Architecture, building and Tsukurimono

Fujimori Terunobu  Architectural historian, Architect

Exhibition photo

I have known Mr. Kinoshita since we were young, but it’s not long before when I started thinking about Tsukurimono. Putting it more accurate, it started when Arata Isozaki commented that my architectural works were Tsukurimono. His comment was as shown below.
“The buildings Terunobu Fujimori designed look like dens of witches. They are products of works a respectable art history researcher all of a sudden started to create fanatically. I believe architecture is a social system running through a nation, a city and arts. Recently Fujimori has constructed a large-scale group of buildings incorporating environment in La Collina as traditional Japanese Tsukurimono (designed works). Tsukurimono is a terminology now used for mobile stage set brought on to a Noh stage. It was, however, used for all designed works such as towns, gardens, small temples, small shrines, houses and ornaments including majestic decorations in temples. In other words, strange objects as a mysterious symbol were built as Tsukurimono integrating even Namamono (plants and living entities). There is another hidden mystery. I would advise the audience to start decoding it as observation study.”
His comment helped me realize that I have preference in light and thin materials such as trees, grass and earth to heavy and hard ones such as concrete and iron. I value trace of laypersons’ work more than that of professionals in finishing my design. In terms of architectural philosophy, I feel closer to Wajiro Kon and have been hooked on temporary shelters and observation of things on or along streets. I have acquainted with Mr. Kinoshita since we share the same view on temporary shelters and streets.
I have a strong biased interest in Japanese historical architecture. I like pseudo-western-style buildings by master carpenters in Taisho era and tearooms of Rikyu in Azuchi-Momoyama era. Dating further back I have been attracted by buildings of Jomon and Kofun eras. I have been fascinated by temporary Otabisho (a place where the sacred palanquin is lodged during a festival) and the Tsukurimono, which serves as a seat for divine spirit in Otabisho during Wakamiya Festival of Kasuga Shrine in Nara in recent years. I have also enchanted with the particular architectureal style called Kasuga-zukuri in the extension of my interest mentioned above.
I cannot accept the fact that the common thread connecting ancient architecture, shrine architecture at its initial phase, tea room of Rikyu, pseudo-western-style and Wajiro Kon style of architecture is the characteristics of Tsukurimono. But I had different perspectives for my work before Isozaki made the previous comment. I think I had been trying to follow primordial architecture and ways of building them. I thought my architectural design was rooted in the very origin of architecture established in the Neolithic era not only in Japan but also ubiquitously around the globe. It was, I thought, the first internationalism of mankind in contrast to the internationalism in 20th century.
I have revisited what is the origin of my work since Isozaki indicated that. Primordaiality of my architectureal expression might be connected to the characteristics of Japanese Tsukurimono, not international one.
Primordial Japanese architecture was built with grass and trees and those of Europe, India and China were built with stones. This difference might have separated the fates of the two in later years. That is the idea I started to ponder upon with the pursuit of Tsukurimono of Mr. Kinoshita.