The Savage Machine as an Exercise
Kazuo Shinohara
l. The Savage Machine as an Exercise
fhe term savage machine, which I created for use as an
exercise, is the strangest aspect of my current opera-
tional hypothesis. To explain the background of this
term is to explain both the meanings of the series of
spaces I have recently produced and my past course
architectural ideological development.
I use the term /rach ine in an entirely different sense
from the one Le Corbusier imparted to it fifty years
ago, in the period of the birth of Modern Architecture.
He praised the flowing lines of the great ocean-going
liners and the revolutionary functions and forms oJ the
then new airplane as something for being a break
away from the restraints imposed on architecture by old-
fashioned styles. He felt that machines and la produc-
tion industielle were similes for the new architecture:
Une grande Apogue vient de commencer.
llexiste un esprit nouveau.
It existe une foule d'euvres dbsprit nouveau; elles
se recontrent surtout dans la production industrielle.
L'architecture dans les usages.
'touffe
Les "styles" sont un mensonge.
(Vers Une ArchiActure, 1923)
According to him, architecture was languishing in the
false conventions of traditional styles.
Le Corbusier led the way in breaking with those tradi-
tions. Because Europe was about to enter the period of
Nazi dominance, the outlook at the time can scarcely .
be considered Wholely bright. Nonetheless, from the
present viewpoint, it must be considered fortunate that
European architects were able to put their complete
hope in mach ines-virtually pronouns for the industrial
society-even if only for a brief time.
After the conclusion of World War ll, Modernism,
which reached a full development in the United States,
reached defeated Japan. By this time, the drive had lost
some of its first youth, but its rationalism and function-
alism were nonetheless effective in a nation reduced to
economic poverty. ln practically no time, imported
Modern Architectural thought became the leading trend.
But, in the early fifties, Japanese architects began re-
evaluating their own tradition, and a movement go
under way to make it the basis of architectural creativ-
ity. Graduating from college in 1953, I became part of
this movement and adopted a position opposite to
Modernism. I have always maintained my own posi-
tion. lt is impossible that the idea oI the machine
as evolved in my process of development should be the
same as the principle manifesto of Modernism in Japan,
to which I was utterly opposed. My own basic principle
was that the house is the meaningful space, and mV con-
cept of the machine is a working hypothesis produced in
the course of development of that space. lt contains no
46 The Japan Archltect 7903
similes related to the forms of industrial machinery.
Since it begins with a recognition-not a simple
tion-of the Japanese architectural tradition, the ma.
chine in my sense differs from Le Corbusier's rejectio'
of styles. I have always used style as a method in n]y
thought about space. Though the context of
I have set it forth in my idea of the relation betw€en
style and meaning in spatial expression is differenr
Le Corbusier's idea of the.machine, perhaps the
in the same phase-by this I do not mean that they a'!
semantically the same but that they are related ina
topological way.
ll. Antirationalism, or Eternity-Evolution of My
Meaning Space-l
The article entirled Muda na Kukan (Super{luous
Shinkenchiku, January, 1961) was my first attackor
the prevalent rational and functional residential
design. ln that article I made a remark to the effecl
I could not abandon the idea that, in houses, the
the better. At the time, not only the followers ofl]rb
taken Japanese rationalism, but even those designefi
who, while adopting the antimodernist positionand
employing traditional methods, firmly believed thaft
house should have the kind of appropriate dimemiol,
that is the prerequisite of modernity. Since i
granted the right conditions, I would be happyrc
residence as grand as Versailles, I put no trust in th
arguement of appropriate dimensions. ln that adhb,l
wrote that, if their arguement is to be called
my approach is antirational. Nor was it
in a relative sense. My desire to create housesas
that conform to the deepest levels of human
includes the antirational.
My first presentation of the house as a meaning
occurred in an article entitled Jutaku wa geijulu
(The house ilselfr is arl; Shinkenchrku, May, i962),li
sisted that the significance of its expresion give lh
house the same rar's on d'6tre in moder society tiEt
works of pure art have. As the later developmenlol
Japanese residential design showed, the idea that
design is a matter of nothing more than
planning is invalid.
As the nation recovered completely from the
ic slump of the postwar period, Japan moved
upward toward the status of a highly industrializd
society. The theoretic framework of this societys
incided with that of architects who designed
ing. And the main stream of the architectural
panded in scale with the Osaka World Exposition
as a goal. Large numbers of huge proposals for
signs, some lnvolving massive frameworks, werepi
lished, all on the basis of prospective asistance
I
T
I
I
I
I
I
I
I
I
I
I
and industry. With the idea that the
[,,'rnent . methods of modern arch itectu re-for instance, those of
structure would change, some architects seri_ Mies van der Rohe. ln other words, most people saw
f.."rer
projects for disposable houses and pub_
Ib.r advanced
rheir projects
these similarities as the contemporary elements in
in architectural journals. l, on the Japanese traditional architecture. On the contrary, I in_
rnhand, continued to insist that I want to carve out
sisted the characteristics and value of Japanese ar"hit".-
r:i,rrty in spaces ("A Theory of Residential Architec_
ture were to be found, not in similarilies, but in differ_
ri'JA,October, 1967). This does not mean that I ences between it and the great tradition of Western con_
r: io design houses as a kind of memorial stone. And
cepts oJ space. Further, I argued that these characteristics
' ta that the house is art is unrelated to the kind of
and values were the conditions making Japanese archi_
'.' dssociated with Japanese crafts. tecture modern.
:\pend great energy and time on the production
of Not long after this, I discovered a viewpoint that
flsmall, low-cost houses because I want
them to stand enabled me to grasp the unique Japanese traditional
'i er. lconsider this wish a necessary condition in
architectural heritage as a style. ln the designs for the
: "9 with the issue of time. Of course, theoretically
I House in Chigasaki (JA, June/Juty, l96i ) and A House
:,r rhat eternity is unattainable. especially in
small with a Large Roof (JA, August, 1964), I completed
,ses in which the family life style
is bound to change. style as a contemporary matter and analyzed both its
":rheles, during the design process, the wish for the structure and function. ln an article entitled ,,when one
j.i Io remain
eternally on the earth is always with me. Creates Style," (Desrgn, August, 1962), I was most in-
,rr is this entirely a psychological matter,
for the tensely interested in symbol. ln those days, an optim istic
r:lence I give to creating one, large, simple space
in architectural theory intimately related to the rapidly
jesigns ls my
technical solution to the problem growing economy of a high-level industrial society
riain ing etern ity, as is the establishment
was
of a hierarchy in vogue. Projects involving gigantic frameworks and
;een the parts of the house that
change and those fantastic urban designs were thought of as avantgarde,
'emain immutable. (ln this I can be said to employ
and some people were beginning to doubt that designing
ifthe concept of architectural metabolism.) In the individual houses was properly the work of the arcliiteci
L,rable parts-for instance the living room
or the al all. I scarcely need explain the reactions that my
'i'-l prefer to strive to carve out something eternal.
thoughts stirred up at this time. Some years later,
I ieve that residential design can be a critique of parallel with the publication of the House in White (JA,
:ation. But this cannot happen when the house
is October, 1967), I received a relatively positive reaction
ieliberately harmonized with or diametrically
when many people came to realize that architecture is
;ed to society.
not merely a matter of technique but that of meaning as
well.
lecoration and Symbol-Evolution of
my Mean- Symbolism, the main theme of my work in the
nce-2 decade of the 1960,s, at first coexisted with the element
€p affinity with the Japanese architectural
tradi- of decoration, application of which I tried in House in
as at f irst more the working of emotion
than of Chigasaki (1961 ), Umbrella House (JA, February, i963;
. But I experienced a dialogue with
tradition completed in 1962), and House with a Large Roof
h theoretical support immediately
after complet- (1 963). Toward the end of the
fifties, vigoious attempts
frrst house, the House in Kugayama (19b4).
I were seen, especially in public buildings, for pursuit of
:came aware of the need for cool analysis_more
decoration as an integration of the arts, including paint_
te y, analysis including in its process
an element ing and sculpture. But my experiments with this kind of
rtion. For some time thereafter I contiriued
a decoration stopped at the cbnclusion of this series of
""
with tradition that was ambivalently both houses. And, as my awareness of symbolism became
against it. ln my theory on void space I said, gradually clearer, I reevaluated decoration on a
3ceias ever existed in Japan,,, (collected papers
different
level. ln the article "The Three primary Spaces,, (a
1957) and, in connection with on static space,
summary in JA, August, 1964, of a longer Japanese
)panese architecture has never included the
article), I said that architectural expression is limited to
of tjme" were supported by few because of three basis elements: function, decoration, and symbol.
gative appearance, although these theories
really Though they can be compared with the three primary
l opposition to tradition, but a new evaluation.
colors, unlike the colors, the primary elements cannot
days, evaluation of Japanese architectural
exist in isolation from each other. Architecture must
r consisted.in pointing out and limitlessly
always be a blend of all three. After clarifying this, I
rg the similarities between it and the advanced
concentrated on symbol space, which best suited my
Th€ Japan Architect 7903 47
