Sou Fujimoto exhibition
藤本壮介の建築：原初・未来・森
Sou Fujimoto | 3. 7月 2025
All photos by Neoplus Sixten Inc.
「藤本壮介の建築：原初・未来・森」展レポート。大学卒業から約30年にわたる藤本の設計活動をスケッチから膨大な数の模型、そして大型の模型や映像で体感できる藤本壮介初の大規模個展。東京の森美術館にて11月9日まで開催
The Architecture of Sou Fujimoto: Primordial Future Forest, at Mori Art Museum, Tokyo
展覧会コンセプト：
活動初期から世界各地で現在進行中のプロジェクトまで8セクション構成で網羅的に紹介し、約30年にわたる歩みや建築的特徴、思想を概観します。展示には、模型や設計図面、竣工写真に加え、インスタレーションや空間を体験できる大型模型、モックアップ（試作モデル）なども含まれ、建築に携わる人だけでなく、だれもが藤本建築のエッセンスを体感できる、現代美術館ならではの展覧会です。さらに、藤本による未来の都市像の提案を通し、建築の存在意義や可能性についての考察も試みます。
環境への配慮、人と人との変わりゆく関係性、分断されたコミュニティをつなぐ機能、テクノロジーの発展に影響される生活など、今日、建築や都市には従来以上の役割を担うことが求められています。そのような時代に、建築は私たちの暮らしをどう変えうるのか。藤本の実践をとおして、みなさんとともに考えます。
This exhibition is the first major survey of Fujimoto’s work. It provides a comprehensive overview in eight sections, covering everything from work in his early years to projects currently underway, and following his architectural journey over the past around thirty years, the features of his architecture, and the philosophy behind it. It takes advantage of the venue’s expertise as a contemporary art museum, allowing anyone, not just people working involved in architecture, to physically experience the essence of Fujimoto’s oeuvre by including exhibits such as installations and large-scale models that provide a spatial experience, as well as a mock-up. These complement conventional exhibits like scale models, plans, and photos of completed projects. The exhibition also reviews the role and potential of architecture through Fujimoto’s vision of the future city.
Today, due to the continually changing relationships between people and their lives influenced by technological developments, architecture and cities are being called on to play a bigger role than before, including consideration for the environment and the function of connecting fragmented communities. We welcome visitors to join us as we take Fujimoto’s practice as the context for considering how architecture could change our lives in times like these.
活動初期から世界各地で現在進行中のプロジェクトまで8セクション構成で網羅的に紹介し、約30年にわたる歩みや建築的特徴、思想を概観します。展示には、模型や設計図面、竣工写真に加え、インスタレーションや空間を体験できる大型模型、モックアップ（試作モデル）なども含まれ、建築に携わる人だけでなく、だれもが藤本建築のエッセンスを体感できる、現代美術館ならではの展覧会です。さらに、藤本による未来の都市像の提案を通し、建築の存在意義や可能性についての考察も試みます。
環境への配慮、人と人との変わりゆく関係性、分断されたコミュニティをつなぐ機能、テクノロジーの発展に影響される生活など、今日、建築や都市には従来以上の役割を担うことが求められています。そのような時代に、建築は私たちの暮らしをどう変えうるのか。藤本の実践をとおして、みなさんとともに考えます。
This exhibition is the first major survey of Fujimoto’s work. It provides a comprehensive overview in eight sections, covering everything from work in his early years to projects currently underway, and following his architectural journey over the past around thirty years, the features of his architecture, and the philosophy behind it. It takes advantage of the venue’s expertise as a contemporary art museum, allowing anyone, not just people working involved in architecture, to physically experience the essence of Fujimoto’s oeuvre by including exhibits such as installations and large-scale models that provide a spatial experience, as well as a mock-up. These complement conventional exhibits like scale models, plans, and photos of completed projects. The exhibition also reviews the role and potential of architecture through Fujimoto’s vision of the future city.
Today, due to the continually changing relationships between people and their lives influenced by technological developments, architecture and cities are being called on to play a bigger role than before, including consideration for the environment and the function of connecting fragmented communities. We welcome visitors to join us as we take Fujimoto’s practice as the context for considering how architecture could change our lives in times like these.
会場を入ってすぐにあるのは、うっかり見落としてしまいそうな小さな5つ模型。プロローグとして存在しているが説明は特になく、会場を見て回ったあと何となくこれらの意味が分かってもらえればという、藤本のインスピレーションの源。
Five small models located immediately upon entering the venue. There is no specific explanation, but the meaning of these becomes clear after viewing the venue. The source of Fujimoto's inspiration.
