21_21

In December 2006, the 21_21 DESIGN SIGHT directors visited the site to view the building now nearing completion. The comments that emerged as they walked around the actual spaces of the facility were enthusiastic, and also struck at the core of what 21_21 and design are all about.

The allure of Ando’s buildings becomes clear on experiencing their spaces in person

Fukasawa

Just looking at the building, it really is quite inspiring isn’t it? When you physically place yourself in the actual spaces, ideas occur to you that would be inconceivable in any other setting. We’re already getting down to specifics with our first exhibition project, but it’s only when faced with the finished building in this way that the practicalities of setting up in those spaces, and working out what sort of shows will be held here, actually take on an aura of reality.

Satoh

With Ando’s buildings, well naturally you start by looking from the outside don’t you? And at that point they seem a bit on the small side, and kind of quirky in shape. But step inside, and you find them spacious in a way that from the outside, you could never imagine. When we were still looking at the plans and models, we had no idea what kind of sensation such spaciousness would impart. Walking around an Ando building the spaces change in quick succession, which I suspect forces you to find ways to make best use of each. They really are inspirational.

Fukasawa

Though I imagine the people who visit 21_21 will come for the events here, no doubt they’ll also be hoping to get a taste of the facility’s architectural attractions, so if they can savor both to their hearts’ content, it’ll make for double the enjoyment. In that sense I believe 21_21 as a place will be the sum of the allure of Ando’s building, and the content we provide inside. The need to capitalize on both should make for some interesting experiments.

Satoh

Right now it’s an empty space, but once 21_21 kicks off, visitors will only see it with the exhibits and displays. It might be a good idea to plan some sort of program giving people the opportunity between exhibitions to view the space in its raw, elemental state. Because seeing the space with nothing in it will I think give visitors all sorts of ideas, allow them to experience all different sensations.

Fukasawa

Precisely the purpose of the opening special program Tadao Ando Construction Site 2006 ‘A Hard-Fought Process’.

Miyake

Ando, don’t you agree, is someone who prefers to show his structures unadorned, in the raw: not possible with most buildings. With Ando’s architecture, one only has to shift slightly and suddenly it all looks different. Then there’s the care he takes to get his exteriors right. At the Ando show we won’t be showing all the spaces stripped bare, but will display models and photos of the building under construction to explain the building process from start to finish

Kawakami

The exhibition spaces are not the only interesting places; take for example the stairs and their surrounds. It would be great to be able to show those off to best advantage. Ando has spoken previously of creating “an abundance of blank space”, commenting that like Japanese art and calligraphy, there is enormous potential for empty space in architecture, and in cities. Those who use such spaces find them tremendously stimulating. During exhibitions we will doubtless use every corner of the building to stage events and install things, but it would also be good to give visitors the chance to see it with nothing inside, including areas other than the exhibition spaces.

Miyake

Sounds perfect for when we can’t come up with any good ideas for exhibitions…

(All burst out laughing)

Satoh

Ando’s designs are invariably challenging. You never know with him what the end result will be. He has a tendency to raise issues and confront you with his take on how to tackle them. He’s constantly posing the question of exactly what it is one wants to experience in a place.

Miyake

The 21_21 DESIGN SIGHT building sits right on the pavement. Take the contemporary art museums and hotels in Naoshima for example; all look out on the village, or the view, or water. Which is why, as well as being superb in themselves, with Ando’s buildings the landscapes, what you see of the outside once you enter the building, are always impressive. When I went to Naoshima my first comment was “Ooh, what a great view” (laughs).

Personally I think Ando has changed a lot. Of course, he has been consistent in adopting the viewpoint of the people who actual live in and use a building, right from around the time he did that row house in Sumiyoshi 30 years ago. More recently, in an extension of this, we are seeing the emergence of ideas such as using plantings to extend Tadao Ando’s architecture into the streetscape. Omotesando Hills is another lowrise building, but when you go up on the roof you find it is connected to the street trees. I suspect very few people are capable of that kind of perspective.

Fukasawa

Overwhelmingly, these are spaces to experience, not just objects.

Kawakami

The special show will be followed by our first exhibition, Chocolate directed by Naoto Fukasawa.

Fukasawa

When I announced chocolate as the theme, some were startled, to say the least. I don’t think it’s such a bad idea to launch an exhibition by prompting visitors to wonder what on earth the show is about.

Where we must be careful though, to avoid being misunderstood, is to ensure that our primary aim is to present how we as human beings interpret the everyday world, not a showcase of chocolate design. Chocolate is no more than a convenient word for presenting the 21_21 viewpoint, so once the lid is off, we should see all kinds of things emerging.

Various works are starting to come together, and looking at these I’m confident it’s going to be great fun. I urge everyone to get along to the exhibition which starts in April. I think it will give people an idea for the first time what it means to look at the world through chocolate.

Satoh

In other words, with “Chocolate Sight”.

->21_21 Talk Vol. 4 part 2