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Journal of Chinese
Architecture and Urbanism The life and work of Arata Isozaki

3.2. Architecture as an inherently urban discipline is, indeed, how the buildings might appear to the visitor at

Considering his writings about the production of new first glance. However, any user would appreciate buildings
urban constellations, Isozaki refers to earlier utopian ideals, also being socially engaged and user-friendly besides
such as Wright’s Broadacre City (1932), Le Corbusier’s being a sculptural statement. While Isozaki’s compositions
Radiant City (1930), and Ungers’ and Koolhaas’ Green were shaped by simple and visually calm forms – giant
Archipelago City (1977). He understood architecture as prism-shaped gallery spaces and spherical-shaped parts
an inherently urban discipline. What also stands out was arranged with great order, like children’s building blocks,
Isozaki’s interdisciplinary approach: the ease with which organized across a site (such as at MOCA in Los Angeles
he moved between the disciplines, from urban design or the Art Tower in Mito) – Isozaki’s capacity to invent
to architecture and fashion design, from graphics and new forms was remarkable. Here, it is important to note
furniture to stage design – all of which influenced his ideas that these compositions were not anti-functional, but able
and thinking well beyond the field of architecture (Isozaki, to resolve the organizational problem in a floor plan while
1998; Isozaki, 2006a). simultaneously creating interesting solutions in section
and elevation. Just like Bernini and Borromini before him,
The powerful but geometrically simple formal at the beginning of the Baroque era, he challenged the
repertoire in his work always stunned me. He displayed boundary between sculpture and architecture. Regarding
a unique capacity for strong figure-ground compositions this observation, Joseph Giovannini wrote: “Not since
that declared architecture to be a compositional art, a the French architectural visionaries of the 18 century
th
celebration of willful formal expression, and a reminder have an architect used solid geometric volumes with such
of the urban possibilities that large buildings could offer. clarity and purity and never with his sense of playfulness”
He frequently spoke about “buildings composed like (Giovannini, 1986, p. 3).
paintings” and mentioned the collages of Spanish Cubist
painter Juan Gris. Isozaki demonstrated that architecture is The interiors of Isozaki’s concert halls and cultural
something to be composed, elaborated on, and celebrated, buildings were equally striking: here, he frequently used
with unique ideas of space, which were then turned into a optical illusion, with curved or mirrored glass and printed
special atmosphere, generated by elegant theatrical spaces patterns on glass, creating enigmatic optical distortion,
and extraordinary stage-like settings. With close attention and ensuring a full sensory experience in the elegant entry
to proportion, the conceptual originality for powerful foyers – we can see this in the entrance hall at Gunma
designs would join strong geometric forms asymmetrically, Museum, the Tsukuba Center Building, and Kyoto Concert
such as juxtaposing a cylinder with an exact cube or a Hall. These sublime theatrical spaces quickly became his
half-cylinder, with exquisite refinement and complexity trademark.
of detail. Expressing geometrical rigor, order, and clarity
were crucial for each project. The level of attention devoted 4. From Post-Modernism to Curatorship
to every detail, the willingness to search for the “perfect” 4.1. The Triumvirate of Post-Modernism: Isozaki—
materials, and the obstacles overcome to achieve perfection Hollein—Stirling
– all of these are the hallmarks of his working method and
devotion to perfection and beauty. One critic put it this Besides all his monumental playfulness, symbolic
way: “What is most impressive about Isozaki is his ability messages, and postmodern freedom, Isozaki was also a
to put together the basic building blocks out of which we romantic architect, rooted in history: a tendency that could
make architecture, and then to twist them, sometimes also be seen in the work of Hans Hollein (1934 – 2014) and
quite literally, to create a composition or sometimes just James Stirling (1926 – 1992). A tendency, which would
an icon. And along the way, he erodes the certainty about later be termed by Charles Jencks as “post-modernism”
what the building is or how it is organized, or even why it (1984). For instance, the Staatsgalerie Stuttgart designed
is” (Betsky, 2019). by Stirling (1977 – 1984) and Hollein’s Museum Abteiberg
(1972 – 1982) are two masterpieces with a fondness for
His search was about an unbroken idea of beauty. It was stage-like allusions. Both iconic structures became some
a time without limitations and fear. Today, we ask if we are of the most published examples of the trend. These
allowed to propose or say that. Whom could I offend? Who buildings were not unlike Isozaki’s “newly built ruin” of
is going to correct me now? We all mourn this time and the Tsukuba Center (1979 – 1983): an entire new civic
are sad that there are fewer and fewer people who have the center, heavily referencing architectural history and
courage to stand by what they think and say. consisting of cubist-like compositions of memorable
The idea of composing buildings as pure objects rather fragments. Tsukuba was a collage of eclectic references
than socially engaged architecture is persuasive because it ranging from Michelangelo to Borromini, Piranesi and

Volume 5 Issue 1 (2023) 5 https://doi.org/10.36922/jcau.353