Five small models located immediately upon entering the venue. There is no specific explanation, but the meaning of these becomes clear after viewing the venue. The source of Fujimoto's inspiration.
8つのセクションで構成されている展覧会の最初は【1.思考の森】
活動初期から計画中のものまで100を超えるプロジェクトが約1,200個模型で空間全体が埋め尽くされた「森」になっている。
藤本建築の特徴である3つの系譜に基づき緩やかに分類されながら、概ね年代順に展示されています。閉じているはすの円環が外部に開かれていることを表す「ひらかれ かこわれ」、空間の用途や性質が曖昧で多義的である「未分化」、多数の部分が一つの建築を構成する「たくさんのたくさん」という3つの系譜は、藤本建築の根幹をなすもので、時には一つのプロジェクトの中で複数が融合することもある。これらのプロジェクト群は、3つの流れを保ちながらも、互いに関係し合うことで緩やかにつながり、森のように複雑で有機的なネットワークを構成している。
1. Forest of Thoughts
This large-scale installation presents all of Fujimoto's key projects, ranging from his early work to those currently in development. On display in a space of over 300 m' are more than 1,000 models, blueprints, and objects that are fragments of ideas. Together they represent over 100 projects undertaken by Fujimoto to date.
These materials are loosely classified based on three genealogies that characterize Fujimoto's architecture: open boundaries featuring circles that should be closed, but are open to the outside; the amorphous in which spaces take on an ambiguous and equivocal quality in terms of their nature and purpose; and many many many embodying the myriad of parts that come together to form a single building. These genealogies comprise the core of Fujimoto's architecture and sometimes come together within a single project. While conforming to these three genealogies, these projects connect loosely through shared relationships, resulting in an installation that comprises a complex, organic, forest-like network.
活動初期から計画中のものまで100を超えるプロジェクトが約1,200個模型で空間全体が埋め尽くされた「森」になっている。
藤本建築の特徴である3つの系譜に基づき緩やかに分類されながら、概ね年代順に展示されています。閉じているはすの円環が外部に開かれていることを表す「ひらかれ かこわれ」、空間の用途や性質が曖昧で多義的である「未分化」、多数の部分が一つの建築を構成する「たくさんのたくさん」という3つの系譜は、藤本建築の根幹をなすもので、時には一つのプロジェクトの中で複数が融合することもある。これらのプロジェクト群は、3つの流れを保ちながらも、互いに関係し合うことで緩やかにつながり、森のように複雑で有機的なネットワークを構成している。
1. Forest of Thoughts
This large-scale installation presents all of Fujimoto's key projects, ranging from his early work to those currently in development. On display in a space of over 300 m' are more than 1,000 models, blueprints, and objects that are fragments of ideas. Together they represent over 100 projects undertaken by Fujimoto to date.
These materials are loosely classified based on three genealogies that characterize Fujimoto's architecture: open boundaries featuring circles that should be closed, but are open to the outside; the amorphous in which spaces take on an ambiguous and equivocal quality in terms of their nature and purpose; and many many many embodying the myriad of parts that come together to form a single building. These genealogies comprise the core of Fujimoto's architecture and sometimes come together within a single project. While conforming to these three genealogies, these projects connect loosely through shared relationships, resulting in an installation that comprises a complex, organic, forest-like network.
基本的に入り口から年代順に展示されいる。お気に入りの建築を探しながら森の中を散策するような感覚。
〈T house〉2005、前橋
藤本が最初に完成させた住宅。アートコレクターのための家で、中央から放射状に伸びる壁が多様な空間と関係性を生む。
〈T house〉2005, Maebashi
A house for a family of four in Maebashi, Gunma Prefecture, that also houses an art collection. The open plan space features walls radiating from the center, creating diverse spaces and relationships and gently connecting the family's individual spaces to each other. Relationships between people, objects, and the environment are highlighted and transformed through changes in depth and distance. Like a Japanese garden, this architecture renews its landscapes and relationships as one walks around.
藤本が最初に完成させた住宅。アートコレクターのための家で、中央から放射状に伸びる壁が多様な空間と関係性を生む。
〈T house〉2005, Maebashi
A house for a family of four in Maebashi, Gunma Prefecture, that also houses an art collection. The open plan space features walls radiating from the center, creating diverse spaces and relationships and gently connecting the family's individual spaces to each other. Relationships between people, objects, and the environment are highlighted and transformed through changes in depth and distance. Like a Japanese garden, this architecture renews its landscapes and relationships as one walks around.
