Junya Ishigami: "The best thing will be that they never finish the Sagrada Familia"

BarcelonaThe Japanese Junya Ishigami (Tokyo, 1974) is one of the most exceptional architects on the international scene for his radical approach to integrating architecture into the landscape. Among his latest works is the Zaishui Art Museum in China, prepared to be floodable, and a house and restaurant in Ube (Japan), the result of filling a structure excavated within the plot with concrete.

Participate in the UIA Architects Congress within the line of becoming "more than human". How is this idea approached?

— To me, nature and the built environment are not so different. In Japan, a large part of the territory is artificial or has been intervened by humans. I believe that even mountains are related to humans. Even in the case of a completely natural mountain, we also perceive some kind of relationship with something man-made. So we cannot establish a clear boundary between what is built and nature. For me, naturally, what is built and what is natural continue gradually; there is a continuity, they are in a way the same. The appearance is different, but I think everything is connected.

He says he likes his buildings to reflect the passage of time.

— Nowadays, the purpose of building a structure is to create a very comfortable interior space. But, originally, I think the building was not so clearly divided. It is evident that each region, each country, has a different architecture because the environment is different. Thus, the external environment influences the interior. In this sense, I think that originally the interior space derived from the exterior space. Therefore, I do not want to create architecture to create an interior space; I want to create architecture to create a new type of exterior environment within architecture.

Does this have to do with their idea of wanting to create specific conditions and not so much a finished building?

— Yes. Nowadays contemporary architecture is conditioned: everything is the same due to air conditioning and also due to light conditions, or things like that. That's why I want to create a new type of exterior space. Within this philosophy, I think that each building must have a different environment.

Is the experience that people can have within their buildings being considered?

— Yes, I think so. I don't know if this is the answer or not, but I don't believe in space as it's usually understood. Space is defined by the ceiling, the floor, and the walls; this is a kind of opposite to structure. In this sense, space has a shape that we could consider the negative of the structure. But, as I am Japanese, I think that in traditional Japanese architecture there are no fixed walls: everything is mobile and everything can be opened. Thus, we cannot clearly define space, because the garden, the interior, and the exterior continue fluidly. In this sense, I would say that there is no space in Japanese architecture. Even the interior space is part of the landscape, one more scene of the exterior. That's why I always think about how we can create landscape inside the building and also outside, and how we can give continuity between interior and exterior. This is what is important.

Outside of Japan, does it work in a very different way?

— Yes, of course. I believe that the difference in the environment is very important for creating the character of architecture. Therefore, I think that, especially in this era, the role of the architect is to offer many solutions. The 20th century was different: back then it was believed that there was a single great solution. But today everyone has a different future and different values. There are those who want to live in the city, those who live outside the city or in the countryside, or those who would like to live in the mountains, on the Moon or in space. So, everyone has different values and a different future. In this sense, architects should not create a single solution, but many different solutions for different people.

How do you relate to your clients?

— Each client has a different character. And, in addition, I have projects in many different countries, so the context is also different. That's why I believe that the client's conditions, as well as those of the place and its environment, are a great clue for creating new architecture.

He considers his buildings on a planetary scale. What does he mean by this?

— Architecture is always influenced by the common sense of each era. For example, the 19th and 20th centuries were the time of the city: culture came from the city and urban activity. And many architects proposed new cities as an architectural project or as an idea. Now, however, in everyday thought, in our common sense, we think on a global scale about daily life. Even when we buy a bottle of water, we think about how it affects the environment. This implies a much larger scale: it is no longer the scale of the city, but rather that of nature. The people who live today have this scale of perception. And if we do architecture today, it must adjust to this scale of common sense.

One of the mantras of current architecture is sustainability. What do you think of sustainable architecture?

— Sustainability is very important nowadays, and I think so too. However, I want to think that nature and human beings should have a relationship of equality. Within sustainability, and its hierarchy, the environment is very, very important. But the human being is a part of the environment. Therefore, we must always take care of the environment, it is essential. But, at the same time, I want to think of human beings with a value equivalent to that of the environment.

He is often defined as an experimental architect, or closer to contemporary art than architecture. What do you think of these labels?

— Architecture is one of the arts, evidently. But, at the same time, I think that architecture is not just art. Architecture has its own, independent culture, and I am interested in thinking about it within its limits and, at the same time, expanding them. I don't want to go beyond architecture, but rather expand its limits.

Where does your drive to expand the limits of architecture come from? Have you ever felt constrained?

— The mix of architecture and art seems like too much to me. Now everything can be mixed with everything, but for me category is very important. Architecture is architecture. Architecture comes from antiquity, and then it has been developing step by step. We have a very dense history, and also a lot of information coming from the past. I want to continue this information towards the future. Therefore, of course I expand this category, but I don't want to mix everything easily. I think we have to take care of it. Now there is a lot of information available, and it often comes to us from outside. But we have to know how to choose it. I want to maintain architectural culture itself, and, at the same time, expand it.

Do you feel particularly connected to any value of Japanese architecture?

— Not just of Japanese architecture. I believe that the value of each region is very important today. Obviously, everything is very international, but, at the same time, the value of what is local is very strong. And also the local is more important information for creating the function of architecture itself.

In parallel with the congress, the centenary of Gaudí's death is being commemorated, and a few weeks ago Pope Leo XIV blessed the Jesus tower of the Sagrada Família.

— I went to the Sagrada Família when I was in high school, and I've been back other times. I find it very interesting that they have continued it, I think it would be best if they never finish it.

The completion of the basilica is still controversial.

— Since Gaudí died, technology has evolved, but at the same time, the continuators of the work have maintained his idea. In fact, throughout history, architecture has been developing in a very similar way.