Future Talks 02 : Kentaro Kurihara

ZZ: Thank you very much for inviting us to the great space of your studio for the interview today. To start, could you briefly introduce your studio and describe the main principles and values of your work?

KK: Since we established Studio Velocity, we have always wanted to create architecture that is in continuity and relation with the surrounding environment, region, and local culture. This concept evolves over the years, and recently we have been focusing our interest on underground water as a local resource. I have done two projects in the last three years that work with the underground water in the design process. As the last one is in an area near a large river, the underground water is abundantly present, which allows us to integrate a lot of greenery into our design. Once you dig it, you can freely use it for generations, so it will stay as an important local resource.

ZZ: How do you perceive the role of an architect in current and future society? Do you have any concerns about the future of your profession?

KK: The concerns about our profession would be related to a global shift towards a less energy-intensive lifestyle. There is a trend to use as much renewable energy as possible and in relation to this, the Japanese government has announced several policies, such as the mandatory installation of solar panels in Tokyo. It creates many limits and it is a very difficult question of what kind of architectural design we can do in this context. Solar panels should not be shaded, so the relationship between solar panels, trees, roof orientation, etc. will be designed differently from conventional on-grid architecture. For us, it is also important that architecture does not rely too heavily on equipment such as air conditioning as well as on depending on too much building insulation as the new regulations come up. We are interested in using mostly resources provided by nature, natural light, wind, water, shadow cast by trees; we are thinking about architecture that allows people to live comfortably using objects and forms that are as natural as possible.

ZZ: Do you think that contemporary architects also have a role as educators to make citizens concerned about energy efficiency?

KK: I think so. But architects have to work with their clients and if they only educate them, they will not develop a good relationship (laughs).

ZZ: How do you think about the future of architecture and the future of cities? How is this thinking reflected in your work and how does it affect it? How far into the future do you think?

KK: As we talked about the energy efficiency demands for future architecture, I'm thinking about how this goes together with the spirit of Japanese architecture. Historically, wooden architecture has been the mainstream in Japan. Traditional Japanese architecture did not have walls, but used only sliding paper screens called Shoji. That is how close the relationship between the outside and the inside was. I fear that such openness and relationships will be lost in an energy-conscious society.
Also, there is an issue of materiality. Until lately, Japan was dependent on imports of timber from abroad. Recently, the government has been promoting the use of more domestic timber to lower the cost and to support local industry. I think architecture is something that cannot be separated from its land, resources, and industry. For example, a foreign intern told me that concrete is cheaper than wood in Mexico. It is important to choose which material is best for the target site, both in terms of cost and structure.

ZZ: So, do you think that the trends of energy efficiency could actually destroy the spirit of Japanese architecture and its core values? And if you had to choose between the openness or energy efficiency, which way would you go?

KK: Yes, I think so. Architects are worried about such issues, but whether regular people or housemakers are thinking about those values, I don't know. I think the challenge for the future is to find solutions to energy problems while maintaining openness. We have to mix both aspects. If you look at our studio building, it doesn't have a traditional form; structurally, it contains an element of modernism. Its openness through the glass walls is very important, but in this case, it is more about the materiality, as I think two layers of glass in particular are not enough for energy efficiency. In Europe, you have three layers, don't you? But in Japan, material companies have not yet produced three-layer glass. I would like to see those introduced soon as well as high-quality insulation materials with low thickness and high performance.

ZZ: How do you perceive the importance of the architect's influence on the lives of ordinary city dwellers and where does it lead you in your own work?

KK: At first, I would like to ask you, I have heard that in Europe the status of architects is as high as that of doctors and lawyers.

ZZ: I would say that, it depends on the country. I think maybe in Switzerland an architect has quite a high status, but in the Czech Republic not so much.

KK: I see. Japan is the same, the status of architects is not so high and they don't have much power to influence.

ZZ: Lately, some architects in Europe are trying to influence their environment by working from the bottom up, to initiate public projects or to work with local communities. How is the situation in Japan, are architects trying to make an influence from the bottom up?

KK: In Japan, it seems difficult due to budget problems. I think it could be done in university projects, but... For example, Japan has a serious problem with empty houses. There are many projects that involve renovating empty houses and engaging with the local community. It is difficult for architects to manage them after renovation, so if they are managed together with local people, they may be able to have a big influence.

ZZ: As a follow-up to the previous discussion about empty houses, which is the result of the aging and shrinking society, which social aspects do you find most important for architects to think about?

KK: Clients tend to focus only on their own lives, and it is important for architects to design to fit their needs. But it is not enough, because the architecture is part of the cityscape.

