Mutsue Hayakusa (早草 睦惠), architect

In 2009, I was writing a feature on "up-and-coming" architects. One of the "young architects" I contacted was Mutsue Hayakusa (she was around 40 at the time, which is young or an architect). She agreed to do an interview by email.

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Liddell: As a "young architect," how has the environment changed for you since the Bubble?

Hayakusa: The amount of architectural building projects has been reduced by budget cost-cutting. Also the advent of internet and computer graphics technology has allowed us to have more opportunities to easily view various existing designs. As a consequence, we have less opportunity to view fresh ‘new feel’ architecture.  

Liddell: The period before the Bubble seemed to create a lot of showy architecture. Even Kenzo Tange’s buildings – like the National Gymnasium in Yoyogi – seemed designed to gain attention for the architect rather than serve their purpose. How do young Japanese architects now feel about the generation of architects of the post-war Bubble period - Tange, Kurokawa, Isozaki, Ando, etc.?

Hayakusa: The works by Tange, Kurokawa, and Isozaki, which were built during the rapid growth of the Japanese economy, between the mid-1950s and 1970s are representative of the excellent buildings of the period, which have timeless appeal rather than the buildings made after the Bubble. Ando started to design just before the Bubble, but he tried to keep his works apart from the features of this period, even in mid-Bubble. His attitude to his works contributed to his current world status. The historical post-war period up to the Bubble is meaningful since it allowed architects to establish clear design features and create excellent architectural buildings.
    

Liddell: Who do you regard as the leading architects of the post-Bubble period? Why are they important?

Hayakusa: I regard Kuma Kengo and Ban Shigeru as the leading architects of the post-Bubble period because their methods of designing their concepts, through editing and control of information, conditions and restrictions are extremely flexible, which gives them strong power. Also they are precision architects, suitable for the modern situation. 
   

Nasunogahara Harmony Hall (1994)

Liddell: Like many architects today, your designs seem to deal with architectural problems of space, location, function, and blending in. There is no attempt to make something that is just eye-catching. Do clients now realize that ‘eye-catching’ design is ugly design because it becomes dated quickly?

Hayakusa: My clients expect me to build appropriate designs for the life of their buildings and this tendency has gradually increased. Also, the high awareness of environmental issues has removed the value from design that is just eye-catching.

Liddell: By focusing on the essentials of architecture – space, location, function, and blending in – do you think you are creating a more classic and timeless architecture?

Hayakusa: I do not mean sustainable design is just classical and standard design. Sustainable design over an extended period should meet various architectural requirements such as enduring quality over a long period and allowance for future changes.

Liddell: What things inspire you? What influenced your approach to architecture?

Hayakusa: I am inspired from elements of nature, ecology of plants and nature’s formative beauty. Also I am influenced from the whole of Japanese culture, which has developed with respect of nature at its core.  

House of Trees, Karuizawa (2010)

Liddell: Can your architecture be described as Japanese? Or does it have Japanese elements?

Hayakusa: Yes. My architecture can be described as Japanese. The Japanese cultural specific features start from respect of nature. The Japanese spiritual background is based on the "floating world" outlook, which always changes and keeps moving. The western cultural value is based upon the whole design and the unification of the geometrical features; the Japanese traditional culture gives priority to the idea that things are identified in accordance with the time order. Therefore, my architectural features often contain movement inherent in the design, where floating space based on human movement are considered and are based on the above-mentioned Japanese spiritual background. 

Liddell: The trend in architecture in Japan seems to be towards quiet, elegant buildings that fulfil their function and harmonize with their neighbours. Do you agree?

Hayakusa: Yes, I agree. Japanese buildings are more remarkable in that tendency than other countries. 

Liddell: Your designs seem to recognize human needs and moods. Could your architecture be described as “emotional architecture”?

Hayakusa: Yes, very definitely.

Liddell: With Villa Kaleidoscope (above) you seem to integrate the exterior environment with the interior by using angled mirror-clad walls to bring the exterior scenery into the house. In a sense, it feels like the house is part of the forest. Why did you decide on this design?

Hayakusa: I decided on this design, because I respect the beautiful nature in Karuizawa, where Villa kaleidoscope is located. I wanted to make space, where residents can harmonize with nature even inside rooms and not be standing face to face.  

Liddell: How different is it working in the city and the country? What are the different challenges? How do you meet them?

Hayakusa: The feeling for distance from nature is different in the city and in the country. My designs built in the country aim to harmonize the building with nature, while my designs built in the city aim to create new nature around the buildings.