Past Exhibitions
December 8, 2005―February 25, 2006
Supervisors: Kazuhiro Kojima, Manabu Chiba
Project Collaborators: Takeshi Ishido, Satoru Komaki, Masayuki Fuchigami
To mark its 20th anniversary, GALLERY·MA is holding an exhibition and lectures and issuing an accompanying commemorative publication. The house has long been regarded as the origin of architecture.
Makoto Koizumi: Ku Ra Si Go To
September 15―November 12, 2005
Exhibitor: Makoto Koizumi
In this exhibition, I hope that by bringing together “tools” born out of such feelings and re-editing them, I will be able to communicate to viewers the relationships surrounding the tools. The title of the exhibition, “KuRaSiGoTo”, is a portmanteau word made from kurashi (life), shigoto (work) and koto (circumstance)—three elements of everyday life. I think of it as suggesting both the cumulative effect of the work I have done designing tools for everyday life and the direction of my future activities.—Makoto Koizumi
Mutsuro Sasaki: Flux Structure
June 1―July 30, 2005
Exhibitor: Mutsuro Sasaki
The shape design techniques I am advocating are the Sensitivity Analysis method and the Evolutionary Structure Optimization method. These involve generating rational structural shapes within a computer by using the principles of evolution and self-organization of living creatures from an engineering standpoint. I am currently experimenting with the initial applications of these methods to create new architectural structures. One example of their practical application is in Free-curved Surface Structures, and another is in Flux Structures.—Mutsuro Sasaki
Hitoshi Abe: Body
March 9―May 14, 2005
Exhibitor: Hitoshi Abe
The essential forms (wall/surface typologies) of six projects have here been sliced into fragments. Detached from program, texture, scale, and environment, these fragments of architecture have been arrayed to generate a new space for visitors. This exhibiton is not confined to simulation and representation, but is a place for direct dialogue between body and form.—Hitoshi Abe
Hiroshi Hara: Discrete City
December 2, 2004―February 19, 2005
Exhibitor: Hiroshi Hara
In the end of the year 2003, the was built in Montevideo, the capital city of Uruguay, South America. It was then opened and displayed for many people living in the city. This has two meanings. Firstly, it is a house, which the dwellers can build by themselves. This is a small message for the overflowing people in the city without a place to live, which is happening all round the world. Secondly, this challenge envisions the .—Hiroshi Hara
Angelo Mangiarotti: un percorso, MA un incontro
September 10―November 13, 2004
Exhibitor: Angelo Mangiarotti
Co-sponsor: Angelo Mangiarotti Associates
GALLERY·MA is presenting an exhibition by Angelo Mangiarotti, a Milan-based architect who has been engaged in wide-ranging creative activity in the fields of architecture, design, and sculpture for about half a century. Please take this opportunity to enjoy the modern creativity of Italy, the kingdom of design, through the large number of works brought from Mangiarotti’s studio in Milan, actual-size models made by the precast method, an interview video, and other materials.
Taira Nishizawa 1994–2004
May 22―July 24, 2004
Exhibitor: Taira Nishizawa
As an architect working in a place that repeatedly constructed and destroyed buildings to the very end of the twentieth century, I decided to compile in a single volume and to exhibit ideas that would not have emerged had I not been engaged in actual practice.—Taira Nishizawa
Seung, H-Sang & Yung Ho Chang: East Asian Architecture: Beyond the Border
February 28―May 1, 2004
Exhibitors: Seung, H-Sang, Yung Ho Chang
Direction: Shin Muramatsu
The traditionally distinctive architectural worlds in this region, with more than two thousand years of history, are finally coming together as one. What connects Seung H-Sang from Seoul and Yung Ho Chang from Beijing is the fact that each represents most actively this emerging common East Asian architectural sphere. These two architects, who are marked by a mobile stance and individual talents that go beyond national boundaries, as well as by the long history of their respective architectural cultures flowing through their bodies, met in Osaka, collaborated in Beijing and Seoul, and now meet here again in Tokyo.—Shin Muramatsu
Teiichi Takahashi/Daiichi-Kobo Associates
November 22, 2003―February 7, 2004
Exhibitor: Teiichi Takahashi
I believe that face-to-face encounters between those who create works of architecture and all those who have anything to do with those works have been necessary in all ages to forge close ties between architecture on the one hand and people and society on the other. I hope to those beliefs, even as I reflect on, and feel some small measure of satisfaction with respect to, the works presented in this volume.—Teiichi Takahashi
The Future and MUJI
September 13―November 8, 2003
The goal of MUJI has continued to be the provision of basic, universal products for everyday life. There has been no change in its philosophy, which is rooted in the aesthetic of Japanese life and places value on fundamentals. In 2003 MUJI began to take that idea overseas. This exhibition is both a confirmation of MUJI’s commitment to its basic philosophy and a presentation of its new vision.
