Past Exhibitions
November 22―December 22, 1990
Exhibitor: Atsushi Kitagawara
The Exhibition features three walls, their surfaces riddled with nearly fifty peep holes. Through them, one can glimpse fragments of Kitagawara’s concepts. In the center of the exhibition space, more fragments of his architecture can be seen floating sealed within seven transparent plastic cubes.
November 6―November 20, 1990
Exhibitors: Takefumi Aida, Amorphe, Kazuhiro Ishii, Osamu Ishiyama, Kan Izue, Toyo Ito, Shigeru Uchida, Yasufumi Kijima, Toshiyuki Kita, Atsushi Kitagawara, Yasuo Kondo, Seizo Sakata, Edward Suzuki, Shin Takamatsu, Kunihiko Hayakawa, Itsuko Hasegawa, Tadanaga Miyamoto, Kiko Mozuna, Shoei Yoh, Kijo Rokkaku

Venue: TOTO Super Space
In the five years since its opening, GALLERY·MA has held some forty-two exhibitions, a striking average of seven to eight events per year. This retrospective exhibition features models of the work of some twenty past contributors.
October 18―November 13, 1990
Exhibitor: Seizo Sakata+Sakakura Associates Architects and Engineers
24 architectural models have been fixed atop 24 wood columns, systematically placed equidistant to one another. Every 24 curved model has been designed to give the appearance of each project.
September 11―October 8, 1990
Exhibitor: Makiko Minagawa
Textile designer Minagawa is principally known for her work in designing fabric materials. In this exhibition, the display space is set up unlike any others in the past.
June 22―July 26, 1990
Exhibitor: Morphosis (Thom Mayne, Michael Rotondi)
As suggested by its title, this exhibition features a straight presentation of the group’s activities. The metal and wood object places at the center of the exhibition space is specially designes display device.
May 11―June 14, 1990
Exhibitor: Yasuo Kondo
The exhibition area is divides up into a number of different sections consisting of varying spaces which are linked together in a kind of labyrinth. As one passes through the labyrinth, each step into a new space erases one’s memory of the previous space.
March 27―April 28, 1990
Exhibitors: Aldo Rossi, Gaetano Pesce, Ettore Sottsass, Shiro Kuramata, Shigeru Uchida, Ikuyo Mitsuhashi
This is a joint exhibition of the work of the designers who participated in the planning of the Hotel Il Palazzo. Inside the gallery are partial models of each space, while outdoors is featured a complete model of the hotel’s facade.
February 16―March 17, 1990
Exhibitor: Tadanaga Miyamoto
This exhibition focuses Miyamoto’s architecutural achievements during his more than a decade of work on “the Obuse Landscape Restoration Project” (1975–90). Displayed in chronological order on a large, curved wall which passes through the interior and exterior of the gallery is story of the project’s genesis.
November 17―December 16, 1989
Exhibitor: Shigeru Uchida
This exhibition, entitled SHIKIMI, or threshold, features three teahouses, each design according to the concepts of “shin”,“gyo”, both of which are exhibited indoors, and “so” exhibited outdoors.
October 12―November 11, 1989
Exhibitor: Bernard Tschumi
Drawings are arranged systematically on the walls. Lying in the center of the gallery is a red painted object serving as a base. Models are fixed to its sharply cut, angled surface, themselves tilting at an angle to produce a sense of direction and speed.
September 5―October 4, 1989
Exhibitor: Sei Takeyama+Amorphe
The work of Sei Takeyama and his colleagues depicts the chaos of the contemporary city. The indoor exhibition features an almost amorphous collection of different works.
August 21―August 30, 1989
Hiroshi Ohe undertook to produce architecture during one of the most tumultuous periods of its modern development, nearly isolating himself in his struggle to preserve an independent style.
June 15―July 20, 1989
Exhibitor: Tadao Ando
This exhibition focuses on Ando’s two works, “Church on the Water” (1988) and “Church of Light” (1989). Painted in white, the exhibition space has been designed to reproduce the original work’s atmosphere of refinement.
