and topography. Through this interaction between architecture and landscape, this truly exceptional piece of work enables visitors to simultaneously feel a sense of both attraction and awe of nature. While contemplating the relationship between the building and various mountains surrounding the area, visitors can immerse themselves in the architectural space that reveals a different side of the majestic nature that caused two consecutive major earthquakes. This outstanding work of architecture makes it possible to relive profound memories of the earthquake disaster.

Tenjincho Place is a residential complex featuring common areas that have been uniquely designed to provide access to each unit in a different manner, resembling small paths that lead all the way into the building. Looking at similarly sized residential complexes clustered in its neighborhood, one can sense the toughness of collective living in the city center. In contrast, this work’s design included a courtyard that felt tranquil, as well as furniture that was arranged to face it, taking advantage of the structural frame thickness to create a suitable sense of distance and comfortable space in the courtyard and between each unit and common area. For mid- to high-rise residential complexes, the more floors there are, the more difficult it is to avoid the effects of the structure and facilities on the design. This project beautifully controls and integrates these technical constraints to elevate the building into an outstanding piece of architecture.

Hanaju Renovation is an architectural work that heightens awareness of time, encompassing not only the past but also the future. It is difficult for architects to continue to be involved in a building once it is completed. This work, however, is commendable for presenting the project’s possibilities across a longer time span by suggesting an open-ended frame system. On the other hand, I think that its appeal would have been more apparent if the possibilities for the novel frame used were presented in more concrete terms.

The Toranomon Hills Station Tower plan required extensive study to achieve an extremely detailed design, in order to successfully bring together a large-scale, mixed-use project under a single design concept of “connection.” While the proposal was commended for its integrated and comprehensive design that blends with neighboring buildings, there remained some doubts about recognizing it as a single piece of architecture, given that the entire area should be considered as a whole.

Truthfully, I believe that all of the works are deserving of the JIA Grand Prix. Since I had to choose one, I decided to nominate Tenjincho Place for the award. Tenjincho Place is a residential complex. Meanwhile, many previous JIA Grand Prix winners have been art museums and highly public buildings. I have no objection to such extraordinary and public spaces winning the award. However, architecture that supports ordinary life is also vital, and I strongly felt the need to give them the opportunity to win the award. To use a cooking analogy, if art museums and public buildings are full-course meals, then residential buildings and housing are white rice served with miso soup. It does not make much sense to compare them; what truly matters is that each work is excellent in its own way. In that sense, all of these works are deserving of the JIA Grand Prix. However, considering the works that have previously won the award and the fact that the award is given by the Japan Institute of Architects, I strongly believed that awarding an architectural work that supports ordinary everyday life would be most beneficial.

In closing, I would like to note that, although both Mutsumi Mokuyon Building and Grove unfortunately did not advance to the final public review, they were excellent works of architecture that were created through unique interpretations of their respective environments.

■Hirofumi Ohno

Structural engineer. Born in Oita Prefecture, 1974. Graduated from the College of Science and Technology, Nihon University in 1997. Took part in overseas training by the International Association for the Exchange of Students for Technical Experience Japan (ENERGOPROJEKT, Yugoslavia) in 1998. Completed a master’s degree at the Department of Architecture, Graduate School of Science and Technology, Nihon University in 2000. Worked at Masahiro Ikeda Architecture Studio from 2000 to 2004. Founded Ohno Japan First Class Architect’s Office in 2005. Awards include the Japan Structural Design Award, MLIT Minister’s Award for Excellent Seismic Retrofitting in Architecture, and BCS Prize, among others. Authored works include “Vivid Technology” (co-authored, Gakugei Shuppansha) and “Structural Design Process Drawing Collection” (Ohmsha).

