全国信用金庫協会の機関誌『信用金庫』の２０２２年２月号に続き、４月号でも空間芸術研究所に関連する対談記事を掲載していただきました。代表の矢野英裕が、同姓同名の集まりのギネス記録を目指す「田中宏和運動」を展開している田中宏和さんからインタビューを受ける形となっています。転載許可をいただきましたので、ここに掲載いたします。

In the April 2022 issue of the National Credit Union Association’s magazine, “Shinyou Kinko,” another interview article related to “vectorfield architects” was published. In this article, Hideo Yano, the representative, was interviewed by Hirokazu Tanaka, who is leading the “Hirokazu Tanaka Movement” with the goal of setting a Guinness World Record for gatherings of people with the same name. We have received permission to reproduce the interview here.

Thinking from the Reiwa Era’s Community #18 Spatial Art from Yamagata to the World (Architect and Community Segment)

The Theme of Aquatic Nature

Continuing from the previous discussion, we are in conversation with architect Hidehiro Yano, who, after working for many years at Tadao Ando’s architectural firm in Osaka, established the “Space Art Research Institute” in his hometown, Yamagata City, in 2015. His work that earned the Good Design Award in 2021 began with the reconstruction of the Yamagata Tax Accountants’ Association Building and expanded into an urban landscape improvement project for Yamagata City, utilizing the historical “Yamagata Gosho,” a network of canals dating back to the Edo period. When we think of the role of an architect, we typically associate it with building design, but the breadth of Yano’s scope, extending from landscaping to urban design, reflects the influence of his mentor, Tadao Ando.

  • Your encounter with Ando architecture was significant for you. Could you tell us more about it?

Indeed, I want to apply what I’ve learned from Tadao Ando, and because I spent many years by his side, his influence inadvertently seeps into my work.

For me, the introduction to Ando’s architecture goes back to my childhood in Kiyamachi, Kyoto. When I was in junior high school, my mother told me, “There’s a fancy building being constructed on the corner of Sanjo Bridge in Kiyamachi. It’s still under construction, so we’re not sure if it’ll even stand. It looks like it might be submerged in the Takase River.” She was referring to “Times Building (TIME’S),” completed in 1984, a masterpiece by Tadao Ando known for harmonizing with its environment. That left a profound impression on me.

What I feel connects my work in Yamagata City to what I learned from Tadao Ando is the desire to incorporate those lessons and experiences. Having served alongside him for many years, it naturally influences my approach.

The Architectural Style of “Critical Regionalism”

  • How is the architecture of Tadao Ando, which is well-regarded worldwide, understood and interpreted?

Kenneth Frampton, a historian of architecture and professor at Columbia University, introduced the concept of “Critical Regionalism” in his book “Anti-Aesthetic: Essays on Postmodern Culture” (edited by Hal Foster, 1983). In the context of this “Critical Regionalism,” he highly appreciated Tadao Ando’s work. It involves an attitude where, in an era dominated by the universality of modernity, modern architectural language and materials are actively used, while aiming to create architecture rooted in the specificities of history and the local environment. Tadao Ando, who has been using universal materials readily available everywhere, such as concrete, steel, and glass, while drawing out the potential of the site, is regarded as one of the architects of “Critical Regionalism.”

  • In the original work by Kenneth Frampton, there is an emphasis on tactility and bodily experience in architectural design, which tends to be visually biased. Is this also characteristic of Ando’s work?

One of Tadao Ando’s iconic works is the “Church of the Light” in Ibaraki City, Osaka. It is an architectural space that appeals to the primal senses of humans. Upon entering a dark and square concrete box, a cross made of light emerges in the darkness. The architecture incorporates a rough floor made of cedar scaffold planks, which allows people to experience the building not only visually but also through tactile sensations, the sound of their footsteps resonating within the space as they move forward.

From Japan’s Local City to the World

  • Can architectural solutions address the challenges of local communities in Japan?

The “Yamagata Prefectural Tax Accountants’ Association Building” is constructed with modern architectural language and materials, which might be seen as a stimulating foreign element in a traditional townscape. However, it’s essential to constantly introduce new elements into the city while preserving its memory. This could be seen as an approach aligned with the “Critical Regionalism” that I learned from Tadao Ando. It was a collaboration between a new grassroots initiative and the government that led to the urban landscape revitalization project, bringing historical landscapes back to life. While it may be presumptuous to say that architectural power alone can solve the challenges of local communities, it can serve as a catalyst for change within the community.

  • You mentioned that one can work with the world even from regional cities. How has that worked out in practice?

While we can share drawings via email and hold meetings with big city firms or international clients over Zoom, the reality is that talent tends to concentrate in urban areas, which can be a disadvantage when driving projects forward.

However, my activities in a regional area led to an encounter with a project in China. I got to know a Chinese individual who was seeking traditional Japanese crafts and other elements hidden in Japan’s regions and was introduced to me. The project involved inserting a new core into an ancient village that dates back over 2,000 years to revitalize the old streets and buildings. While there are hotels preserving old buildings, my task was to design a gathering facility-like building. Here again, I aimed to pay tribute to the village’s history and environment while blending old and modern architectural elements. The landscape includes a view of the Buddhist holy site, Mount Jiuhua, becoming an integrated environment. The client liked the concept, and it was adopted. I once again recognized that the approach of “Critical Regionalism” is a powerful method with worldwide relevance. Although I haven’t been able to visit the site due to the impact of COVID-19, I’ve been managing the project remotely, and it’s close to completion. I want to continue to cherish what I learned from Tadao Ando and create architecture rooted in each local area for the benefit of the people. Whether it’s in my hometown of Yamagata, other regions in Japan, or even overseas if the opportunity arises.

The rebuilding of an entire building can serve as a catalyst for revitalizing local communities. When viewed through the lens of an architect, the branch offices of credit unions throughout Japan present new possibilities. It’s quite possible that they are brimming with untapped potential. We should keep an eye on architect Hideo Yano’s future as he strives to create and disseminate the culture of “Spatial Art” in the realm of environmental design from Yamagata to the world.

written by Hirokazu TANAKA