〈白井屋ホテル〉2020、前橋
築45年の旅館の内部を解体し、躯体が露出した大きな吹き抜けラウンジをもつホテルにリノベーションした。裏手の新館は「山」の中に客室を設け、建築・都市・ランドスケープ、そして街が一体となる。
>>白井屋ホテル訪問記
〈Shiroiya Hotel〉2020, Maebashi
The center of an approximately forty-five-year-old four-storyreinforced concretebuilding of a Japanese inn with a long history was dismantled and converted into a lounge with a huge atrium. Works by other creators are installed throughout the interior, making it a "living room" open to the city. An embankment with greenery was introduced into the new annex, with the aim of continuously changing with the city by integrating the architecture, the city, and the landscape.
築45年の旅館の内部を解体し、躯体が露出した大きな吹き抜けラウンジをもつホテルにリノベーションした。裏手の新館は「山」の中に客室を設け、建築・都市・ランドスケープ、そして街が一体となる。
>>白井屋ホテル訪問記
〈Shiroiya Hotel〉2020, Maebashi
The center of an approximately forty-five-year-old four-storyreinforced concretebuilding of a Japanese inn with a long history was dismantled and converted into a lounge with a huge atrium. Works by other creators are installed throughout the interior, making it a "living room" open to the city. An embankment with greenery was introduced into the new annex, with the aim of continuously changing with the city by integrating the architecture, the city, and the landscape.
〈ハンガリー音楽の家〉2021、ブダペスト
公園の森に建つ音楽複合施設。木漏れ日のような光や音が満ちる空間は、森の中を散策するような体験を創出し、自然・音楽・文化が交差する新たな公共施設の理想を描く。
〈House of Music Hungary〉2021, Budapest
A music complex built in the forest of a vast park. With an organic facade that blends in with nature, it houses a concert hall, exhibits recounting the history of music, educational facilities, a cafe, and a restaurant. Filled with light that looks as if it was filtered through a canopy of trees and various sounds, the experience of this space recalls strolling through a forest, depicting an ideal picture of a new public facility where nature, music, and culture intersect.
公園の森に建つ音楽複合施設。木漏れ日のような光や音が満ちる空間は、森の中を散策するような体験を創出し、自然・音楽・文化が交差する新たな公共施設の理想を描く。
〈House of Music Hungary〉2021, Budapest
A music complex built in the forest of a vast park. With an organic facade that blends in with nature, it houses a concert hall, exhibits recounting the history of music, educational facilities, a cafe, and a restaurant. Filled with light that looks as if it was filtered through a canopy of trees and various sounds, the experience of this space recalls strolling through a forest, depicting an ideal picture of a new public facility where nature, music, and culture intersect.
【2. 軌跡の森 - 年表】
藤本壮介が東京大学を卒業した1994年以降の活動を、倉方俊輔監修の年表を通して振り返える。
藤本は個人で建築家として活動を始め、2000年に自身の設計事務所を設立。2010年頃から国際的に活動を行っている。
その軌跡を竣工予定のものを含む主要作品計96点で紹介。同時に、国内および日本人建築家による主要作品や、国内外の建築界・社会の動向も取り上げている。また藤本が1990年頃に影響を受けた建築作品も番外編として含まれ、それぞれの時代に何を重視していたのかが読み取れる藤本の言葉に加えて、作品写真のスライドショー、本人のインタビュー映像も展示している。こうした包括的な資料により藤本の活動の全貌を捉え、それを同時代の他の事象と合わせて見せることで、藤本建築の歴史的文脈を読み解くことができる。
2. Forest of Tracks - Chronology
This chronology supervised by architectural historian, Kurakata Shunsuke, showcases Fujimoto's key works since 1994 when he graduated from the University of Tokyo. It traces the career of Fujimoto, who began working as a freelance architect, set up his own architectural office in 2000, and has been active internationally since around 2010. It also includes ninety-six works in total, some of which are scheduled for completion in the near future. Other information provided covers major works in Japan and by Japanese architects completed during the same period, as well as events in the architectural industry and society in general, both in Japan and abroad. The chronology also features a supplementary part on the architecture that particularly influenced Fujimoto around 1990.
Quotes from Fujimoto that suggest what he focused on at various times in his career, a slideshow of his works, and video footage of an interview with him are also presented. Using these assorted materials, the section attempts to comprehend the historical context of Fujimoto's architecture by providing an overall view of his career.
