Discovering new values to open up the twenty-first century through the works of seven architectural practices active at the “GLOBAL ENDS”.

Creating an architecture that had an explicit relationship with the experience of being in the city was very important to me. The idea of the city, and the richness of city experience, always give the most important clue in terms of how I establish the spatial construction of a project.—David Adjaye

The beauty of “naked” structure and material, given life by the hands of contemporary craftsmen—here Yoshiji Takehara’s quest for the space of a “Naked Architecture” reveals itself.

Kengo Kuma is a continually-evolving architect. His avowed aim today is to create that which is organic. What does he mean by organic? Large models of two recent projects—Besançon City Arts and Culture Center and Granada Performing Arts Center—will be on desplay.

In the exhibition, we are scheduled to display many sketches from the sketchbook that Campo Baeza always carries with him, as the source of his ideas, and abundant photos of his completed works and works in progress within an installation making full use of “the light” that symbolizes his architecture.

The number 20 has a certain mystical quality. Ise Shrine is reconstructed every 20 years, and Tokyo itself is rebuilt on almost the same 20-year cycle. Fashions seem to come back into vogue every 20 years, and it is 20 years since Astrid Klein and Mark Dytham arrived in Japan, fresh from the Royal College of Art.—Astrid Klein, Mark Dytham

Architect Tadao Ando’s Exhibition. “Row House in Sumiyoshi” will be shown in a full-scale model.

Glenn Murcutt, a master in the contemporary architectural world. A broad introduction to a sustainable architecture responsive to the land of Australia.

In this exhibition, he has creates two tea ceremony rooms. One is made from “steel”, and amazingly, the other is made from “water”. He will be showing his unique design methods through these traditional Japanese minimal spaces.

Why am I based in China? It’s because I am able to make things. Not only are there many opportunities for work, the situation there is different from Japan.—Keiichiro Sako
Unchanging, unmoving, I want to make the kind of place that will always be the same whenever I go there. Having begun to work like this in China, I thought deeply about it.—Hironori Matsubara

In this exhibition, we would like to introduce three projects that we happened to get involved with, all of which are now underway. Each site has a completely different culture and climate. What they have in common is a “huge lot.” (Kazuhiro Kojima + Kazuko Akamatsu/CAt)

The exhibition will feature seven of his representative works, including his latest works, that have a differing “context” and “nature of work.” It will show Siza’s approach in the design of each work and introduce his universal and poetic space quality that is given shape in each work.

We want to make lively space. Together with the inhabitants, we want to put into practice lively space through the design of architecture. What kind of actors will support lively space? What kind of architectural imagination attracts leaders who will put into practice lively space?—Atelier Bow-Wow

I believe what I am doing is searching for a form unique to the site. The conditions are entirely different for each architectural project. The configuration of the site is different, and the nearby environment is different. The climate and vegetation of course are also different, as are the client and the program. I believe what I am doing is searching for a form that is effective only under the unique set of conditions.—Manabu Chiba

Teruaki Ohashi died just as he was reaching the peak of his powers. More than ten years have passed since then. Those who began to design furniture in the meantime may not be familiar with his achievements. His professional journey, which was lengthy despite his untimely death and characterized by both great delicacy and boldness, are full of hints and lessons for us.—Koji Taki

Luminosity/Porosity investigates aspects of porosity and light, the fusion of architecture, urbanism and landscape and ultimately the fusion of matter and spirit.—Steven Hall

Architecture is a device for triggering behavior in individuals and society. To create buildings that are easy to understand, comfortable and capable of suggesting new values may be the responsibility of any architect, but we have chosen to make that our explicit goal in our practice.—Takaharu and Yui Tezuka