May 8―June 7, 1989
Exhibitors: Kim Ki Seok, Joe Sung Yong, Kim In Choul
This is a joint exhibition featuring the work of three leaders from the so-called third generation of contemporary Korean architects, Kim Ki Seok, Joh Sung Yong, and Kim In Choul.
March 27―April 26, 1989
Exhibitor: Itsuko Hasegawa
The exhibition makes a sensitive distinction between the use of indoor and outdoor space. The indoor exhibition features only Hasegawa’s main work, “Shonandai Culture Center” (1989).
February 23―March 20, 1989
Exhibitor: Toshiyuki Kita
Some people maintain that the shape of furniture never changes. Kita, however, has shattered this notion marvelously. The form of Kita’s furniture is designed to change shape freely depending on the purpose for which it is being used.
January 17―February 16, 1989
Exhibitor: Yasufumi Kijima
Both the indoor and outdoor space of the gallery are used to present the concept of the dome. In the outdoor display, a hemispheric space is created using a combination of acrylic frames. Visitors can experience an actual dome space within this hemisphere.
November 16―December 20, 1988
Exhibitor: Kijyo Rokkaku
Placed at the center of the exhibition are four massive pieces of furniture, entitled “Denka no Hoto.” Hidden within each piece of furniture are Rokkaku’s aspirations and memories of the past, present and future.
October 11―November 9, 1988
Exhibitor: Rem Koolhass
Plans are arrayed systemicatically across the surface of the floor. Models hang suspended from above. Colored drawings decorate the surrounding walls. Contrary to expectation, the orthodox arrangement of this exhibition actually provides visitors with a fresh look at Koolhaas’s work.
September 5―October 4, 1988
Exhibitor: Kan Izue
This exhibition makes extremely sparing use of conventional display materials such as models, photographs, drawings, and plans. The space itself has been created exclusively to convey the special quality that permeates Izue’s architecture.
June 15―July 20, 1988
Exhibitor: Edward Suzuki
Suzuki’s works are presented in sequence to suggest the shape of his past, present, and then future development. A walk around the exhibition area gives a clear picture of the architect’s development, featuring childhood sketches as well as assignments completed as a student.
May 10―June 8, 1988
Exhibitor: Hiroshi Awatsuji
Each one of eight respective motifs printed upon cloth by the artist stands independently. The display is organized to produce a spacial opposition between interior and exteior.
March 18―April 16, 1988
Exhibitor: Takashi Sugimoto
The entire exhibition space has been converted into one of Sugimoto’s works. “Lines” consisting of acrylic pipes devide the space in two. An entirely different space emerges in the narrow space lying between these “Lines” depending upon the angle from which of they are viewed.
February 8―March 12, 1988
Exhibitor: Kikoo Mozuna
A large shelter occupies the center of the exhibition, representing a sort of cosmic space, the interior of which symbolizes the dim space within the human womb. In the corner of the gallery’s interior, an extremely large egg has been placed, a seed representing the origin of all things. This egg, the root of life and the source of creation, has been stamped by Mozuna’s past memory or genes.
December 4, 1987―January 23, 1988
This exhibition commemorates the publication of the 100th issue of the Takenaka Corporation’s PR magazine “APPROACH” (founded in 1964) published under the art direction by Ikko Tanaka with cover photos by Yasuhiro Ishimoto.
October 14―November 20, 1987
Exhibitor: Vittorio Gregotti
Gregotti has been active in a wide range of fields, from architecture to urban planning, industrial design, and graphic design. This exhibition displays models, plans, and sketches of fourteen of his projects.
September 1―October 2, 1987
Exhibitor: Takefumi Aida
This exhibition displays twenty-two of Aida’s projects, mainly residential, from over a period of fifteen years. Aida’s architecture always possesses a strong sense of theme.
June 4―July 18, 1987
Exhibitor: Masayuki Kurokawa
This exhibition displays Kurokawa’s designs in four categories: faucet, wrist watches, lighting and stationery. Kurokawa, who works as product designers as well as an architect, believes things possess the same quality as structures in so far as they comprise a kind of space of their own.