藤本壮介が東京大学を卒業した1994年以降の活動を、倉方俊輔監修の年表を通して振り返える。
藤本は個人で建築家として活動を始め、2000年に自身の設計事務所を設立。2010年頃から国際的に活動を行っている。
その軌跡を竣工予定のものを含む主要作品計96点で紹介。同時に、国内および日本人建築家による主要作品や、国内外の建築界・社会の動向も取り上げている。また藤本が1990年頃に影響を受けた建築作品も番外編として含まれ、それぞれの時代に何を重視していたのかが読み取れる藤本の言葉に加えて、作品写真のスライドショー、本人のインタビュー映像も展示している。こうした包括的な資料により藤本の活動の全貌を捉え、それを同時代の他の事象と合わせて見せることで、藤本建築の歴史的文脈を読み解くことができる。
2. Forest of Tracks - Chronology
This chronology supervised by architectural historian, Kurakata Shunsuke, showcases Fujimoto's key works since 1994 when he graduated from the University of Tokyo. It traces the career of Fujimoto, who began working as a freelance architect, set up his own architectural office in 2000, and has been active internationally since around 2010. It also includes ninety-six works in total, some of which are scheduled for completion in the near future. Other information provided covers major works in Japan and by Japanese architects completed during the same period, as well as events in the architectural industry and society in general, both in Japan and abroad. The chronology also features a supplementary part on the architecture that particularly influenced Fujimoto around 1990.
Quotes from Fujimoto that suggest what he focused on at various times in his career, a slideshow of his works, and video footage of an interview with him are also presented. Using these assorted materials, the section attempts to comprehend the historical context of Fujimoto's architecture by providing an overall view of his career.
現在進行中で2030年以降完成のプロジェクトもある。
【3. あわいの図書室】
このラウンジは言葉の断片によって藤本社介の世界に導かれる読書の場であり休憩所。藤本の建築や世界観から着想を得て、幅尤孝によって選ばれた書籍40冊が5つのテーマに基づいて配置されている。
3. Book Lounge of Awai (In-Between)
This lounge offers a moment to rest or read, where fragments of words lead into Fujimoto's unique world. Inspired by his architecture and worldview, book director Haba Yoshitaka selected forty books according to five themes.
このラウンジは言葉の断片によって藤本社介の世界に導かれる読書の場であり休憩所。藤本の建築や世界観から着想を得て、幅尤孝によって選ばれた書籍40冊が5つのテーマに基づいて配置されている。
3. Book Lounge of Awai (In-Between)
This lounge offers a moment to rest or read, where fragments of words lead into Fujimoto's unique world. Inspired by his architecture and worldview, book director Haba Yoshitaka selected forty books according to five themes.
それぞれの椅子に記された言葉はその椅子に置かれた書籍から抜粋されたもので、その書籍の大まかな内容が分かる。
【4. ゆらめきの森】
建築の利用者や居住者の動きを見せるアニメーションを模型の上に投影し、建築そのものではなく、建築がつくり出す人の動きに焦点を当てる。
4. The Animated Forest
This section features animations projected onto models, visualizing the movements of users and residents of the buildings. Rather than highlighting the architecture itself, the focus is on the human activity it generates. Also exhibited on the walls are design drawings of the architectural projects being showcased here.
建築の利用者や居住者の動きを見せるアニメーションを模型の上に投影し、建築そのものではなく、建築がつくり出す人の動きに焦点を当てる。
4. The Animated Forest
This section features animations projected onto models, visualizing the movements of users and residents of the buildings. Rather than highlighting the architecture itself, the focus is on the human activity it generates. Also exhibited on the walls are design drawings of the architectural projects being showcased here.
【5. 開かれた円環】
藤本壮介が会場デザインプロデューサーを務める2025年大阪・関西万博の〈大屋根リング〉と、そのコンセプトである「開かれた円環」に焦点を当てる。大屋根リングは高さ約20m（外側部分）、幅約30m、1周約2kmの円形で、その一部を1/5に縮小して展示。構想段階で藤本が描いたスケッチや記録写真、設計図面、リングで使われた日本の伝統的な貫接合の技術を紹介するモックアップや、藤本のインタビュー映像などによってリングを様々な角度から掘り下げる。〈大屋根リング〉が体現する「開かれた円環」という機念についても紹介し、分断を超えたつながりの構築を可能にするこの概念は藤本にとっての未来の希望を象徴している。
5. Open Circle
This section focuses on Fujimoto's Grand Ring for Expo 2025 Osaka, Kansai, for which he served as the Expo Site Design Producer, as well as the concept, open circle that lies behind it. The Grand Ring is approx. 20 m high on its outer side, approx. 30 m wide, and has a circumference of approx. 2 km. This exhibit presents a giant 1:5 scale model of part of the ring. It explores the ring from various perspectives, including sketches made by Fujimoto at the conception stage, documentary photographs, a 1:1 mock-up that explains the traditional Japanese nuki column-beam joinery used in the ring, and video footage of an interview with Fujimoto.