thinking about the house as meaning space. Because of
my own relation with Japanese tradition, I felt closest
to the symbol space in Japanese architecture expressed
in simple compositions. Since my work is limited to
residential design, changes in construction economics
made it increasingly difficult to deal with the subject of
decoration. This was one of the reasons why I concen-
trated on symbol spaces. I regarded the elaborately
decorated architecture of the Toshogu Shrine at Nikko
as orthodox architectural space and liberated it from
the ethical accusation of decadance leveled at it by the
German architect Bruno Taut. At the same time I
pointed out the difficulty of finding contemporary
meaning for such style in other buildings including my
own deiigns. I have not abandoned the intention of ap-
proaching the subject of decoration from a different
angle, if the opportunitY occurs.
lV. The Style of Antispace-The Evolution of My
Meaning Space-4
I then thought of my own spaces in connection with the
symbol space extracted {rom the continued dialogue
with traditional Japanese space. Therefore when I in-
tended toelevare lauftheben) Japanese tradition,
simultateoulsy I intended to elevate symbol space' lt is
quite natural that I set the function space as my new
goal, considering my hypothesis of the three primary
spaces. I had already written about decoration, but
function was still out of my field of consideration' This
does not mean that I regarded the function space as
the result of reduction from the three primary spaces'
ln House with lncomplete Spaces (JA, April, 1971)
and House for Mr. Shino (JA, April, 1971) I attempted
a new expresion with two basic f orms: the cube and
the fissure. My interest was concentrated on an eleva-
tion of the symbol space. ln the subtitle of the article
"Beyond Symbol Spaces-An lntroduction of Func-
tional Space as Primary Space," I indicated my concern
with function. Ten years earlier, in the subtitle to an
article entitled "A Theory of Residential Architecture"
(JA, April, 1964), I had written "Tradition can be the
starting point for creativity but it must not be the
point to which it returns." I had no idea, of course, that
my style of expression would alter as it did ten years
later.
I extracted the cube from the simple composition of
the House in White. ln the Two Houses at Hanayama
(JA, March, 1969) and the Suzusho House (JA, Septem-
ber, 1968) I became aware of the movement oJ people
going from a narrow to a wide space, or vice versa'
From this I extracted the fissure space' These two new
major spatial themes were extracted from preceding proc-
esses and at the same time were able to evoke the nega-
48 The Japan Architect 7903
tion of the original ideas.
From my dialogue with Japanese architecture leI'
tracted a number of grammatical facts (this material
was part of my doctoral dissertation). The firstl/t6
division as applied in characteristic Japanese
composition. The pr€requisite is a rectangular floot
plan. Within it, a small number of intersecting $rai0l
iines are drawn to complete the traditional plan.l
named this melhod division and assumed it as the
ciple of the traditional Japanese floor plan. ln laterhi
tory, when residential bu ildings grew larger and it
impossible to accommodate all rooms in this simph
plan, something had to be done. Buildings were invarid
wooden. Furthermore, to create optimum conditioru
a rainy climate, steep roofs and deeply projecting
were essential. As an outcome of these conditions,if,
large houses, rectangles were combined in a staggeted
placement, like that seen at the famous Katsura
Villa. Nonetheless, within each rectangle, the same
of simple division was used. The discovery of thispri'
mary rule of division gave me the idea that Eurowan
architecture shows a process of connection oJ spatial
units. ln some instances, simple rectangles are divided
what looks like an approximation of the JapanmedY'
sion system. But in these cases, division is not the 0Ll1'
come of the primary rule, as it is in traditional
architecture, but only a secondary effect. Behind the
Modern Architectural functional planning methodrs
European tradition of connecting-at any rate,lh€dir
sion method is not behind it. From the time at which
discovered it, the division method became an
helping to give identity to my spaces.
The f issure method was an antiform to the divisror
method, and theoretically it is the equivalence of the
connecting method. Nonetheless, it was difficultfor"i
to develop floor plans that relate to the depths of lhi
life style of European people. I used a different, non'
Japanese, abstract, floor-plan composition, but it isf:'
necessarily European because it is non-Japanese, The
series of houses beginning with House with lnconrpri
Spaces and ending with House at H igashi-Tamagawa
(JA, May, 1974) represents the development o,f this
method. First the fissure space is established within:
cube. Then it is cut ofJ from all of the rooms before
ing once again connected with them where necesar':
means of windows or doors' ln the narrow, highte
space in the Houseat H igashi-Tamagawa, thefinalr:'
in the series, the fissure space represents movemeni '
the direction of connection rather than of separai:'
I recognized this as a phenomenon of continuity
ing in forceful severance. This meant the end of the
fissure theme.
When I rejected the division method and develoc::
 $L]re method, at the same time I rejected fron-
in the Japanese architectural grammatical
,vhich
isof parallel
importance with plan division. ln
with European-especia lly Greek and Greek-
.:ted-sculpture and architecture, which are in-
l0 be seen freely from all viewpoints, Japanese
architecture are intended to be seen on a line
to the center front of the object. I assume
rrs is intimately related to the special features of
, sion method of floor planning. At least theoreti-
my use of the cube as an exterior enclosure was an
to elim inate frontality.
:iyears important an ex-
ago, the cube was as
,eform to Modern Architecture as the term
ire was in the philosophical sense. But for the
of this movement the cube was the outcome
and systematizing industrial products, in
.ltioning of which these men put their trust.
men considered these elementary geometric
to be a fresh opposition to the old-fashioned
icstyles. l, on the other hand, use this by
new cube in the attempt to form a new
. n my own context, this style is still unknown,
im attracted by elementary geometric figures.
"ie it appears in a different context, the cube
ise has a meaning different from the one in-
:in cubes in earlier architectural thought. lnstead
ro an assembly and systematization, as it was
:jern Architecture, my cube first comes into
:$theoutline of the enclosure exterior shell.
'asthe placement of obiects required by daily-
.rnditions gradually become clearly set, openings
rrt, ventillation, and views are added to the cube.
': irvision floor planning method, the basic, simple
:rge is a premise; in the case of the cube, the
'rgure is apparent from the outset. The develop-
:tf both the cube and the fissure as main themes
,roan end with the House at H igashi-Tamagawa.
- nated both in the House at Seijo (JA, May, 1974l. ,
... ng point in my second style.
|laked Reality Space-Acturality-l
'the begining, I was very much attached to the
.rs Tanikawa site, covered with large trees.
oping
:iawooden structure was prerequisite, my major
:em was to design something that would be
rent from my f irst style, which employed large,
:rg roofs and long eaves. I decided to use an ex-
''$ell. When I worked out solutions to problems
ia to the setting and to the need to differentiate
ii,and then combined the results of these solutions,
red out suddenly that the house would be a
,:tine.
I had no intention of producing a subtly balanced
(Japanese) form of the kind I employed in my first
style. lnstead, I wanted to create an unpretentious, in-
conspicuous form of enclosure with two elementary
angles (ninety degrees in the verticals and forty-five
degrees). "Posts, walls, and braces express nothing but
their own functions. I wondered if I could not realize
just this kind of obvious thing. I would like to eliminate,
completely, if possible, various meanings derived from a
spatial frame comprised of these elements." ln this case
I sensed an intensification of the trends represented by
the code words I used in connection with my second
style (inorganic, neutral, cool) and used the phrase
naked reality to indicate the point of convergence (the
zero point of the meaning) in this series.
lnterest in the slope of the land led to the extraordi-
nary step of introducing the incline within the interior
spaces in the form of a level diJferentiation of 1.2m
through a horizontal distance of 9m. OJ course, minimum
spaces for everyday life are provided.
I treated the sloping, earthen floor in the zone called
the summer space as an element of naked reality. The
combination of the floor with the elementary geometric
forms of the wooden f ramework has led many people to
make a variety of different interpretations. Though it is
impossible to overlook the effects of a sloping floor on
the physical human body, the combination of two ele-
ments of naked reality from different systems resulted
in a congregation of unexpected meanings. I did not ex-
pect to produce skillful combinations or uniformity.
While designing this house, I came into contact with a
book cailed The Literature Machrne, by the French
philosopher Giles Deleuze. By catalyzing some of the
terms in that book, I assembled my own idea of the
space machine. lt makes no difference what meaning a
thing produces; the way in which it produces meaning is
the literary function of a written work. ln other words,
Deleuze's unusual approach is to explain the written
work as a machine for producing meaning. Though I
replaced literature with space and came up with the
space machine, I was using this only as an analogy and
did not intend to suggest an accurate one-to-one con-
forming relation between two different fields.
ln the light of nly own definitions, I established this
wooden, barn-style building as a machine, but not in the
strictly simile style in which the word was employed
fifty years ago to stand for actual mechanical forms.
But, just as function was an idea of major importance
to the machine architecture of the past, so it plays a
maximum role in my space machine. Still between the
machine and the function as I conceive it and the
same machine and function as imagined by the archi-
tects of fifty years ago exists the difference that sets