ZZ: Let's change the topic now a bit. How does climate change influence your work?

KK: As a response to hotter weather conditions, in our recent projects we are designing Noki (eaves). When you build eaves - an overhanging roof, you create shadows and it is cooler in the summer. Not so long ago, there were many boxlike buildings without eaves. They allow direct sunlight through the openings, which is good in winter but harsh in summer. Also, the relationship between outside and inside is very direct and clear. However, by creating eaves, an intermediate area (the space in between - Engawa) is created and the gap between those inside and outside can be softened. This idea is an old Japanese one and not a new one. At Studio Velocity, we are now interested in using such a space to separate the outside from the inside, not just by windows only.

ZZ: When walking through Japanese cities, we can see that the SDGs (Goals of the UN 2030 Agenda for Sustainable Development) are strongly introduced to Japanese society through advertising campaigns. How do you perceive the influence of the SDGs on Japanese architecture and how do you reflect them in your work?

KK: I believe that we must and should make our architecture compatible with the SDGs. However, there are too many Japanese SDG campaigns and I wouldn't feel comfortable to say that my architecture is SDG architecture. We should think about it, but I don't dare to say it in the media.

ZZ: So, it looks like the effect of the SDGs campaign is actually counter-productive. Could you tell us why you don't want to say so?

KK: I don't know why (laughs), even if we don't use the term SDGs we are still trying to achieve the same goals. As we talked about before, in our work we are concerned about issues like energy efficiency or sustainable water management which resonate with UN goals, but I think we just have different ways of expressing it.

ZZ: Do you see the Japanese public debate on the sustainability and adaptability of cities as sufficient and fruitful? Could you give some specific examples of its outcome?
KK: Probably if you search architectural magazines, you can encounter some. Also at the universities there is some debate going on, but I've never participated.

ZZ: Do you think there should be more public debates?

KK: Yes, I do. Right now, my Chinese student is doing a master's diploma project, and the assignment is to design a museum in the Chinese countryside. But a museum in a distant place will probably not be visited by anyone in a few years. I think it will not be sustainable if the architecture does not focus on the locals and the people who move there, rather than only on tourists. These issues can be found in academic debates, which I think is important.

ZZ: What are the possibilities and limits of Japanese architects in creating ecological/sustainable architecture?

KK: As in the story of China, architects can only design buildings, but if they don't get more involved in urban development, they will disrespect the people who settle there. Especially in Japan, architects have a lot of restrictions, so they have to cooperate with other professions, such as other town planning specialists and the government. Or the other thing is, as you said earlier, we should work together with the local community. In that case, grants are inevitably needed, but there is only so much an individual can do. So, I think we will also need the cooperation of the city and the state.

ZZ: In the eyes of Europeans, Japanese architecture has a very close relationship with nature. Where, in your opinion, do these roots lie? And is this relationship about ecology and sustainability?

KK: Europe used to build walls of stone with small openings. However, traditional Japanese architecture was wooden with large openings and a close relationship between the outside and the inside. Perhaps the difference in the original materials is the root of the closeness to nature in Japan.

ZZ: How do you perceive the role of public space in contemporary Japanese cities? How do you include it into your design process?

KK: I respect European public spaces. In Europe, you see cobblestone pavements, but in Japan, the streets and paths are made of asphalt and designed for cars and not for people. There are parks in Japanese cities or small playgrounds, but they do not provide many options to play. Also, I don't see much pressure from the public or architects debating about the quality of public spaces in Japan. But in some of our projects, for example the one working with the underground water, we also designed a semi-public space where we work with the greenery and retention of rain water. This could be useful for locals in case an earthquake damages the water infrastructure.

ZZ: Do you use methods of participation/communication with the public or the local community in your work and how do you perceive this method in the context of Japanese society?

KK: We haven't had many opportunities in our projects to try such methods, but I recently designed a housing complex. Different people will start living in this housing complex, although the surrounding community does not participate. The kitchen, laundry, sauna, and working space are shared, and we designed it so that residents can easily build a community.

ZZ: What would you recommend to the upcoming generation of architects - students of architecture, what topics should they focus their attention on?

KK: Hmm, I can't tell the students the difficult things we have talked about (laughs), because teaching architecture is very time-consuming, so I think I would teach them the simpler things. I teach on a case-by-case basis, depending on the student, from big things like programmes, zoning, and surroundings, to small things like materials and form. I also often tell my students to "design the interior and the exterior at the same time". For example, garden space and zoning should not be designed afterwards, but at the same time as the architecture.

ZZ: Thank you very much for your time and for sharing your ideas with us!