藤本壮介が会場デザインプロデューサーを務める2025年大阪・関西万博の〈大屋根リング〉と、そのコンセプトである「開かれた円環」に焦点を当てる。大屋根リングは高さ約20m（外側部分）、幅約30m、1周約2kmの円形で、その一部を1/5に縮小して展示。構想段階で藤本が描いたスケッチや記録写真、設計図面、リングで使われた日本の伝統的な貫接合の技術を紹介するモックアップや、藤本のインタビュー映像などによってリングを様々な角度から掘り下げる。〈大屋根リング〉が体現する「開かれた円環」という機念についても紹介し、分断を超えたつながりの構築を可能にするこの概念は藤本にとっての未来の希望を象徴している。
5. Open Circle
This section focuses on Fujimoto's Grand Ring for Expo 2025 Osaka, Kansai, for which he served as the Expo Site Design Producer, as well as the concept, open circle that lies behind it. The Grand Ring is approx. 20 m high on its outer side, approx. 30 m wide, and has a circumference of approx. 2 km. This exhibit presents a giant 1:5 scale model of part of the ring. It explores the ring from various perspectives, including sketches made by Fujimoto at the conception stage, documentary photographs, a 1:1 mock-up that explains the traditional Japanese nuki column-beam joinery used in the ring, and video footage of an interview with Fujimoto.
「開かれた円環」を体現する12のプロジェクト。
大阪・関西万博大屋根リング1/5模型。内側に入ることもできる。
〈2025年大阪・関西万博 “大屋根リング” モックアップ〉
大屋根リング建設に際して製作された原寸大模型。日本の伝統的な木造建築技法である貫工法の採用を目指し、数多くの実験が重ねられた。柱に穴を開けそこに「通し貫」と呼ばれる木材を水平に貫通させくさびで固定する手法。通常は木製のくさびを使用するが、このリングは規模が大きいためゼネコン数社が協働により金属製のくさびを開発。最終的に貫接合部の詳細は3つの工区でそれぞれ異なるものとなった。
The Grand Ring for EXpo 2025 Osaka, Kansai, mock-up
On display here is a full-scale mock-up that was used in the development of The Grand Ring.
Extensive experimentation was conducted to adapt the traditional Japanese nuki column-beam joinery technique for use in The Grand Ring. This method involves passing horizontal wooden beams called toushinuki through holes in vertical columns and securing them with wedges. While traditional nuki construction typically uses wooden wedges, the massive scale of this ring required much stronger metal wedges, which were specially developed through collaboraton between severa major construction companies. The final design resulted in different joint details being employed across each of the three construction sections.
大屋根リング建設に際して製作された原寸大模型。日本の伝統的な木造建築技法である貫工法の採用を目指し、数多くの実験が重ねられた。柱に穴を開けそこに「通し貫」と呼ばれる木材を水平に貫通させくさびで固定する手法。通常は木製のくさびを使用するが、このリングは規模が大きいためゼネコン数社が協働により金属製のくさびを開発。最終的に貫接合部の詳細は3つの工区でそれぞれ異なるものとなった。
The Grand Ring for EXpo 2025 Osaka, Kansai, mock-up
On display here is a full-scale mock-up that was used in the development of The Grand Ring.
Extensive experimentation was conducted to adapt the traditional Japanese nuki column-beam joinery technique for use in The Grand Ring. This method involves passing horizontal wooden beams called toushinuki through holes in vertical columns and securing them with wedges. While traditional nuki construction typically uses wooden wedges, the massive scale of this ring required much stronger metal wedges, which were specially developed through collaboraton between severa major construction companies. The final design resulted in different joint details being employed across each of the three construction sections.