The Japan Architect 7903 49
simile apart from metaphor. ln an article describing the
turning point leading to my second style, I wrote a
forecast about function or the function space as my new
goals. I was not at the time forecasting the development
of a machine within meaning space. Though to tell the
truth, the use of machine as a simile-as was done fifty
years ago-is my ultimate goal, but I have not yet
been able to find a way to lead me to it.
Vl. Savage Space-The Actuality-2
The House in Uehara (JA, February, 1977), located on a
narrow street in an area filled with small shops, made
severe demands. lt had to have parking space and a
fairly large number of rooms but had to be built on a
low budget. Cantilevering the second level seemed the
best way to provide parking on the ground level, and a
structure employing posts and braces set at forty-five
degrees seemed the most suitable structural form'
Though, with buildings of more than one story, it is
customary to pour the concrete a story at a time, I
decided to try to cut costs by pouring the entire ex-
terior shell at once. The floor of the second story is
wooden. This system meant that the massive forty-five-
degree braces are exposed in one of the second-story
rooms much as heavy wooden structures were exposed
ln the upper rooms of old-fashioned Japanese farm-
houses. When I looked through the triangular window of
a balsa-wood model (scale 1/50) of the house, I com-
mented that the interior looked like'a jungle. When the
designing of the building was finished, it became neces-
sary to add a third story. I decided to make this some-
thing entirely different from the main concrete struc-
tural system. For this reason and out of considerations
of economy, I selected a lightweight steel-frame vault.
ln this case, therefore, disorderliness is expanded to the
exterior.
The basic concepts behind the design of this house
are the naked realities and the machine resulting from
them. From the impression this house gave me in the
process of resuscitation of the idea of machine which
had first appeared in the house with the sloping floor
and was submerged in the following houses in Karui-
zawa and ltoshima, suggested another concept to me.
When the design was finished, I made a short trip
through the capitals of several nations in West Africa'
The experiences I had during this journy may have in-
spired me to use the word iungte. One day savagery
replaced disorderliness. Some words from Levi-Strauss's
La Pens6e nvage motivated the replacement. lt is, Jor
instance, the following passage: "The cause of savage
thinking is a volition to symbolization experienced as
the most vehement passion man has ever known, and, at
the same time, utmost attentiveness directed to the
50 The Japan Architect 7903
phenomenon of concreteness, and lastly the tacit m
viction that these two attitudes are really oneandlh
same th ing. "
' The House in Uehara was a machine as a
tion of a number of naked realities. As a result ithal
violent structure, but it is not the savage spacelhatl
was intending to create, Such a savage space can h
defined as having a unified structure that includs
ambivalent intentions for reality and for symbol.
is nothing symbolic in this house.
ln the house in Ashitaka, the major element of fliy
thought was the combination of walls made up ofa
monotonous repetition of 0 and 1 (wall slabs and
ingsl with a concrete-slab, pyramidal roof with a pild
of 45 degrees. The two forms are of entirely diffenn
systems. There are no structural walls on the inte fl;
the required rooms are partitioned by a twGstory
wooden substructure. At one end, the substructurc
is faced with a wooden wall echoing the section ol
the structure and rising to a pinnacle height of 4m.
From the outset of design, I expected that thisvv?ll
would have symbolic meaning. Undeniably the rep€ll
tion of 1 and 0 in the walls can be viewed as strong
symmetry. Furthermore, the pyramidal roof can be
lated to the massive roofs of traditional Japanes
houses. ln short, I foresaw an expression of
in the whole house.
The newest of my houses, House on a Curved Rod
(1978) contains elements conforming to the idea oi
savagery and, coincidentally, stands only 400m away
from the House in Uehara, which was the motivalff
for the use of savagery. Because of the irregular site
strict building regulations in the neighborhood, ldr$
outline of the enclosure for one basement and thn
above-ground levels. I conceived a structural sys'
tem of a lattice with posts and beams to support
closure. Connections between this structure and i
ceilings as seen in a tower resulted in powerful
appearance, which many people consider symbolic
Though there is no direct bond between violencear:
savagery, it can be said that I was aware of savagety
the creation o{ the spaces of this house.
At the basis of my present concern are the nake0
tealities of meaning. A machine results Jrom strudu
alizing the gap or the differences among these
rations as they are. The savage space results fror
unif yi ng the conglomerations-preserving the ambiri
lence between symbolism and concreteness. While
followed the context, the savage-machine exercise
mentioned at the opening of this article emerged
a strange word apparently picked up at random f(
my collection of words and combined with othen
Whether this word contains the possibility o{ devei:
 int0 actual expression remains to be seen. can be built in duplication, like duplicated prints.
There is no contradiction betv,/een my hous$
L R6ponse to Technology and the City as art and
as irrational spaces and modern technology as
rugh ic experiments are conducted under
scientif means for
production. lt is only that I do not transfose
r0w,limited conditions, if they succeed, they can technolog-
ical theories into spatial theories.
rlate the development of various issues in relation
My fondness for spatial purity arises largely because
r;ructural principles of the physical world.
Sim ilarly, of- my own instinctive preferences and because of the
fte believe that houses can become concentrated ex-
importance of this spatial characteristic of traditional
lons ol architectural issues, I have devoted
myself Japanese compositions. Nonetheless, my preference
:.€ limited field of residential is
design. But, though it not unrelated to the context I have just been describing,
dseem to be the responsibility of the residential
since, given identical volumes, the simple composition
rect to deal with it, I have generally avoided
the more economical and easier to produce than com-
ii
€clof the city. lt is true that, aware of the immense
plicated ones. Moreover, it is more f lexible
'r'ence separating Japanese and Western cities in
in terms
of prefabrication, duplication, and accommodation of
ff0hysical and spiritual senses, I have written articles
various life styles. I have assumed all of these premises
rre "lvathematica| City" fi972l and the,,lrrational
in producing my simple compositions, though I do
i,"11977), but these were strictly conceptual treat- not
say that my houses can be translated directly into mass-
r:, which I kept apart from my major residential- produced articles. I hope that in the future
!:rthemes. But, in terms of the space in which iwill be
given further opportunities to design houses
nr beings live, the city emerges as the spatial pole that are
conceptual in nature, but I know that I will have to con_
i$i le to the house. My own residential theories are
form more accurately to technology and the city.
r{rally based on observations
from the opposite direc_
r tor this reason, methods and themes
of the city do Vll l. The Word Function
::sume the same level in my thinking
as do themes ln parallel with the House in White, which became the
:'erhods with the house.
of dealing
basis of the concept of the symbol space and eternity,
:len put the relation between modern engineering
I was designing the House with an Underground Bed_
rology-a characteristic of contemporary
society_ room (JA, October, 1967), which contained a part of a
:sdential design in a central place in
my argu_ project called "Black Space,. (1964). This black
:, but I have already dealt
with it as a fundamental space
inevitably evokes death. At about the same time,
r. proposed irrational spaces in contrast
to the I was saying that we are space unable to avoid con-
r,,se rationalism of the
decade of the fifties as frontation with psychopathological spaces. The two
'ng spaces and not because I took conditions
of houses designed at the same time revealed my ambiva_
eering economy lightly. With the
single exception lent motives, as did the switch from my first to my
:smallest of my houses-House with
an Earti.ren second style. An approach to one of these poles evokes
i1963)-l have always worked in cooperation
with an urge to move in the direction of its opposite. At
ira/ designers in the hope of developing
newer and times I have allo\ /ed myself to move pendulumlike
er enclosures. This has been
one of the primary according to these impulses.
rles of my design.
he exhibition I held in 1964 on the theme ,,The .. At present my major thematic interest lies along the
line connecting the Tanikawa Residence, the Hou; in
'rself ls Art," I expressed the hope that large
Uehara, and the House on a Curved Road. But the four
',a, lrrmswould put their sophisticated technical
houses built in the interims between the first and the
0 use to develop h igher-performance,
lowercost second and the third of this series (House in Karuizawa,
ia/ized housing. At the time there
was practically House in ltoshima, House No. 3 in Hanayama, and
I l0.compare with the contemporary Japanese pre-
House in Ashitaka) are difficult to explain in ihe
led-housing industry.
e also proposed what I called house
context of these main themes. I sense in them an im-
duplication, pulse to direct expression. perhaps the themes
ction method between the creation of the they re_
in_ present, which do not yet fit into a context,
house and jndustrial prefabrication.
Though
will interest
me most in the future. At present, however, it is hard
Sners of individual houses labor largely at diaw- to
'ds, there is no
foresee what the context suitable to them will be. No
reason why our work cannot
matter what it is, however, my interest in the word and
n with that of modern factory production.
I feel the concept of function-as something more realistic
:d that, as house-production technology
ad_ and less in relation to semantic theories_will probably
; system will come into being
whereby houses remain.
The Jap6n Architect 7903 51
H
 KAZUO SHINOHARA Space and Structure); Sr,rkerui r