Kazuyo Sejima+Ryue Nisizawa/SANAA
May 24―July 26, 2003
Exhibitors: Kazuyo Sejima, Ryue Nishizawa
SANAA’s entire body of work since it began its activites in 1995 will be published in one book; new projects currently underway will be introduced in an exhibition.
Riken Yamamoto: Thinking While Creating / Creating While Using
February 15―April 26, 2003
Exhibitor: Riken Yamamoto
When you try to create a building, you begin to see things. For example, the people who will use or manage the building, the local residents and the character of the locality. Those things are by no means obvious to you from the start. You do not know in advance what the people and the place for which you are trying to create a building are like. Those things become apparent to you only through the relationship they may have to the building. I think that is generally the case.—Riken Yamamoto
Konstantin Melnikov 1920s–1930s
October 19―December 21, 2002
Direction and Space Design: Rishat Mullagildin
Melnikov’s representative works were built in an era after the socialist revolution when forms overturning established architectural principles were being created at an unprecedented rate in the Soviet Union. However, he was far in advance of the trend of the period, formally and conceptually. His works were always innovative and original.—Rishat Mullagildin
GALLERY·MA 100th Exhibition: Architecture of Tomorrow
September 3―October 5, 2002
Exhibitors: Jun Aoki, Aterier Bow-Wow, Hitoshi Abe, Osamu Ishiyama, Arata Isozaki, Toyo Ito, Waro Kishi, Kengo Kuma, Kazuhiro Kojima/C+A, Kazuo Shinohara, Kazuyo Sejima, Masashi Sogabe, Manabu Chiba, Design Neuob, Hiroshi Naito, Ryue Nishizawa, Itsuko Hasegawa, Hiroshi Hara, Sou Fujimoto, Terunobu Fujimori, Hironori Matsubara, Satoru Yamashiro, Riken Yamamoto, Yasutaka Yoshimura
GALLERY·MA created a place where architects of different generations, from those in their 30s to those in their 70s, could come together and think about the architecture of tomorrow. Trends develop so rapidly today that there is little time or opportunity for members of different generations to share their views; this was an attempt to reexamine our awareness of the issues within a larger framework.
May 18―July 19, 2002
Exhibitor: Nobuaki Furuya
Architecture is of value to me as a framework through which to consider the world. The construction of architecture provides an opportunity to observe society, encounter people and understand nature. In addition to presenting scattered fragmenary notes collected from various sources, I hope to indicate here a process for generating architecture.—Nobuaki Furuya
February 23―April 27, 2002
Exhibitor: Koh Kitayama
A work of architecture is a point of singularity in the sea of circumstances prevailing today. A different interpretation of the situation can lead to the conception of a new relationship between human beings and space in that small point of singularity called architecture. A series of points of singularity may even be able to alter our perception of a situation that seems unalterable.—Koh Kitayama
November 16, 2001―February 2, 2002
Exhibitor: Kazunari Sakamoto
I have come to think that my desire is to free the space of architecture from several frames. It’s also that I have come to seek a space of freedom that has not yet been seen. This type of space will release our bodies and spirits from various binds, and make possible its own communication to the world. This space, however, is not within a special place or a special time. I have come to believe it is a place within the continuation of ordinary time.—Kazunari Sakamoto
June 9―August 10, 2001
Exhibitor: Kazuhiko Namba
The word “box” usually conjures images of closure. However, to me a box is a primary place grown out from a space where there was nothing. To make space into a building, we must utilize some kind of substance to construct a box. To turn box into a place, the number of substances should be kept to a minimum, and what substances there are should be used effectively. My series of the Box-Houses began as an attempt to achieve that objective.—Kazuhiko Namba
April 12―May 26, 2001
Planning and Producition: Team Ⅲ/Tadao Ando Laboratory, Department of Architecture, Graduate School of Engineering, the University of Tokyo
Direction: Tadao Ando, Manabu Chiba
This project examines Le Corbusier through his houses. Widely recognized as the greatest architect of the twentieth century, Le Corbusier engaged in a broad range of creative activities—city planning, achitecture, painting, sculpture, writing and editing—but had an abiding interest in houses. The exhibition is an attempt to get as close as possible to the real Le Corbusier as opposed to the main about whom so much has already been said and written.—Team Ⅲ
January 20―March 24, 2001
Exhibitor: Arata Isozaki
One day, I realized that throughout the world unbuilt projects have become the sole subject of discussion among architectural historians. Paradoxically, unbuilt projects—projects that are unbuilt, that are never expected to be built, that are not intended to be built or that in no way can be built—have come to consitute architectural history.—Arata Isozaki