竹中工務店（万博会場西側）
大林組（万博会場東側）
藤本による構想段階の膨大な数のスケッチ。
【6. ぬいぐるみたちの森のざわめき】
藤本が手掛けた様々な建築作品がぬいぐるみで表現されテーブルを囲んでいる。柔らかくて可愛らしい建築のぬいぐるみたちは、それぞれ、明るく話好きな性格、真面目でおおらかな性格といった個性を持っている。
6. Stuffed Architecture Talks
Various architectural works by Fujmoto are represented as stuffed toys gathering around the tables. These cute, spongy buildings each have different personalities, such as cheerful and outgoing, or serious and generous hearted.
藤本が手掛けた様々な建築作品がぬいぐるみで表現されテーブルを囲んでいる。柔らかくて可愛らしい建築のぬいぐるみたちは、それぞれ、明るく話好きな性格、真面目でおおらかな性格といった個性を持っている。
6. Stuffed Architecture Talks
Various architectural works by Fujmoto are represented as stuffed toys gathering around the tables. These cute, spongy buildings each have different personalities, such as cheerful and outgoing, or serious and generous hearted.
彼らは他愛もないおしゃべりをしていて、互いの建築についてユーモラスに意見を交わしている。会話からは各プロジェクトの特徴や関係性と共に、それらが設計された背景などについて知ることができる。
藤本事務所のスタッフによる手作りだそうだ。
They appear to be chatting casually, but occasionally also exchange humorous opinions about each other's architecture. In addition to revealing the characteristics of each project and how they relate to each other, their conversations also shed light on the context in which they were designed.
These stuffed architecture are handmade by the staff of Fujimoto Office.
藤本事務所のスタッフによる手作りだそうだ。
They appear to be chatting casually, but occasionally also exchange humorous opinions about each other's architecture. In addition to revealing the characteristics of each project and how they relate to each other, their conversations also shed light on the context in which they were designed.
These stuffed architecture are handmade by the staff of Fujimoto Office.
東京大学在学時の藤本のスケッチ。
誰かに見せるためではなく自身の脳内のイメージを視覚化し、手を動かしながらさらに思考を重ねることで生まれたスケッチには、新しい発想や形態が生まれる過程を垣間見ることができる。
Sketches drawn by Fujimoto on a daily basis, from his student days at the University of Tokyo until around 2017, are also on display, thereby providing a muti-layered introduction to his architectural philosophy.
誰かに見せるためではなく自身の脳内のイメージを視覚化し、手を動かしながらさらに思考を重ねることで生まれたスケッチには、新しい発想や形態が生まれる過程を垣間見ることができる。
Sketches drawn by Fujimoto on a daily basis, from his student days at the University of Tokyo until around 2017, are also on display, thereby providing a muti-layered introduction to his architectural philosophy.
2011年ころから黒から赤のペンに変えて描き始める。
黒だとあまり刺激がないと思い、あるとき赤で描いたら脳に刺激があったので、以来今でも赤いペンを使っているそうだ。
黒だとあまり刺激がないと思い、あるとき赤で描いたら脳に刺激があったので、以来今でも赤いペンを使っているそうだ。
【7. たくさんの ひとつの 森】
藤本事務所が2024年に公募型プロポーザルで選出され基本設計を担当した、2031年竣工予定の音楽ホール兼震災メモリアル〈仙台市国際センター駅北地区複合施設 (仮称) 〉の設計プロセスと理念を紹介。プロポーザル案を1/15にした巨大模型が天井から吊るされ、多数資料や藤本の言葉などを通して「たくさんの／ひとつの響き」という理念がどのようにして具現化されたのかを紐解く。
7. A Forest / Many Forests
This section showcases the design process and Fujimoto's architectural philosophy behind the International Center Station Northern Area Complex (Sendai) (estimated completion in 2031, Miyagi, Japan), a music hall and earthquake memorial for which Fujimoto was selected through an open call for proposals, and commissioned to produce the basic design in 2024. A large 1:15 scale model of the proposal hangs from the ceiling, while study models, numerous perspective images and documents, and Fujimoto's own words are used to explain how the concept of many/one echo(es) was realized.
藤本事務所が2024年に公募型プロポーザルで選出され基本設計を担当した、2031年竣工予定の音楽ホール兼震災メモリアル〈仙台市国際センター駅北地区複合施設 (仮称) 〉の設計プロセスと理念を紹介。プロポーザル案を1/15にした巨大模型が天井から吊るされ、多数資料や藤本の言葉などを通して「たくさんの／ひとつの響き」という理念がどのようにして具現化されたのかを紐解く。
7. A Forest / Many Forests
This section showcases the design process and Fujimoto's architectural philosophy behind the International Center Station Northern Area Complex (Sendai) (estimated completion in 2031, Miyagi, Japan), a music hall and earthquake memorial for which Fujimoto was selected through an open call for proposals, and commissioned to produce the basic design in 2024. A large 1:15 scale model of the proposal hangs from the ceiling, while study models, numerous perspective images and documents, and Fujimoto's own words are used to explain how the concept of many/one echo(es) was realized.