1925 born in Shizuoka prefecture. Japan
1953 graduated {rom the Architectural
Department, Tokyo lnstitute of
Technology
1953-6'l became an instructor in the
Architectural Department, Tokyo ln-
stitute of TechnologY
(6701)
A Theory of Residential Archrleii.
JA(6710)
1968 Une Th6orie de l'architectur€ lr
denlielle: L'a rch i tectu rc
D'aujourd'hui 136 (6802/03)
1969 La Arquitectura Residencial; Ci'

1962-69 became an associate professor at sAM2(6901-06)

the Tokyo lnstltute of Technology
'1967 received doctorate; thesis: "Study of
Space Composition of Japanese
Architectu re"
1970 became a professor in the Architec-
tural Department, Tokyo lnstitute of
'1971 Beyond Symbol Spaces; JA(7lcr
1974 Abstraction Jrom the Ea$;JAlll.'
1975 Higoti-tod,i to kukan'kikaillrrat : '
City and Space Machine);Sh,inls
chikulTSO3)
1976 When Naked Space is Traverseo

Technology JA(7602)
1972 awarded The Architectural Institute 1977 Mds all6 de los Espacios Slmb"' ,

of Japan Prize | 1 97 ; Su mm ar ioslT 1 1 0)

1|

La Construccidn de Natura eza

Artificial( 1971 ); Summa os\]]l

EXHIBITION M6quina Y Salvajismo, 1976. In ,

'1964 Two Houses Built in a Department du mbre; Su mma rios l7 7'l0l
Store
sponsors: The Asahi Newspaper, and WORKS ON KAZUO SHINOHA
the Odakyu Department Store RA'S WORKS AND THEORIES
1967 Kazuo Shinohara's Archilectur!
Theory by Hiroki Onobayashl
PUBLISHED COLLECTIONS JA(6710)
OF WORKS 1971 Kazuo Shinohara und die Japar I

1964 Jutaku Kenchiku (Residential Archi- Wohnarchitektur lrmtraud

tecture); PUblished bY KinokuniYa Schaarschmidt-Richter die KL",
(7103)
Shoten
1 97 O Juaku-ron Residential Theory) ;
( Significant Spaces bY KoiiTai
published by the Kajima lnstitute JA(7104)
Publishing Co., Ltd. 1976 Mit einem Cefiihl der Freh''
.
1975 Zoku Jutaku'ron (Besidential "Abstrakte Raum" des JaPaf !
(
Theory, vol. ll); published bv Kajima Wohnbauarchitekten KazJO
.
lnstitute Publishlng co., Ltd. ra) lrmtraud Schaarschmldl:
1971 Kazuo Shinohara 16 Houses & Archi- Feuilleton 1975-8'9 I 10 Bauwelt
tectural TheorY; PUbllshed bY the t76021
Bijutsu ShuPPan-sha Co., Ltd. 1977 Kazuo Shinohara bY Koji Tai
gummsTios\771O)
1976 Kazuo Shinohara 1'l Houses & Archi-
tectural Theory; Published bY the Kazuo Shinohara Y la Tradrc i'
Bijutsu ShuPPan-sha Co', Ltd. Japonesa bY Jorge Ferreras,
Summarios\711o]'

SPECIAL COLLETIONS
1977 Kazuo Shinohara una Filosofia de la
Vivienda(Summarios; 771 O)

1979 Kazuo Shinohara(Space Design;

7901) PHOTO CREDITS
Masao Arai
PUBLISHED ARTICLES p.9 - p.45; p.76-p.77; P.Bo'P.83 r:
1960 Jubku-ron \Besidential Theory) ; S/ri' cover
n kench iku 16004l Chuji Hirayama
'1962 Jutaku wa geiiutsu de aru\f he House p.52 - p.53
Itself ls Art); S/trrkerch iku16205) osamu Murai
Yoshiki ga aukurareru toki\when p.4 - p.57; p.60 - p.63; p.64 ' P.ia
Styles are Nlade); D esign 16208l p.67 - p.71
1963 Sosroku kukan no tame no oboe- Taisuke Ogawa
gak'(Memo for the Decorative p.72-p.73
Spacel ; Sh inkench i k u \63'1 1 ) Kiyoshi Otsuji
1964 Jodo-do at the Jodo-ji; JA(6406) p.58 - p.59
The Ko-no-ma ot the N ishi-hongan-li; Kuniharu Sakumoto
JA(6406) p.57(below); P.67(below)
The Japanese Conception ot Space; Koii Taki
JA(6406) p.l7(top), p.66; p.77(top left):P l:
The Three Primary SPaces;JA(6408) Hiroaki Tanaka
1967 Kukan no Shiso to Kozolldea ol p.74 - p.75

