Terunobu Fujimori’s poesy
Terunobu Fujimori (November 21, 1946) is an architect and architectural historian, a lateral thinker and surrealist.
Fujimori is known as a modern eccentric with an architectural sensibility drawn from ancient Japanese traditions and influences of Le Corbusier and Claude Nicolas Ledoux. His architecture is characterized by fantasy and humor, use of natural materials and the subversion of traditional techniques.
A well known author, cultural commentator, and TV host in Japan; as well as a longtime professor of Japanese architecture at the Institute of Industrial Science at the University of Tokyo. Fujimori came into his design career late in life—he got his first commission at age 44, 27 years ago—but he has since conceived some of Japan’s most startlingly original buildings, on average one per year.
Fujimori basically fell into designing buildings after his native village (a tiny, rural village two hours south of Nagano) commissioned him in 1991 to design a small history museum, Jinchokan Moriya Historical Museum. As he pondered what form the building should take, he felt the weight of all of architectural history bearing down on him. “Since I was a famous architectural historian,” he says, “I thought my architecture should be totally unique, dissimilar to any architecture that came before.”
His peers found the building intriguing. “Terunobu Fujimori has thrown a punch of a kind no one has ever seen before at ‘modernism,’” wrote the architect Kengo Kuma. Encouraged, Fujimori decided to continue designing. With no other clients in sight, he built a house for his family in a Tokyo suburb, the Tanpopo (Dandelion) House with strips of volcanic rock affixed to the facade, and flowers and grass blooming in the grooves between them. While Fujimori admits that his buildings tend to be ecologically sensitive and extremely energy-efficient, he is wary of the contemporary conception of green design. “As an architect, I deal with the visual effects. Energy conservation is an engineer’s work. My intention is to visibly and harmoniously connect two worlds—the built world that mankind creates with the nature God created.”
In a pioneering professional career now spanning almost 30 years, the architect has produced two-legged teahouses suspended 20 metres above the ground; homes whose chimneys are planted with pines and whose roofs are covered in leeks and chives; and guesthouses that perch precariously atop small segments of white wall. Whereas his contemporaries – starchitects like Tadao Ando and Toyo Ito, who he counts as close friends – embrace Japanese simplicity, conceptualism and new materials, Fujimori prefers eccentricity, tradition, character and natural elements local to the sites at which he works (mud, wood, stone, coal, bark, mortar and, often, living plants) evoking sometimes real life Hayao Miyazaki cartoons. “My work is all about keeping the fun of childhood alive,” says Fujimori.
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