April 23―May 26, 1987
Exhibitor: Shoei Yoh
This exhibition displays thirteen of Yoh’s projects, ranging from his residential works such as “House with Light Lattices” (1981) and “House with Cross of Light” (1985) through his large-scale wood truss structures such as “Oguni Dome” (1988).
March 10―April 10, 1987
Exhibitor: Shin Takamatsu
This exhibition features twenty-nine of Takamatsu’s works spanning the ten-year period from 1977 through 1987, includeing “Orijin I, II, III” (1981, 82, 86) and “Week” (1986) and “Kirin Plaza” (1987).
January 21―February 28, 1987
Exhibitor: Motomi Kawakami
This exhibition presents fifteen examples of Kawakami’s recent works. The exhibition space is designed to convey a sense of the multiple spheres in which this interior designer is active.
November 17―December 20, 1986
Exhibitor: Toyo Ito
This exhibition focuses on seven of Toyo Ito’s more notable projects, include “Silver Hut” (1984), “Restaurant Nomad” (1986), as well chairs and tables he has designed using aluminum mesh.
October 7―November 8, 1986
Exhibitor: Helmut Jahn
This exhibition displays eighteen of Jahn’s principal works, from his “State of Illinois Center” (1985) through the present. Visitors might feel somewhat overwhelmed by the space, the power of its large-scale towers.
September 1―September 25, 1986
Cooperation: Kiyonori Kikutake, Ikko Tanaka, Takashi Sugimoto
It was in Shibuya, Tokyo, a bustling center known for its throngs of young people, that “SEED” was born, the commercial space development centering around the Seibu Department Store. The concept behind SEED was not its function as a facility. Rather, it was an attempt to create an organic, complex image that could anticipate the shapes and strategies of commercial space in the years to come.
August 18―August 27, 1986
This is a memorial exhibition dedicated to one of modern Japanese architecture’s great masters, Kunio Mayekawa. Mayekawa is revered in the Japanese architecture world for his devotion to the cause of modernist architecture.
July 7―August 6, 1986
Exhibitor: Kunihiko Hayakawa
This architect has focused himself on the “landscapes that architecture produces” within it’s relationship to the city. This exhibition presents private and communal residential projects that have been based in this concept.
June 10―July 3, 1986
Exhibitor: Osamu Ishiyama
This exhibition features models, photographic panels and drawings of eighteen of Ishiyama’s main projects, such as his debut work “Gen-an” (1975), and his later “Egg-shaped Dome” (1981) and “A Series of Works for Matsuzakicho” (1985).
May 9―June 6, 1986
Exhibitor: Yusaku Kamekura, Motoo Nakanishi (PAOS)
Japan’s largest private corporation, NTT was established in 1985. NTT therefore held a competition in which six companies competed for the chance to take on the new companies CI project. In the end, the proposal by PAOS (Motoo Nakanishi)+Dentsu was awarded and graphic designer Yusaku Kamekura was asked to design the company’s core logo by PAOS.
April 9―April 22, 1986
This exhibition brings together the first place winners in postwar Japan’s most important state-sponsored open architectural competitions. It features the “Four Great Competitions” which captured the attention of the Japanese architecture world namely, the plan for “National Diet Library”, “National Theater”, “Kyoto International Conference Hall”, and “Japanese Supreme Court”.
February 13―March 26, 1986
Exhibitor: Kazuhiro Ishii
This exhibition presents a comprehensive survey of fifteen years of Ishii’s work. Beginning with “Naoshima Kindergarten” (1974), and extending through “Chrysler House” (1987), it centers on twenty-three models of residential architecture displayed so densely that they almost overlap with each other.
October 25―November 30, 1985
Exhibitor: Frank O. Gehry
The exhibition covers a range of his works, from “Loyola School of Law” (1981), “California Aerospace Museum” (1984), through residential projects such as “Peterson Residence” (1984).