The Japan Architect 7903

32 Houses+2 Proiects
ln his career to daE, Kazuo
Shinohara has designed and
built thirty-two hou#s and has
made public two proieca' ln
the pages of this issue. we have
atEmpted to make both his
wo*s and his theories about it
its easy to undeBtand as possi'
ble by presnting his five most
recent houffs and a selection
of thirteen-beginning with his
debut wotk-that best illustrcte
his course of development. The
hou*s here are presented in
chronological order.
3 Articles from JA
From the several articles by
Kazuo Shinohan that have aP'
peared in the pages of this
magazine over the years, we
have elechd three that best
explain his architectunl philos-
ophy. Fot this special edition,
the articles have been slightly
amplified, abridged, ot other-
wis€ edifud.
g4 The Jap6n Architect 7903
la)Mr.ardM6
HOUSE lN KUGAYAMA
sloinal i waro, Ior/o,l"lseprFTbe' 1954 (dl slel
rh')
rrale ?sroriesjre)68.6f2.r')91 2n2 lol MnrLo lovo_
shiru j (h) Snt&er.r/<u(541 1 | ; Lbrchitetutu D'aujootd'hui
h.'tu tut D6 isn l5SO4l.
151 o7) : A rch
HOUSE lN KUGAYAMA, NO, 2 {a) L,lr. and Mrs. Hachiro
Faradar (b) Susinamjwad, Tokvoj (c) March,1958; {d) rein-
lo.ced conffeie, 2stori6r (e) 38.3m2; (f ) ?6.6m2; (s) Yoshi-
haru Taoj (h) J4(5911).
The Three Primary Spaces(JA64oB)
There are three kinds of space that must be
regarded as primary: functional, decorative,
and symbolic. The basic architectural
formal values do not extend beyond the
limits oJ the three kinds of concrete space.
Within those three spaces architecture with
its numberless forms and expressions is a
composite.
Msaning of the Primary Space
Like the primary colors, primary spaces are
incapable of further subdivision. lf one of
them is removed, the other two cannot
compensate for its loss or coalesce. They are
completely independent and lack zones in
which they overlap one with the other. All
architecture, from the ancient past to the
present is nothing but a combination oJ
these three primary spaces. They are all
inherently equal, and there is no question
of precedence among them though differ-
ent historical ages may give precedence or
have a preference for one over the other
two. There are no restrictions on such
choice. (Sometimes fantasy space or ab-
stract space is considered to mean primary
spaces, but in fact the two concept cat+
gories are different. Fantasy space is a mix'
ture of primary spaces, and abstract space
is a characteristic used to express primary
spaces.)
A-priori, space exists in architecture.
This is a generalization oi the human
thouqht;nd actions of symbolization and
ornamentalization. The theory of colorless,
personalityless space and its theory of
manipulation run directly counter to my
own theory. I have not intention of recog'
nizing such a thing as a colorless, personali-
tyless basic character.
Architectural History on a Cylindel
By bringing together the opposite long
sides of i long, slender piece of paper. it is
Hachlro Harada; HOUSE FOB A YOUNG PoET la)Mr'Shs$tr'
{ooet)and famllv;lb) Susinamiwdrd.To}vo .
rqsa ldl wood lstorv.(€l62m2,ll)62m2 Lqlrl
(h)JA{5906).
UPSTAIBS LlvlNG SPACE (a) Mr. and Mr !'
{b) Komae, Tokyor (cl Februarv, 1960;blwoe .
(e) 36.7m2j {f) 61.0m2;(s) KazuhideT5uge.1, .r.{
A rcu it'tot.te M exico 16605l.
possible to form a cylinder on the ia,-i:'
which to draw three curving, non'
intersecting lines parallel to the axis.
The narrow areas among the lines rei',.
functional, decorative, and symbolir 'i,
and the cylinder itself becomesaco':,
expresion of architectural space.
Functionalist architecture fits n'
area for functional space, and mer:,
buildings in the area for symbolic $;:,'
long. thin, closed curve extendin0 0!:
or three areas can be used to expres!,
architectural style that cannot be fillil
one category alone. A small circle dt:r.
any one place associated with the l"'
boundary lines becomes a plot revea ':
three architectural characteristics
lf we consider the axis oJ a cv lnr:
represent time. it is possible to p ol;
tectural history from the distant pa!:
the present on the cylinder suriace -
galaxies, like the l\.4ilky Way, archlte::
space curves gently or rapidly over:',
surJace. The major architectural ctr'.'
of an age are represented by those t,,
at which galaxies come together in r:'
density. Though in the 1950's, th€",.,
nese galaxy did not extent beyond:"-
realm of functlonalism, there were: i
flving stars of symbolistic spac€. '-,
were any tendencies toward decora:
space, they were invisible to the nali:
Functional Spee
Last autumn, when I visited the Zui,'
at Matsushima for the first tirne, I l.:
how the cliffs stretch out like a 1! r"
screen beyond the sparse pine gro't :
right of the approach to the 1err,
Numerous caves have been carvPa :
of the rock-and-sand face of the r''r.'
Some of them are as much as sever:'
meters deep and three or four mei{!-
Student priests of this thirteenth .
temple dug these cliffs to live and !:,:
It is said that thereare remainsolf:!'
 I

ll NCH GASAKI {a) Mr. and Mrs. Hajime Bekki; HOUSE WITH A LAFGE BOOF (a) Mr, Yozo Kato (toner PROJECT DUPLICAT€ IIOUSE, NO. 1

\rrqawa Prei4ture; (c) D€ember, 1960; Dier member) and ,amily: {b) Oia Ward, Tokyo; {c) Novem,
r ererl srory;le) 235.6m2; (i) 235.6m21 ber, 1961; (d) woodr 1 storvt lel 1413n21lt) 14t.3n2: lsl
h)Jt16106/07) Kazuhide Tsuoe: {h)J,4 (640A1:Arcuitet6 de Mexico166osl.

IttIAHoUSE {a)Mr. and Mrs. Shozo Kawai: HOUSE lvlTH AN EABTHEN FLOOB h) M.. Kivoshj PROJECT DUP!ICATE HOUSE, NO.2
,j' ldrwood: 1 srorv: (e) 55n2i (i) 55m2. Ohtsuji (phorographer) and iamilvr (b) Kila-sak!, Nagano
';4e . \^) JAl63O2l: Ae0h&t6 de Metico Prefeciure; (c) Auqlst. 1963; (d) wood; I stoiyj (e) 53.8m21
{i) 53.8m2; (h) JAl6408l;A.auit@tos de Mexico\66051.

:::rs ntended to keep night-prowling an image is better than creating decorative ing times. Under the pressure of the Gothic
'i i cLrt of the caves. Within the caves spaces, Such images are connected with the and Baroque, people led lives in another
ir holes in which no more than two eternal activity of human psychology. way and introduced, not an abstract
".i,r people could have slept. ln such Decoration contains within itself a serious function, but spaces with new functions.
r:ce conditions, dwelling in the cliffs contradiction, because it is at once the The sense of life and the mechanical
-. l0rbiding northeast, people made work of over-flowing human emotions and functional spaces of people living in
-r
'.r themselves, completely divorced a plastic obiect within a fixed world. ln present-day, prosperous society were
-:re problems of their period and comparison with decorative spaces in violently inspired. The wonder of our age is
- " norical Jact. I think this is the basic which the substance of the decoration is that things and their protypes have been
- :r lLrnctional space. There is nothing undetectable because consciousness is produced one by one. Later-phase func-
::r rhe ahtract spaces. Functional concentrated in the decorating process, tionalism produced an unhappy period
,i s a thing connected with the most symbolism is the essence of the miraculous because lt divorced function from things
^ resoatial ideas. Though it is the personality of the Japanese people. and concentrated solely on explanations
:i:i]f the thre€ primary spaces to Because in it consciousness is rarefied in and processes.
"::1, even functional space cannot be the process, directly connected wlth What wlll be the next act in this age of
:'r:ed from the others easily. The "things. " architectural diversity? What we need most
"i i caves of the priests at the zuigan-ji For the sake of new functional and in this age is not methods, processes, and
-::aevoid of symbolic elements since decorative spaces. we must discover a new attention to minute detail, who will
rre dwellings of men engaged architectural protoplasm. Architects must discover Jresh spaces and new materials to
".,elgious life. Perhaps the mud create fresh things instead of trying further establlsh rapport with the people. The
! 1qs of the Middle East come closest to subdivide theories and processes. ln the materialistic way of thinking tells us
::'qnothing more than simple func- case of symbolic spaces, however, we must that architecture ls made from things.
': joace. They completely satisfy only direct our attention to the revers€ side oJ Certainly from now on such things can be
'"riamental functional requirements the logic of what is required in the process put to new uses.
'-an life. of creating symbolic spaces. We must
adive Spdg alter our viewpoint and in this way come
-:?cure is elevating itself Jrom theo- closer to discovering what is needed lor the
i rnere exlernal ornamentation to creation ot pure symbolic space. Japan is
:,ra theories. The fin-desiecle art of not strong in decoration, but symbolic
'-rn of this century was not a Japanese elements permeate the lives of the Japanese
r-:i but something based on the people. Though other peoples may inter-
of the seventeenth pret them in ways different from ours, the
' :?an Baroque Eternity in Space (JA67lo)
'."r'. Decoration is not merely the three primary spaces are nonetheless
i:1 of hanging up, taking down, always present.
: rmbining objects. lt is plastic objects Today's Point of Departure and the Theory I would like for the houses I make to stand
:r from masses of stone or metal in of the Thrss Primary Spacet on this earth forever. This is not because I
1ro real human needs, and it is the Architecture is moditied in accordance feel that my houses have sufficient value to
"!these encounter, ltwould be
objects with the discovery of new materials and warrant eternity, Often small houses are
':e \/ difficult to accept a naked totally thing. The development of functional not up many years before they become
r-amented architecture. On the other architecture in the first half of this century functionally impaired and lose their
r r is impossible in Japan to imagine did not depend on the uncovering of an usefulness; nonetheless, I would be unable
,'rLlecture that develops from deco- abstract function but was probably the to continue work unless, within the act of
. crinciples into structural principles. revelation of a new space in architec- creating houses, I maintained a wish Jor
ibolic Space ture as a result of exposure to the shock of eternity. I do not believe in planning that
I apanese people believe that creating the machines produced in rapidly advanc- attaches the house to a factual image and
The Japan Architect 7903 85
L-