藤本さんおすすめはこのアングル。ホールのステージから見た様子を体験できる。
完成が今から楽しみだ。
「ばらばらであり ひとつであり」というプロジェクトの基本理念を、同じ理念に基づいて設計された北海道の〈児童心理治療施設〉、ベオグラードの〈ベトン・ハラ・ウォーターフロント・センター〉など7つの模型と、
The project's basic concept of diverse and unified is also explored through seven models, including the Children's Center for Psychiatric Rehabilitation (2006, Hokkaido, Japan) and Beton Hala Water Front Center (conception in 2011, Belgrade)…
The project's basic concept of diverse and unified is also explored through seven models, including the Children's Center for Psychiatric Rehabilitation (2006, Hokkaido, Japan) and Beton Hala Water Front Center (conception in 2011, Belgrade)…
主要作品70点の特徴を抽象化したコンセプトイラスト。
Fujimoto's major 70 projects that help to provide a comprehensive understanding of his architecture.
Fujimoto's major 70 projects that help to provide a comprehensive understanding of his architecture.
【8. 未来の森 原初の森一共鳴都市 2025】
藤本壮介と宮田裕章によって考案された未来都市〈Resonatia〉の提案。未来において空間移動が可能なモビリティ装置や自然エネルギーによる暮らしが実現し、ARやAIといったデジタル技術が進化しても、実空間の持つ価値はむしろ高まるという想定をもとに構想されている。
その大きさは直径・高さ共に500m程。住宅、公園や森、学校や病院、オフィスや個人の仕事場、カフェや商店などの商業施設、美術館などの文化施設、農場といった都市生活に必要なものが備わる。都市には絶対的な中心や軸がなく、球体同士がつながり合いながら立体的に多方向に開かれて、多様な生物が様々な関係性を持ち、森の生態系のような一体感が感じられる新しいコミュニティの形成を目指さしている。
Forest of Future, Forest of Primordial - Resonant City 2025
This proposal of a futuristic city was conceived by Fujimoto and Data Scientist Miyata Hiroaki. The plan was based on the assumption that in the future, mobility devices will be able to move freely through the air, electricity will be supplied by natural energy, and the value of real space will increase even further with the development of digital technologies such as augmented reality and Al.
The city of the future, represented through models and moving images, is a complex combination of spherical structures of various sizes, with a total area of about 500 m in both diameter and height. It will be equipped with the necessities of urban life including housing, parks and forests, schools and hospitals, offices and private workplaces, commercial facilities such as cafes and stores, cultural facilities like museums, and even farms. In addition, this city aims to create a new community where myriad life forms bear a variety of relationships to each other. Here, there is no absolute center or axis, but rather spheres that are connected to each other and allow a sense of three-dimensionality to open up in multiple directions, creating a sense of unity similar to that of a forest ecosystem.
藤本壮介と宮田裕章によって考案された未来都市〈Resonatia〉の提案。未来において空間移動が可能なモビリティ装置や自然エネルギーによる暮らしが実現し、ARやAIといったデジタル技術が進化しても、実空間の持つ価値はむしろ高まるという想定をもとに構想されている。
その大きさは直径・高さ共に500m程。住宅、公園や森、学校や病院、オフィスや個人の仕事場、カフェや商店などの商業施設、美術館などの文化施設、農場といった都市生活に必要なものが備わる。都市には絶対的な中心や軸がなく、球体同士がつながり合いながら立体的に多方向に開かれて、多様な生物が様々な関係性を持ち、森の生態系のような一体感が感じられる新しいコミュニティの形成を目指さしている。
Forest of Future, Forest of Primordial - Resonant City 2025
This proposal of a futuristic city was conceived by Fujimoto and Data Scientist Miyata Hiroaki. The plan was based on the assumption that in the future, mobility devices will be able to move freely through the air, electricity will be supplied by natural energy, and the value of real space will increase even further with the development of digital technologies such as augmented reality and Al.