多くの人々に豊かさをもたらす建築

JIA日本建築大賞は、2005年の第1回から審査委員の1人を編集者が務めている。これは、建築の議論をより開かれたものにするという協会の姿勢の現れだと感じている。この編集者枠として、若輩の一編集者にお話をいただいたことを大変光栄に思う。

日頃、日本の建築の魅力を、業界内のみならずより広く一般に知ってもらいたいと考え活動している。そこで、建築の新しい可能性を開くという視点に加え、使う側の目線、つまり、人々に豊かさをもたらす建築であるかという点を心に留めて審査に臨んだ。

公開審査には、伝統建築のリノベーション、震災ミュージアム、大規模再開発の超高層ビル、都心の集合住宅と、規模も用途も多彩な4作品が対象となった。それぞれに大賞となるにふさわしい傑出した作品であったことを、まず申し上げたい。

大賞に輝いた「熊本地震震災ミュージアム KIOKU」は、曲線を描くひとつながりの屋根が架かる展示室と半屋外空間を歩いて巡るうちに、自然と丘の上の震災遺構に導かれる。この空間体験が素晴らしく、震災の記憶を伝えるという重い役割を担う建築でありながら、阿蘇の自然と融合した明るく軽やかな建築であるところに希望を感じた。同時に、この場を訪れるさまざまな人々の想いや行動に寄り添う包容力を持つ建築であり、それは、軽やかな架構、屋根のタイルの濃淡表現、内外の空間の接続部など、隅々まで考え抜かれた設計によって実現されている。

最後まで大賞を競った「天神町place」は、上空からの光が陰影をつくる中庭空間の美しさに息を呑んだ。高層マンションに囲まれた旗竿敷地に、中庭を囲む特徴的な馬蹄形の形状で全住戸に光や風を取り込み、中庭への視線の抜けを巧みにつくり出している。曲面の壁を生かした35戸の住戸はすべて異なり、多様な暮らし方が提案されていた。空間性と居住性を高い次元で実現するだけでなく、集合住宅の新しい価値、魅力を生み出している点で他に類を見ない。また、中庭側の窓辺にフォーカスし、入居後の暮らしの風景を盛り込んだプレゼンテーションが抜群に素晴らしかった。

「花重リノベーション」は、谷中霊園の傍で150年続く花屋の改修だ。丁寧な調査と設計で、登録有形文化財を含む異なる年代の既存4棟の価値を引き出し、木造架構と呼応する鉄骨フレームのテラスを新設して新旧一体となった大らかな空間を生み出している。廃業の危機にあった花屋の生業と景観を継承しつつ新たな地域拠点を生み出す、伝統建築の保存活用の新しいモデルを提示している。

「虎ノ門ヒルズ ステーションタワー」は、見る角度によって印象が変わるビルのデザインもさることながら、新駅との一体開発や広場のような歩行者デッキによって都市の動線を積極的に引き込む超高層ビルのあり方が独創的だ。自然光が入る地下アトリウムは、ガラス越しに地下鉄の往来が見え、その下を人々が行き交う、都市のダイナミズムを感じさせる眺めに胸が高鳴った。

また、現地審査の対象となった「Grove」、「睦モクヨンビル」も社会に資する挑戦的な作品だった。「Grove」は、7階建ての半分を半屋外空間とした斬新な建築で、奥に細長い敷地に光や風を通すと同時に、都市に魅力的な“隙間”を提供している。「睦モクヨンビル」は、“日本初”という発信力の高い木造ビルを壱岐島で実現することで地域活性化につなげたいという、建築家の姿勢に強い感銘を受けた。

最後に、日々研鑽を積まれているすべての建築家に心から敬意を表します。

■飯田 彩

編集者。1981年東京都生まれ。2004年武蔵野美術大学造形学部建築学科卒業。2007年千葉大学大学院自然科学研究科建築学専攻博士前期課程修了。2007〜11年新建築社。2012年Design Communicator設立。建築・デザイン関連の書籍や、建築系大学の刊行物の編集、専門誌での執筆、レクチャーの企画・運営など、業界内だけでなくより広く一般に日本の建築の魅力を伝える活動を行なっている。

Architecture Enriches Many People’s Lives

Since the first JIA Grand Prix in 2005, an editor has served as one of the review committee members. I believe that this is a reflection of the Institute’s commitment to making discussions of architecture more open. I feel very honored to have been asked to take this spot this year, even as a novice editor.