NoRTH HoUSE lN HANAYAII|A (a) Dr. and M6, Hiroshi
(c) Augusl 1965
K,mura. (bl Kobe, Hyoqo oreta lJre:
tdt wood, I story. le) a7 6m2. {t) 87 6m2 lqr KazuridP
Tsuge j (h) JA(6903)r teuwrlt(7602).
aSAKUBA RCSIOENCE (a) MB. Setsu Aek!6 lpainter
and *t dsigner)and familyr (b)ShibuvaWard, Tokvo;
(c)
May, 1966j (d) reinforced concrete, parllv wood;2 srories,
partly 3 slorie.; (e) lOOm2; (f) 225-4m2i (s) Toshihiko
puts function first. The incentive to build
is not altered by the possible speed with
which the buiiding may be destroyed. A
beautiful space should have the right
to exist for a little while at least' After all,
is it not natural for an architect to want his
houses to be loved by the family living in
them and to stand long enough to touch
the hearts of many people? Still the society
in which we live demands the production of
vast quantities of things and, with indiffer-
ence to hopes for eternity, consumes
some things as it destroys others. lt is
nearly impossible for a small preserve like a
house to remain alive under such circum-
stances. We must calculate to produce a
house form that can skillfully balance with
social pressure. Some advocate industrial-
production houses that can be discarded
when one tires of using them. That is all
well and good, but no matter how manY
architects and designers flock to that idea,
I intend to devote myself to attempting to
carve out eternity in spaces, Perhaps out of
some of the houses I build, a few will
remain for many years and even someday
receive designation as cultural properties!
Many people have great interest in social
production strength and give considerable
thought to methods of residential metabo-
lism, Devoting my interest to human hope,
I wish to produce things that will last
forever. Which is the right attitL{de is
of no importance, because the attitude
depends on the architect's personality. The
important thing is that, at the present, it is
good lor both ideas to exist simultane-
ously.
Philosophical Spms
Five vear ago, in this magazine, I wrote
that houses are art; and now they have
indeed become art. I do not mean that
every house built in the lasl tew years is a
work of art. But, unless we give our house
designs a high degree of artistic quality,
86 The Japan Architect 7903
HoUSE lN rvHlTG (a) Mr. Tadashi Matsui {publisher} and
famiiy; (b) susinami ward, Tokyo; (c) Mav, 1966; (d) woodl
2 srori6: (e) t 07.5m2: (r) I41.3m2r {o) Kaz!hide Tsuqer (h)
JA 161 1 o) : L brchi tactu re D'tu i ou.d'h! i 16902103l ) C AM'
s rt2(Mexicor 6901 -06)i aau@/t(7602),
HOUSE WITH AN UNDEBGROUND aEOROOM (a) Mr'
Te$uro ohnuma {stasednetod and iamilvj {b) Nerimaward,
Tokvoj (c) June, 1966r ld) wood, pari v reinforced concrele:
t hdement and 1 slorv:(e) 51.5m2i (f) 77.3m2i {s) Kazu'
hidels!sej(h) J4(6710); CAtt-& rtz{Mexico;6901 06)
their social reason fof existing begins to
pale. I feel that the age oJ this kind of strict
is already uPon us.
requirement
ln the frenzy of the modern movement
toward vast buildings completely unrelated
to art, what happened to small residential
buildings?
When an architect creates a house that
touches the human heart deeply, he has
created a work of art and in that has his
recompense, Because, like a number of
long recongnized arts, domestic architectu re
is bound up with deep human emotions, its
existence is assured. Perhaps the link be-
tween the human heart and residential
buildings is more complete than any in the
other arts.
A Space ol ldeas
When I say that I want to create spaces
with ideas, I am presupposing the question,
"Whose ideas? The residents? The archi-
tect's?" I expect I wili be open on the basis
of the idea that all a house need be is
pleasant to live in. Any ideas beyond that
indicate that the architect is overstepping
hls bounds. I have never thought giving a
house a pleasant aspect was a difficult
task.lt is certainly not so with today's high
level of design work. To build a house that
satisfies the needs of daily life does not
require an architect.
It is only to be expected in today's mass
society that architects should regard man-
kind in the broad outline as a group entity.
The houses on which we work can onlY
touch that society by means of a single
human family. ln today's vast numbers, the
plight of a single family, a single house,
would seem hopeless as far as contact with
society goes, but is it really? ldo not think
so, because I am sure that the main archi-
tectural stream includes major social and
human issues. The truest way for man to
approach human society is to follow the
process of creating the general by means of
I
il
sOUrH HOUSE lN HANAYAMA h)Or.andM^
Kumon; {bl Kobe, Hyogo P.eielure,(cl Mav,l96! :
woodj 1 sioryr(e) 107.4m2 (f)lo7.4m2rh)(arl
Tsuse; (hl JA{6903} | ,rz@/t{7602)
HOUSE FOA YAMASHIRO (a) M,. Fvuichi
{graphic dsiq.er) and lamilvj (b} Yokoha a,
fe.t!re; (c) D@ember, 1967; (c) wood;l norv I l:
(r) 128.6m2;{s) Yoichi shinii; (h)JA(6809)
{Mexico:6901 06).
the individual. Of course, methods
sentialj but it is definitely possibl€ 10
project the big questions of man
on the small individual. lfeel thattht
temporary soclal function of res derl
design lies in this point. I also ie t:
ideas are the thing we must projecl0r
small spaces of the house.
lmmaa3urables
It would be a waste of time to
measure the value of a house on the
of technical standards, You can of c0"
measure the values of the industrla \:
duced parts used in a house, but lhe
measurement cannot extend to
in a house; and it is the value of
that determines the value of th€
itself. For this reason, the holse w
pass over into the hands of the techr,:i
I have absolutely no obiections 1l '
creased emphasis in the house 0n rn:.
trialized rationalization. ln this age
eotyped houses that repeat the sani.
made forms over and over, I prefer
toward industrial production to a c0.:
uous tendency to meaningless dela !
A number of years ago, I remer:,
saying, "ll ten mature architects r!',
design a house together, all of thes€e" .
endless variety in houses all overJaPt
would be found somewhere in therii.
plan. This is because what seems tor,
finite varietv is actually onlV varialr',
meaningless details." The real m€ai'
my pronouncement is that stereolyl'
things is an important step on the'i,l
industrialization. i was advocatlnqu,
make more meaninglul use of th€-
now being poured into meaning€ss '
viduality." I am infavor of houses-:r'
according to technical fr€?sureme' '
at the same time, I feel we can afi ri
value of a house only be establ shrri
spaces that are impossible with tei
methods alone. because an archile,
 rioUSE ia)M' and MB. Shozsburo Suzulii
\ragawa Prer*tur€ I (c) March.1968, (d) rcin.
."r4.1 sroryr Gl 248-5m2r (fJ 248.5m2 (s)
\ "16 lhl JAl5AcEl : CAM-S'4M2 (\4e:ico i €901
HOUSE la) Mr. and M6. Ioshio
I Tokyo; (c) Febrlarv, 1970;
Suqlnami Vvard,
'dn{rcter 2sloies; (e) 105.8n2 ) ltl 2o2.5n2:
.,:(muG:ihl./417104)
!ataooint to which technical meth-
n0 access.
'!1ol strange to ask the question
e:r1he architect's work will become
narrow if technical society
'',e5 to p rogress. ln all fields oJ human
., thethings human ability alone can
recoming few€r and fewer. To think
iroo arithmetically, however, is to
very important point.
:1of a indicates, ordinary spaces are the most
'. dea that, as they increase in num-
r.nnically planned elements must be
i:,:igd irom the total amount of ele-
':: house. As technical calcula-
n the
' greater preeminence, recipro-
ii$urne
: !:ionsamong individual elements and
.,:re house dwindle. and human
r irc€ase to be able to inagurate new
i ,. hav€ arbitrarily called the image
' :r demanding strong human abilities
'," raw. lfeel that products of human
i :i]{y are wonderful, but I also feel
, ,ey have meaning only within their
i This is why the architect
"rlations.
. iiectthe products of technology but
' :ravalue that transcends the total of
'.j':. Technology is wonderful, but
,' more wonderful.
ving is
rlndividual Value of Spatial Expression
irchitects think that if we are to
'Iour spatial forms, we must come
with the effects of the spatial
1lact
ire resulting from modern science.
': e,Tine and Architecture, Siegfried
: 1 emphasizes conform ing to the
-r scientific consciousness of space.
:,.ogy, is now a new spatial theory
-ling careful preparation
before it
i.eas an actual building expression
' ,' often, in beginners'books, topol-
ixp ained as having the continuity
.abl ityoJa rubber band. Archjtects,
-,vork involves visual-f orms creation,
r sort of study of indefinite forms
.: ogy. Topological geometry. which
HOUSE FOR MB. SHINo {al Mr. Hiroshi Shino (ediior,
and per)and familyr{b) Ne.ima Ward, Tokyo;(c) May.197O;
(d ) wood | 2 nories; (e) 83.7 n2 lll 126.6n2:
| \h) JA\71041 .
IHE CUBIC FOREST (a) the late Masayoshi Nakamura
lpaiirer, Japsnee nyle)j (b) Kawasaki. Kan6sawa prefeture;
{c) l/arch, l97l; (d) rcinfo.ced concrete; 2 sto esj (e)
141 .2n2 : lll 213.3n2; tet loshihik o K imurs j (h ) J, {7206t
.
attempts only to extract continuitv from
the multifarious attributes of spatial forms,
is not easily converted into an architectural
spatial eXpression.
The spaces that architecture handles-
easy-to-understand Euclidean space-are
one of the basic causes of the confusion.
As the simple diagram topological spaces-
intermediate spaces-Euclidean spaces
readily comprehended of those included in
topologlcal spaces. An indefinite corridor
form can be explained in terms of topol-
ogical spaces because it is made up of
Euclidean spaces. lt is possible to use a
topological explanation 01 the structural
rules in the distinctive featu res of modern
Japanese architecture and gardens for the
same reason. On the other hand, intro-
ducing modern mathematics as an histor-
ical explanation is completely at variance
with Giedion's method. The unique feature
of Giedion's theory is its foundation on
contemporaneous hu man consciousness.
For instance, even modern gardens designed
for strolling reflect the subtle, honest
Japanese view of nature, I must say that I only possible through a concrete and
consider the Japanese sense of spatial
makeup to be noncontinuous. Particularly
in the strict feudalism of the pre-Meijj
age, the idea that human feeling could even
unconsiously come to a gathering in mere
continuity was unthinkable. Still, unless we
assume a wide gap between consciousness
and expression, whatever brave theory we
use, it will end up no more than a complica-
tion of already outmoded functionalism.
I nonetheless feel that lwould like to
create a cgntinuous society. I feel that the
emotionally rich spaces produced by such a
society would actually be the real topology
we are all waiting for.
I am fond of using square floor plans
because, aside from the circle. I consider
the square the most perfect form. Even
tHE REPEATING CBEVICE (a) Prof. aM M6. Hideo
Iaqaij (b)Ora ward, Tokyo; {c) Apnr. 1371 :{d) reinforc€d
concrele;2 storie.r (e) 115.2m2; (r) 203.6h2; (s) Toshihiko
Kimurar (h) /17206).
SEA STAIRCASE (a) Mr. Gyoji Nomiyama {p6inter) and
famjlyr lb) Nerima Ward, Tokyo;{c} August, 1971; (d)rein-
forced concrele; 1 sto.y; (e) 15"4.3m2r(r) 173.8m2j ls)
Toshihiko Kimurai {h) J4(7209)-
when not using a square I always select a
simple rectangular outline and use simple
floor plan methods to divide spaces. The
initial decision to use this kind of simplifi-
cation was adventurous. Since human living
space reminds one of tracks made by a
living thing, the selection of an abstract
form can give rise to a number of discrep-
ancies.
I did not, however. select abstract forms
because I ignored human life but rather
because I was anxious to blaze a trail to a
new living style. I am sometimes told that
these simple plans make my houses diffi-
cult to live in. That is rhe kind of opinion
one can expect from people who that life
styles lack elasticity. I imagine that a fami-
ly who could not understand my plan for
introducing into houses a new style of
living would not cooperate with me or
allow me to realize my plans.
Abstraction gives strength to space and
aids in making jumps foreward toward a
new living style.
The idea that abstraction gives strength
will probably always last. Abstraction is
direct approach to the problem. Always
-particularly in cases like my own, where
symbolism is important-the desire to ex-
pand expression beyond a systematized
abstract form appears. The hope that per-
fect spaces will become today's strength to
combat emotional insecurity is in accord
with my development to the present and
represents an extremely natural method.
Gradually, at present an opposite
attitude, one in which I attempt to create a
living place as one creates spaces corre-
sponding to spiritual aspects, is rising to the
surface. Should I ever adopt such a spatial
form, I would in no way alter my process
of abstracting; but it would be impossible
to avoid moving gradually toward the
irregular form and the insecure space.
The Japan Architect 79Og 87

