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#53 December 11, 2023
I’ve held a big exhibition in Venice for the first time in 28 years. For me, Venice means a lot and I have many fond memories of the city. In 1995, I was invited as an artist to the Venice Biennale 1995 – not to the Architecture Biennale, but the Art Biennale, which turned out to be the starting point of my working abroad. At that event, I filled the entire floor of the Japan Pavilion with water, and declared that we would retrieve the "materiality" of architecture.
Twenty-eight years later, I’ve held a solo exhibition at the Palazzo Franchetti on the Grand Canal with the theme of “onomatopoeia.” I use onomatopoeia as a key tool when designing architecture. Starting with such expressions as “para-para” meaning “flaky”, or “fuwa-fuwa” - fluffy, I chose 13 kinds of onomatopoeia that I commonly use, we exhibited some of the architectural works that embodied my concept, while manufacturing two new pavilions for the event. I began my career aiming to “discover materials”, and had always been in search of ways to create conversations between human bodies and architecture. As a result of the journey, I’ve landed on a rather primitive language called onomatopoeia. Having gone through the Corona’s physical crisis to humans, I feel I am beginning to understand how to design those conversations.


ProjectsButrint National Park Visitor Center

ProjectsWorld Heritage and Pyrenees National Park House in Gavarnie

ProjectsHyatt Centric Kota Kinabalu

ProjectsNew Hans Christian Andersen Museum