I have consistently worked to promote the appeal of Japanese architecture, engaging not only with people in the industry but also with the general public. And so, together with the criteria of opening up new possibilities in architecture, I also approached the screening from the user’s point of view-looking at whether the architecture enriches people’s lives.

The public review included four works across a wide variety of scale and purposes: a renovation of a traditional building, an earthquake memorial museum, a large-scale skyscraper redevelopment, and a housing complex in the city center. First of all, I would like to acknowledge that each of these exceptional works was deserving of the JIA Grand Prix.

Kumamoto Earthquake Memorial Museum KIOKU, the winner of the JIA Grand Prix, naturally guides visitors to the remains of the earthquake disaster on a hill, as they walk through exhibition rooms and semi-outdoor spaces beneath a series of curved roofs. This spatial sense was wonderful, and I felt a sence of hope in the bright, airy architecture that blended with Aso’s natural surroundings while bearing the heavy responsibility of sharing memories of the earthquake. At the same time, the architecture is capable of embracing the sentiments and actions of a wide range of visitors. This is achieved through a design that has been meticulously considered down to the last detail, such as the light frame structure, the interplay of light and dark shades on the roof tiles, and the seamless connection between indoor and outdoor spaces.

Tenjincho Place, a contender for the grand prize until the very end, was breathtakingly beautiful with its courtyard space where light from the sky above casts shadows. Located on a flag lot bordered by high-rise apartments, the building’s distinctive horseshoe shape surrounding a courtyard brings light and breeze into all the residential units and skillfully creates lines of sight into the courtyard. All 35 units are unique, making full use of curved walls to showcase diverse lifestyles. Not only does the architecture attain higher dimensions of livability and spatial quality, but it is also unmatched in its ability to create new value and appeal in apartment complexes. Moreover, their presentation was absolutely wonderful, focusing on the windows facing the courtyard and incorporating scenes of life after residents move in.

Hanaju Renovation is a renovation project of a 150-year-old flower shop near Yanaka Cemetery. Through extensive research and careful design, the architects uncovered the value of four existing buildings from different eras, including one designated as a tangible cultural property. They built a new steel-framed terrace that echoes the wooden frame structure, creating a generous space that integrates the old with the new. The project offers a new model for preserving and utilizing traditional buildings, creating a new hub for the community while also passing on the livelihood and setting of a flower shop that had been on the verge of going out of business.

Toranomon Hills Station Tower is unique not only for its innovative building design, which offers varying impressions depending on the angle it is viewed, but also for its unique approach to skyscrapers. The tower leverages its integrated development with a new train station and a pedestrian deck resembling a plaza to actively draw in urban traffic. In the underground atrium bathed in natural light, subway traffic is visible through the glass. The sight of people streaming below fills the heart with excitement, offering a vibrant glimpse of the city’s dynamism.

Grove and the Mutsumi Mokuyon Building, both selected for the on-site review, were also provocative works that contribute to society. Grove is a groundbreaking building that features semi-outdoor spaces on half of its seven floors, welcoming light and breeze throughout the long, narrow site while also providing an attractive open space to the urban landscape. I was deeply impressed by the architect’s commitment to regional revitalization through the creation of the Mutsumi Mokuyon Building on Iki Island. This wooden building makes a powerful statement as the first of its kind in Japan.

Finally, I would like to express my heartfelt respect to all the architects who dedicate themselves daily to refining their craft.

■Aya Iida

Editor. Born in Tokyo, 1981. Graduated from the Department of Architecture, College of Art and Design, Musashino Art University in 2004. Completed a master’s degree at the Department of Architecture, Graduate School of Science and Engineering, Chiba University in 2007. Worked at Shinkenchiku-Sha Co., Ltd. from 2007 to 2011. Founded Design Communicator in 2012. Engaged in promoting the appeal of Japanese architecture both within the industry and to the general public through editing architecture and design-related books, editing university publications on architecture, writing for specialist magazines, and organizing and managing lectures.