SKY RECTANGLE (a) Mr. and MB. Kaz!o Harashima,
seraaa!a wd d. rot yo. lc I Seprerbq l9/l (d)'ei.lorced
(b)
Lonc;ele r sro.':es. {el 50 91'. rd' ra3.2n2. lsl l osh hiro
Kimura: (h) 14(7209).
ldrilv,lDl MFami BUru.vama.ash'P'"lFct-re
des one'l ano
I974 {d) wooo. I (torv: {er 90 h2 lt.|so7n2
l,.';d'.h
Beyond Symbol Spaces (JA7104)
lntrodustory Remark-Functional Sp*er
At present I am extremely interested in
functional spaces, but this does not mean
that my architectural thought has taken a
new turn. Furthermote,by functional I do
not imply the old-fashioned, much soiled
and handled Functionalism of the period
immediately following World Warll. No
more do I look forward to a revival of that
movement. Since the word Functionalism
itself might lead to misunderstandings, I the uncertainties of life because I feel that
might use in its place something like F
spaces, a neutral term that carries no
specification of content.
I make no optimistic Jorecast that its
appearance in full form is imminent, On
the other hand, I am firmlV convinced that,
following my pres€nt course, I shall inevita-
bly come upon a new kind of space.
The problems I have dealt with have in'
cluded attack points: my insistence that
the house must be "art" was such a point
as was the "symbolic" in my plea for sym-
bolism in residential design.
At the same time, I measured the range
o{ effectivenes of each of these proclama-
tions, At present I have developed a new
attack point-new functional spaces-and
am beginning to use it in buildings. The
direction of these new spaces points to
things built in the world of human emo-
tions and therefore considerably different
from the topics I have pursued in the post'
I have never and will never chose as a start-
ing point anything outside the realm of
humanity, Therefore, I use F space in an
indefinite sense.
Expressing ths Uncertain
We hear that the world is uncertain, that
certainties are rapidly disappearing. Any-
one can sense that politics and economics
are moving under the pull of a great. some-
ag The Jap€n Architect 7903
'E.rl
rr--
M^ff
IIOUSE AT KUGAHAFA (a) Mr. and M6. Shuns!ke
l-lirano: (b) ota ward, Tokyor (c) Daember, 1972r ld)
reinlorced concrelej 2 srories;{e) 84.8m2; (i) 167.4m2i (q)
Tchihiko Kimura: (h) Jr(7405).
t".
!
HOUSE AT HIGASHITAMAGAWA (a) Dr.and M6. Hisao
Matsuno; (b) Setasaya ward, Tokyo; (c) March, 1973: (d)
reinrorced concreter2 stori6 ; \el 1225h2,lt) 219.1n2 | ls)
Toshihiko Kimurar (h) J,4{7405]' ) 8auwltl76o2l,
how lrightening, power. Commentators tell
of the bright prosperity of our nation, but
I feel that it is false and that psychologically
ressuring certainties are daily vanishing,
never to return,
Even should the exterior world achieve
stability, the heart of man. at one time or
another, is inevitably dominated by uncer-
tainty. For these reasons, the house, the
one space that comes in most direct con-
tact with humanity, must face the uncer-
tainty of both interior and exterior worlds'
I have always devoted great interest to
areas of certainty do not demand my atten-
tion. For example, during a period after
the World War ll, when a bright outlook
prwailed in the exterior world and was
architecturally expressed in terms of
Rationalism and Functionalism, I was turn-
ing my eyes to the Parts of the human
heart that had already broken from the
rational frame. I have found topics for my
spaces in those areas of the heart where
irrationalities are constantlV being evolved
and destroyed. Consequently, I have insisted
on the restoration of the irrational.
As a personal method, I have persisted
in confronting the world of uncertainties, I
believe that the act of conforming to the
uncertain and the irrational transpires with-
in a secure spatial form. This attitude
occupies a position diametrically opposed
to that of the arts and design theories
employing uncertian spatial forms to con-
form to the uncertain world, But one of
the greatest reasons for my position is my
having selected the architectural tradition
o{ Japan as a philosophical and composi-
tional hint. Tradition is the common
heritage of a people, The result of a sure
approach to tradition is likely to be some-
thing quite certain. The Japanese tradition
contains strong abstract and symbolic
elements. Takinq them as my basis of
--
HOUSE ATSEIJO (a) Mr.and M6. Sueo Md,:
seraoava ward. Tolvo, {c)March, I973,ld)r
.n'p ?siori6 {e' 134.9m2 (f)213.0m2 1qlr.
Kimr6: lh) JA|T 4O5l ) Arthiaektut & Wohnen 1::
TANIKAWA RESIDENCE (a)Mr.Shunlai0 r.,
and tami yr (b) Naganoha.a, Gumma P.eteclLft
ber. 1974j {d);ood;2 sroriesj le) 161.6m2. trr I
16l JA|T 602l ) Bau @t.\1 6021.
thought. I have employed-{or in$anii
Umbrella House-a very concrete io
enclose uncertainties inherent in r,
human mind. Or, as in House in \4hll''
have sometimes produced extreme s\,'
bolism by strict simplification of'o
materials and have thus given exor'
the human aspiration for eternity. In:
case, too, I have used the certair scd
mediator.
The Shino House and the House
lncomplete Spaces inherit the basicar
proach of using certain space to r0
to the uncertainties o{ the world. Tl'. :
not, however. follow a line direct y i:
tinuous with that approach. Tne b .'
walls of the Shino House and lhe r'
ones of the House with lncorrp'ete!
emphasize simplicity and strenglh
than any house I have designed be'. '
thouqh the wall compositions aroust,
sense of religious space, in fact,1"€.
dicate my transition from {ronta ilr::
mu ltiplicity in spatial construction.'.
troducing an antiphenomenally oe.
antithesis, I have altered the appea "
the spaces. Through compound 'oa
this kind I am beginning to cori' -
uncertainties and insecurities of 1", r
Motabolitm as a Part
Some thinkers are evolving melroo :
means of which a metabolic pro.
be set up in the total house, bLl l'
this not the architect's task. Thp d
is
must simply stand bY and watch,1.r
technological society will effect s!.
changes on its own. As an archite
not travel this way. lvly insistence c"
"something eternal" makes ry dr"
clear. Still, I have never reiected lT .
of metabolism as pan of house oo'
topic I proposed in an exhibition
discussed an industrial combine 'o
sake of building houses. This ino o
attention I have given to the pos(rr
 IKABUIZAWA G)Mr- A]Jiro W6kita (*ulpror)
rl(ilask!, Nasano Prei4rurej (c) Novemb€.,
'i r0red concrerer2 stori6: {e) 120.8m2r 1f)
i T6hjhjko Klmu.aj (h) ,4(7903);SD(7901).
HOUSE lN UEHARA (a)Mr. Kiyoshi Oh$!ri (Phoro
qraphed and iamilyr(b)ShibuyaWard, Tokyoj {c) May,1976;
(d) reinforced concrete lliBr and s6ond storles)tsteet irame
(vauh)j 3 slori6r le) al.2m2j (i) 157.5m2; (sl Toshihiko
Kimota ; lhl JAl77O2l, Ba@ekteA1Al 2l : SDlJgOl ).
HOUSE lN ASHITAXA (a) Dr, and Mrs. Kiyohsru Tazawa;
{b) Numaz!, Shizuoka Pfei€.rure; (c) Oclober, 1977j (d)
.einrorced concrete and wood (inte odr2slorj€.r {e)
1aA.6n2 ) ltl 212.2n2 : \sl rGhihiko K imu € I (h ) ,4 {7903) ;
so(790r ).