The city of the future, represented through models and moving images, is a complex combination of spherical structures of various sizes, with a total area of about 500 m in both diameter and height. It will be equipped with the necessities of urban life including housing, parks and forests, schools and hospitals, offices and private workplaces, commercial facilities such as cafes and stores, cultural facilities like museums, and even farms. In addition, this city aims to create a new community where myriad life forms bear a variety of relationships to each other. Here, there is no absolute center or axis, but rather spheres that are connected to each other and allow a sense of three-dimensionality to open up in multiple directions, creating a sense of unity similar to that of a forest ecosystem.
20台の3Dプリンターをフル稼働させ作られた約900の球体パーツからなる模型と、没入型の動画でプロジェクトを伝えている。球体の構造はarupの協力も得ている。
会場を巡り、改めて入り口の模型を見ると初めと違った見え方になるだろうか。
After touring the exhibition, will you see the models at the entrance differently than you did at first?
After touring the exhibition, will you see the models at the entrance differently than you did at first?
藤本壮介さんと宮田裕章さん
「今回の個展は、いわゆる回顧展というより現在進行形で、むしろ未来を向いているものです。これまでの集大成であると同時に、これからの方向性を模索する展覧会になると感じています。建築家とは、人と人、人と自然の関係を紡ぐ『場』を作る仕事でもあり、それは私にとっては自然と人工が溶け合う『未来の森』のような場所だといえるかもしれません。さまざまな価値観がバラバラであることの良さと寂しさが行き交うこの時代に、そこに豊かな『つながり』を作り出せないかと模索しています。『こんな建物や街で暮らしたら、世界はどう見えてくるのだろう』とみなさんの想像と希望が膨らみ、未来をポジティブに考えるきっかけとなれば嬉しいです。」と藤本さん
“Rather than focusing on looking back at the past, this survey is firmly anchored in the present and looking toward the future. As well as representing the culmination of work to date, it explores potential orientations for continuation. One of the roles of an architect is to create places that weave together relationships between people and between people and nature. For me, such a place is like a “future forest” where natural and human-made blend together. We live in an age where people perceive value in many different ways. Such fragmentation of values brings solitude as well as benefits, so I look for ways to engender connections that enrich people’s lives. It would be wonderful if the exhibition could encourage people to imagine how the future would look if we lived in buildings and communities like these. I hope that it will boost people’s hopes, inciting them to think positively about the future.”
Sou Fujimoto
「今回の個展は、いわゆる回顧展というより現在進行形で、むしろ未来を向いているものです。これまでの集大成であると同時に、これからの方向性を模索する展覧会になると感じています。建築家とは、人と人、人と自然の関係を紡ぐ『場』を作る仕事でもあり、それは私にとっては自然と人工が溶け合う『未来の森』のような場所だといえるかもしれません。さまざまな価値観がバラバラであることの良さと寂しさが行き交うこの時代に、そこに豊かな『つながり』を作り出せないかと模索しています。『こんな建物や街で暮らしたら、世界はどう見えてくるのだろう』とみなさんの想像と希望が膨らみ、未来をポジティブに考えるきっかけとなれば嬉しいです。」と藤本さん
“Rather than focusing on looking back at the past, this survey is firmly anchored in the present and looking toward the future. As well as representing the culmination of work to date, it explores potential orientations for continuation. One of the roles of an architect is to create places that weave together relationships between people and between people and nature. For me, such a place is like a “future forest” where natural and human-made blend together. We live in an age where people perceive value in many different ways. Such fragmentation of values brings solitude as well as benefits, so I look for ways to engender connections that enrich people’s lives. It would be wonderful if the exhibition could encourage people to imagine how the future would look if we lived in buildings and communities like these. I hope that it will boost people’s hopes, inciting them to think positively about the future.”
Sou Fujimoto
【藤本壮介の建築：原初・未来・森】
The Architecture of Sou Fujimoto: Primordial Future Forest
会期：2025.7.2～11.9（会期中無休）
会場：森美術館（六本木ヒルズ森タワー53階）
チケット：visit.mam-tcv-macg-hills.com/category/MAM/
詳細：www.mori.art.museum/jp/exhibitions/soufujimoto.html
Posted by Neoplus Sixten Inc.
The Architecture of Sou Fujimoto: Primordial Future Forest
会期：2025.7.2～11.9（会期中無休）
会場：森美術館（六本木ヒルズ森タワー53階）
チケット：visit.mam-tcv-macg-hills.com/category/MAM/
詳細：www.mori.art.museum/jp/exhibitions/soufujimoto.html
Posted by Neoplus Sixten Inc.