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
ダミーテキスト
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