.l^.

lolt lr1 IToSHIMA hl M r. Gyoii Nomivama {oainter) HOUSE lN HANAYAMA, NO.3 (aJ Dr.andMre.Yasushi HOUSE ON A CUFVEO ROAD (a) Mr. Yasuyuki SLz!ki
r tllroshima, F!kLoka Preieture; (c) Janusry, Kumon; (b) Kobe, Hyoqo Preiect!re;1c) Ausust, 19771 {poetj and familyj (b) Shibuya Ward, Tokyoj (c) Aprit, 1978;
l rrorced concrete;2 storis; (e) I69.6m2i (r) (d) reiniorced concrere,2 sloridr (e) 130.6m2; (i) 213.2m21 (d ) rein iofced c oicrete: 1 baement and 3 stodesj (e) 87.5m2:
! : T6h hiko Kimura; (h)14{7903J:.SD17901) (a) Toshihiko Kim!rai (h)14{7903). SO(7901)- (f ) 215.6m2j {s) Ioshihiko Kimrrar (h) J4(7903) jSD(7901).

:" i'terprise in the use of technology
r,r,ipment in combination with the
,.r!rrspaces I design. lnclusion of
1i:r sm as a part of design facilitates
. '.ing to industrial and information
i., !s. ln addition. it fills rhe gap be-
',:"recompleted house and the dweller.
' ."lrast to this, the nuclear space of
':-irse, while coexisting with the
r::r ic parts, becomes the receptacle for
i i\rLlm expression of the architect's
mains unchanged. But I am now trying to
alter the situation. I do not mean that I
intend to start again from zero. The start-
ing point of my new development will be
the terminus of the line of thinking that
led to the concept of significant spaces. ln
other words, I am gradually beginning a
process of reduction. lt goes without say-
ing thar the direction of this process is by
no means the reverse of the one I have
pursued till now. What I seek is the thing
spaces traditionally Japanese, I have always
composed them largely of wall surfaces,
whereas traditional Japanese spaces depend
on a pure post-and-beam structure.
Especially as far as interiors or concerned, I
have never once made use of this structure.
But since I have always taken the strange
gap in Japanese social consciousness as a
premise and have then freely leapt over it
in my work, people have described my
spaces as traditional in mood. Although I

:. leas. I hope to advance this kind of
:':jsi1€ slruiture at least as a hypothesis
: lhoJght.
- .re
fuhoc$3 of Space Reduction
::'::deny the religious emotion in the
: ioms of the shino House and ln-
'.lleSpaces, ln contrast to those who
, religious, many people have found
.,:"osphere oJ the bronze-wrapped
:,, r the Shino House extraordinarily
:irhaps
varying impressions result
the
I T {act that the individual parts are
:.,r!C lrom enJorced duties.
- ie House with lncomplete Spaces,
,rle outlets pour warm and cool air
:",, lving room, from which it
. rooms. ln other words, the
"oLrnding
r'oom, whichat no point opens on
. .Tide, becomes a very efficient, large
- i:ng duct. Beturn air, too, passes
.sspace before being carried to the
re room. The use of this ventilation
. po nts up another aspect of the na-
'lhe living'room space: the neutral
rr'iqlality that I sought and that
i?ople have commented on.
'iietried to plumb the depths of
,"leaning to the extent that my
., rave been represented
by symbolism,
re design of the House in White, my
,roroach centered on what I have
.r tqnificant spaces." The charm of
sm has held me fast and has refused
. re go, and to the present that re-
that I am temporarily calling neutrality and have now separated my work from any
dry space. direct conformity to Japanese space, this
Extraordinary Fissure Spaces does not suggest weakening of interest in
For me the problem of the fissure between the extraordinary. Further reducing the
ordinary and extraordinary spaces is both abstract spaces, I have discovered in Japa-
basic and of the greatest importance. lf the nese architecture; and, developing neutral
rational is the ordinary, I settle for the spaces by discarding the emotions of Japa-
restoration of the irrational and the con- nese spaces, I am trying to produce some-
struction of extraordinary spaces. The thing new and extraordinary.
process will, I believe, contjnue, as the
initially extraordinary qraduallv moves into
the realm of the ordinary. As this happens,
parts-even small ones-of the world
around us will change. I feel certain that
my selection of the Japanese architectural
is led to tradition as a base point of my philosophy
derived from my conviction that Japanese
architecture offers extraordinary spaces to
oppose ordinary contemporary society,
though the Japanese tradition undeniably
includes ordinary elements too,
The very basic current of the Japanese
tradition, however, is not ordinary, There
rs a strange gap, a part of the Japanese
social consciousness, between tradition of
popular acceptance and the true tradition.
Acting on this premise, I have always taken
the extraordinary space as my base point
and have built things that are out of the
ordinary and that result from my use of
the intersection of the gaps between the
true and the popular accepted Japanese
tradition.
Although many people have called my
The Japan Architect 7903 89