As part of the 2013 Carnegie International, Tokyo-based Tezuka Architects designed an installation titled run run run for the largest gallery of the Heinz Architectural Center, the architecture department of the Carnegie Museum of Art. This temporary installation consists of a flowing curtain, almost elliptical in plan, onto which film is screened from multiple projectors. The films depict children at play at the Fuji Kindergarten, an innovative structure recently realized by Takaharu and Yui Tezuka in the Tokyo suburbs. For the Pittsburgh installation, balloons and a padded floor surface augment an atmosphere of play and interactivity.
This gallery has in fact hosted several installations and exhibitions of work by Japanese architects, reflecting Japan’s significant contributions to contemporary architectural culture. Japanese architects have been awarded the Pritzker Prize, the world’s most prestigious prize for architects, on five occasions, including Tadao Ando in 1995 and the team of Kazuyo Sejima and Ryue Nishizawa in 2010; only the United States has had more Pritzker laureates. Furthermore, Japan has produced seminal new talents each decade: Shigeru Ban and Sejima/Nishizawa in the 1990s, Tezuka Architects in the 2000s, and most recently, Sou Fujimoto and Junya Ishigami.
In 2003, as part of Strangely Familiar: Design and Everyday Life, the Heinz Architectural Center accommodated an entire house. Made from cardboard tubes and resting on Kirin beer crates, Paper Loghouse was designed by Shigeru Ban as emergency housing in the aftermath of the 1995 Kobe earthquake.
In 2005, for Frank Lloyd Wright: Renewing the Legacy, the Japanese-born architect Toshiko Mori displayed models of her competition-winning proposal, now completed, to build a visitors center next to Wright’s Darwin D. Martin House in Buffalo, New York.
For 2012’s White Cube, Green Maze: New Art Landscapes, dramatic new structures on islands in Japan’s Seto Inland Sea were presented in our largest gallery. Projects on Naoshima by Tadao Ando were represented by large topographic models and drawings by this Osaka-based master. Four maquettes made from household materials revealed the design process of Ryue Nishizawa for his enigmatic Teshima Art Museum, a collaboration with the artist Rei Naito. An adjacent space was occupied by a transparent model of Seirensho, the re-working by Hiroshi Sambuichi of a former copper refinery on Inujima.
It may be a simplification to draw direct connections between the works of these outstanding Japanese architects presented here in Pittsburgh. Nevertheless each operates in a cultural continuum that values materiality, space, lightness, and communication with nature.