Interview with Sou Fujimoto at reSITE 2018

Just like last year, the biggest star of the Prague conference reSITE 2018 was a Japanese architect. After Kazuyo Sejima, it was a generation younger architect, whom we could see during the program of the second day of the conference not only through his lecture “Between Nature and Architecture” or in the final discussion panel, but also very closely during an informal conversation on the topic “What I've Learned with...” in the foyer of Forum Karlín. Sou Fujimoto is among the world's most renowned Japanese architects born in the 1970s, greatly attributed to his book “Primitive Future”, published in 2008, or the realization of the temporary pavilion at Serpentine Gallery in London from 2013. He has many achievements and architectural competition wins to his name.
In the packed program of the conference, there was a moment when Sou Fujimoto provided us with a short interview. The interview was conducted by Zdena Zedníčková from the Faculty of Art and Architecture in Liberec.
FUJIMOTO: The forest, of course, has many different layers and meanings. For me personally, the forest is my background. I grew up in Hokkaido and as a child, I often played in the wild forest. Of course, at that time, I didn’t think about architecture at all, but when I started studying architecture, I felt that the experiences from being in the forest have many meanings in relation to scale, diversity, and something that exceeds functionality. And, of course, the contrast between Tokyo, where I studied architecture, and the natural environment in which I grew up was very interesting. In the center of Tokyo and in its residential areas, we do not find such extensive areas of wild nature, but still, walking through the small streets of the city and weaving through their twists felt almost like walking in the forest. I think that's because we are also surrounded by small elements here – in the forest, there are leaves, branches, and small bushes; in Tokyo, they were small man-made objects seemingly floating in space – signs, advertisements, and dense bundles of electrical cables. I felt that the forest is not just a forest, but a structure hidden within it, a place where you are surrounded and protected by a system of small elements of human scale, but at the same time, it is an open space where everyone can choose their path and their activities. It can be a place that, through its diversity, inspires; in this variety, you choose your route, your places of stay, and how you experience it. In this sense, for me, the forest is an iconic word that represents the foundations of architectural thinking and the foundations for considering the connection between architecture and nature. And also a base for creating something that transcends ordinary functional thinking about architecture, which is why I like it so much.
FUJIMOTO: I understand it as the case that in European countries, the forest has a touch of danger and that you need to be brave enough to enter it; perhaps, though, I see the forest more from the perspective of Japanese culture, where it is very close to human life. In any case, I truly do not fear challenges; I am not afraid to do things, but at the same time, I really like to respect the existing cultural background or lifestyle in different cultural situations or climatic conditions. So on the one hand, I really like to respect the history, culture, or lifestyle that lies behind each different context, but at the same time, I want to be brave enough to reinterpret the fundamental elements of this context and try to create something new, something that is truly new but at the same time is in harmony with the history and culture of the given place. In this sense, the challenge is not only to be brave enough, but to be sensitive and respectful.
FUJIMOTO: In fact, when you think about the basic foundations and beginnings of architecture, these outward differences in context are not such a big problem. Because when, for example, you consider human behavior in relation to architectural spaces or their relationship to the surrounding context, these foundational aspects do not change much considering different places. So, as far as I am concerned, I feel that I am not too bound to these outwardly apparent characteristics of the Japanese context, but rather to something that is in its essence. Each time, I really enjoy discovering something that differs from my cultural background, something I could respect and from which I could draw inspiration. France is so different and has a truly admirable cultural heritage, so when I think about how to respect this environment while also bringing something new to it, it is a creative challenge for me. I perceive a similar situation globally, and I think it is very important to respect all local conditions. I believe that the coexistence of globally produced architecture and respect for the local is possible.
FUJIMOTO: Even in Japan, we pay attention to the aging of buildings; constructions are not so temporary; they should last as long as possible. From a European perspective, they may seem temporary, but that is not the case. Of course, the use of materials in these cultures is different, but fundamentally our starting point is the intent to create something valuable for the future.
FUJIMOTO: Of course, if we let these natural elements grow freely, it could destabilize the structure and lead to the building collapsing. However, I believe that architecture should be connected to human life, and thus daily life and daily care for nature, just like for the building itself, should be in harmony. Engagement and involvement of people transform everything. Of course, nature and architecture have different lifespans, but I believe that if people love their environment, they will take care of it.
FUJIMOTO: Certainly, I envisioned that the tree would grow and pass through the openings of the outer box, but at the same time, it is necessary to care for the tree because if it becomes too dense, it would overshadow too much. Even in Europe, you expect that if you take care of greenery, it is healthier. When communication with nature, with trees through caring for them becomes a part of our lives, then this care for the natural environment enriches our lives. To participate in the life's processes of nature, its cycle must be fantastic.
zz: In one of your lectures, you mentioned that you try to create things that appear to be unplanned. Is controlled nature adjusted in the desired direction part of this concept? Or is there room for uncontrolled and unexpected growth?
FUJIMOTO: An interesting aspect of nature is that we cannot control it 100%, but that does not mean we let it grow uncontrollably. As I said, it is an important point for me to connect people, nature, and architecture. And this communication becomes richer if nature or architecture behaves unexpectedly or unpredictably because that is something that exceeds our minds. Then it is possible to discover something new or notice something that you have never thought of before. I believe that such encounters with unexpected things are beautiful.
FUJIMOTO: Yes, I have tried this concept, but it is not finished. Because a system is necessary; we need a program, but at the same time, I like to create something that transcends this system. The experience of space thus becomes much more diverse. This allows for the coexistence of order and chaos, if you manage to find the right balance between them.
FUJIMOTO: Yes, all the concepts of “Gradients”, “Ambiguities”, or “Form less Form” are attempts to achieve the right balance between nature and architecture or controllable and uncontrollable things, to mix them so as to create a complex and diverse environment for living.
FUJIMOTO: I believe that such “in-between spaces” ( “In between spaces” ) and Engawa is essentially such a “between-space”, half inside, half outside, which we can find around the world, depending on climate and lifestyle. In Spain, Portugal, the Mediterranean, or in many Asian countries, such spaces commonly occur. “In-between spaces” have great potential for use in various climatic conditions due to the way they balance the natural and architectural environments. It is very interesting to creatively develop this fundamental idea because it is not about transferring this Japanese typology to other countries, but rather about developing it through inspiration from local conditions into a new variant of “in-between spaces”.
FUJIMOTO: I am not entirely sure that Japanese people are that different. I rather think that people, regardless of where they come from, fundamentally share similar feelings regarding privacy, even though of course there are slight cultural differences. When discussing privacy, contemporary life in Japan is almost the same as in Europe or globally. Most people want privacy defined by walls, smaller or fewer windows, and so on. Of course, in traditional Japanese culture, thinking about privacy was different. For me, it is somewhat exotic. Privacy was defined only by thin sliding walls, translucent layers, layering that created a certain distance of one person from another, or private from public. In fact, even I look at these traditional spaces as something new and different and try to creatively reinterpret them in the spirit of contemporary culture. It is not so much about the difference between Japanese and European culture for me but rather that each individual culture has its uniqueness. And the creative reinterpretation of these differences allows us to share and inspire each other.
FUJIMOTO: If we go to the very basics of this profession, I believe that this role has not changed much. We create places for people, and we create spaces where people can live better. Fundamentally, I believe that our role is to create space for better living, respecting the local context, creating new possibilities, and discovering new potential for life, bringing diversity so that people can choose. I truly believe in these fundamental principles of architecture.