Junya Ishigami is an architect who embodies never-before-seen landscapes into architecture. He explores various things using an architectural approach and derives solutions that go beyond the understanding of architecture. The framework of ``architecture'' that Ishigami perceives is very large and seems to be free. The ``Art Biotope ``Mizuniwa'' that was born in Nasu is one of them. Although it is composed of only three elements: trees, pond, and moss, a completely new landscape appears before your eyes. His creativity was highly praised, and he was selected for the Cool Japan Award 2019 and the Good Design 2019 Good Design Best 100.As a result of Mizoniwa's achievements, Ishigami was awarded the 2018 Minister of Education, Culture, Sports, Science and Technology Newcomer's Award in the Art Encouragement Category. He has won the Ober Award.

Investigating trees and studying gardens as architecture

How can landscape be created as architecture? Hitomi Kitayama, the producer of Art Biotope, where the water garden is located, has interpreted Ishigami's expectations to be in the architect's construction style. In the case of architecture, ``we assume most of the spatial elements at the design stage, examine them one by one down to the millimeter level, and create spaces where there are no gaps until they are built up to the limit'' (Ishigami). However, if you are creating a regular garden, you may be able to select the species, shape, and type of stone to be used to a certain extent, but you will not be able to grasp the detailed dimensions and shapes of all the trees. ``The characteristic of landscape design is that it is designed while leaving an unknown blank space'' (Ishigami), but this is different from the method of architecture.

“We were fortunate that we were able to transplant all of the trees on the planned site for the hotel building to this location. By researching the trees, we could find out the species, size, and shape of each tree, and we could model each tree one by one. You can also check the space using an overall model. You can proceed just like any other architectural study."
There are 318 trees. I made a model out of every single one of them, and decided on the placement of each tree one by one like a puzzle, imagining what kind of space would be created by placing the trees in different shapes. "Landscape designers can use their experience to imagine the final form, including changes in the shape of the trees. I have no experience, so I have to put a lot of effort into it."

A garden that retains the pond as a structure and embodies changes over time.

Using the carefully placed trees as indicators, we decide on the shape of the pond in the spaces between them, ``as if we were drawing a picture.'' Moss was spread between the trees and the pond. The shape of the pond affects the flow of people walking through it, and the water also affects the sense of depth in the space through reflections. Not only that, but the pond is designed as a final structure that will remain there forever. In architecture, it is the pillars and beams that determine the skeleton.

"Trees will eventually rot and regrow. By controlling it to some extent and nurturing nearby buds that are currently growing, the trees will move subtly and be replaced little by little, and eventually the type of grass will change. Permanently. Even if the original form changes little by little as time passes, as long as the structure of the pond remains, the quality of the space will be maintained.I was wondering if it was possible to create a garden like that.'' .

A garden that embodies change as a part of nature. The scenery changes depending on the surface of the water, and when it snows in winter, the ground turns white and the water remains black, changing the scenery completely. In the course of a day, with the changing seasons, and with changes over time. A garden that changes and fluctuates over various time spans. Speaking of fluctuations, Ishigami says, ``Rather than drastically changing the existing nature, it is an attempt to create a new landscape within the range of fluctuations that nature allows.'' Although it is maintained as a garden through continued human intervention, we have minimized the elements that should be preserved as much as possible to prevent its artificiality from becoming overwhelming. The trees, water, and moss are all reconstructions of what was originally here. At the same time, he said, ``I am very conscious that the things I make are man-made.''

``In order to avoid creating a pseudo-nature, we must keep in mind that what we create is an artificial object, and how do we place it within the natural environment and how do we connect it? That's what I'm thinking about."

After studying at university, I decided to pursue a career in architecture, which I thought was a realistic option, but the more I studied, the more I was drawn into the depths of the field. I don't know what the answer should be; rather, I feel that the potential of architecture lies in the fact that there is no goal, as it encompasses everything from philosophy, aesthetics, and engineering.

“The fun thing about architecture is that it's like deciding on a destination for a trip. There's a view I want to see, so I decide to go there. But when I actually see it, it's completely different from what I imagined. I'm always moved by the sights and spaces I want to see, and I always travel to see them. I want to explore the world, so I have to put in the necessary energy."

→Creation and ideals of architect Junya Ishigami (Part 2)

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Junya Ishigami
建築 家
Born in Kanagawa Prefecture in 1974. He completed a master's degree in architecture at Tokyo University of the Arts, Graduate School of Fine Arts. After working at Kazuyo Sejima Architectural Design Office, she established Junya Ishigami Architectural Design Office in 2004. Her main projects include Kanagawa Institute of Technology KAIT Workshop (Kanagawa Prefecture) in 2008. Projects are underway both domestically and internationally, including in Russia and China. Major exhibitions include the Japan Pavilion representative at the 2008th International Architecture Exhibition at the Venice Biennale in 11, the 2010 "New Size of Architecture" exhibition (Toyota Municipal Museum of Art), and the 2018 "Junya Ishigami Free Architecture" exhibition (Paris).・Cartier Foundation for Contemporary Art). He has also received numerous awards, including the 2009 Architectural Institute of Japan Award (for his work), the 2010 Golden Lion Award at the 12th Venice Biennale International Architecture Exhibition, the 2010 Mainichi Design Award, and the 2012 Agency for Cultural Affairs Commissioner's Award in the International Art Category.