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AV Monografías 226 SOU FUJIMOTO

AV Monografias 226 SOU FUJIMOTO

Sou Fujimoto describes his haphazard architectures as ‘notes without staves,’ and trying to interpret his forms through conventional composition is a futile effort. Escaping both the cartesian grid of regularity and the hierarchical pyramids of subordination, his pieces are scattered in space with a spontaneous order, evoking at once the processes of organic growth in nature and the mechanisms of adjustment in the social sphere. Reconciling the laws of biology laws with collective practices, this architecture disappears into the natural or urban landscape to crystallize suddenly in geometric jewels that extract their shine from the mist, and their poetic form from their functional indifference. Avoiding bold assertions, the works harvest a translucent fragility that is the base of their lyrical strength, and even the more solid projects are excavated or eroded to free the notes from the bars of the stave and the discipline of the metronome.
Even though he is indeed a free verse in Japan’s architectural panorama, it is hard to imagine Fujimoto outside the social climate, the technical context, and the artistic scene of the country: a luminous, exact, and calm atmosphere where
being in harmony with nature is inseparable from civic courtesy and the low-profile of affirmative individuality. His ethereal precincts and his blurry thresholds promise a spiritual purification that other architects from his own generation and the one before have also pursued, but very few with the extreme exigence that some of his residential works show, more attentive to the harboring of souls than to the dwelling of bodies. Tirelessly experimental in each new commission, the architect enters a closed garden of uncharted paths, and those of us who follow his journey are in for a surprise at every fork and every turn, blinded by the light of intuition and by the chance of discovery.
Through a constant search for a verosimile future in the eternal present of the primitive, Fujimoto has explored the twin and antithetical archetypes of the cave and the nest, architectures of the origin that refer not to human or animal occupation but to their contrasting materiality: the refuge found in the cave versus the deliberate making of the nest; negative space versus construction with elements; and the disappearance of the project in the adaptation to the existing versus the affirmation of intention in the production of the new. Opposite forms of organic protection, cave and nest coincide in the celebration of the life they carry in their warm womb, and from this common matrix emerge architectures that, in the humid depths of the earth or in the airy tops of the trees, offer shelter from the storms of the world.
And it may well be that what the architect is looking for is precisely this, with the quiet music of works that dazzle and dissolve like notes without staves.

Luis Fernández-Galiano
Notas sin pentagrama Notes without Staves

Thomas Daniell
Diferencia y repetición Difference and Repetition

Diagramas construidos   Built Diagrams

Residencia en Date, 2001-2003, Hokkaido (Japón)
Dormitory in Date, 2001-2003, Hokkaido (Japan)

Centro de rehabilitación psiquiátrica para niños, 2004-2006, Hokkaido (Japón)
Residential Treatment Center for Emotionally Disturbed Children, 2004-2006, Hokkaido (Japan)

Casa de madera definitiva, 2005-2008, Kumamoto (Japón)
Final Wooden House, 2005-2008, Kumamoto (Japan)

Casa O, 2006-2007, Chiba (Japón)
House O, 2006-2007, Chiba (Japan)

Casa N, 2006-2008, Oita (Japón)
House N, 2006-2008, Oita (Japan)

Apartamento Tokio, 2006-2010, Tokio (Japón)
Tokyo Apartment, 2006-2010, Tokyo (Japan)

Casa antes de la casa, 2007-2008, Tochigi (Japón)
House before House, 2007-2008, Tochigi (Japan)

Biblioteca de la Escuela de Arte de Musashino, 2007-2010, Tokio (Japón)
Musashino Art University Museum & Library, 2007-2010, Tokyo (Japan)

Casa NA, 2007-2011, Tokio (Japón)
House NA, 2007-2011, Tokyo (Japan)

Espacio creativo Vitamin / Mirrored Gardens, 2011-2015, Guangzhou (China)
Mirrored Gardens / Vitamin Creative Space, 2011-2015, Guangzhou (China)

Pabellón de la Serpentine Gallery 2013, 2012-2013, Londres (Reino Unido)
Serpentine Gallery Pavilion 2013, 2012-2013, London (United Kingdom)

Omotesando Branches, 2013-2014, Tokio (Japón)
Omotesando Branches, 2013-2014, Tokyo (Japan)

Torre residencial L’Arbre Blanc, 2014-2019, Montpellier (Francia)
L’Arbre Blanc, 2014-2019, Montpellier (France)

Casa de la música de Hungría, 2014-, Budapest (Hungría)
Forest of Music, 2014-, Budapest (Hungary)

Intuiciones en proceso   Intuitions in Process

Centro del frente marítimo Beton Hala, 2011-, Belgrado (Serbia)
Beton Hala Waterfront Center, 2011-, Belgrade (Serbia)

Complejo comercial Souk Mirage / Partículas de luz, 2013-
Souk Mirage / Particles of Light, 2013-

Centro de estudios de la Escuela Politécnica, 2015-, París (Francia)
Learning Center for the École Polytechnique, 2015-, Paris (France)

Complejo de usos mixtos Mille Arbres, 2016-, París (Francia)
Mille Arbres, 2016-, Paris (France)

Hotel y balneario de Pézenas, 2016-, Pézenas (Francia)
Spa Hotel in Pézenas, 2016-, Pézenas (France)

Centro cultural Ishinomaki, 2016-, Ishinomaki (Japón)
Ishinomaki Cultural Center, 2016-, Ishinomaki (Japan)

Nueva sede del Tribunal Supremo de Lille, 2017-, Lille (Francia)
New High Court of Lille, 2017-, Lille (France)

Torre Joia Meìridia, 2017-, Niza (Francia)
Joia Meìridia, 2017-, Nice (France)

Centro de estudios Open Grid, 2017-, San Galo (Suiza)
Open Grid Learning Center, 2017-, St. Gallen (Switzerland)

Village Vertical, 2018-, París (Francia)
Village Vertical, 2018-, Paris (France)

Museo de Arquitectura y viviendas Calma, 2018-, Santa Rosa (Filipinas)
Calma Museum of Architecture and Residences, 2018-, Santa Rosa (Philippines)

Sou Fujimoto
Beautiful Integrations