The Journal of Architecture ISSN: 1360-2365 (Print) 1466-4410 (Online) Journal homepage: https://www.tandfonline.com/loi/rjar20 The uncanny side of the fairy tale: post-apocalyptic symbolism in Terunobu Fujimori's architecture Hyon-Sob Kim To cite this article: Hyon-Sob Kim (2016) The uncanny side of the fairy tale: post-apocalyptic symbolism in Terunobu Fujimori's architecture, The Journal of Architecture, 21:1, 90-117, DOI: 10.1080/13602365.2016.1142464 To link to this article: https://doi.org/10.1080/13602365.2016.1142464 Published online: 18 Feb 2016. Submit your article to this journal Article views: 598 View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rjar20 90 The Journal of Architecture Volume 21 Number 1 The uncanny side of the fairy tale: post-apocalyptic symbolism in Terunobu Fujimori’s architecture Hyon-Sob Kim Department of Architecture, Korea University, Seoul, Republic of Korea (Author’s e-mail address: [email protected]) Having first established himself as an architectural historian, Terunobu Fujimori (b. 1946) is now more famous for his design work than for his academic publications. He has even been praised as ‘the most influential architect in Japan’ by the critic Kenjiro Okazaki (2006). Fujimori’s popularity is attributable in particular to the fairy tale-like image of his architecture, which tends to appear playful as well as natural and nostalgic. However, this research focuses on the other side of the ‘fairy tale’—specifically, the strangely unfamiliar, even unsettling, feeling that his architecture evokes. Using Freud’s and Vidler’s notions of ‘the uncanny’ for analysis, this study identifies the contradictory sentiment residing in the hidden clashes between the natural and artificial qualities of his design. Arguably, the uncanny aspect of Fujimori’s architecture stems from a post-apocalyptic sensibility imprinted in the Japanese unconscious, which is haunted by the trauma of ruin, whether caused by natural or man-made disaster. This research focus can lead to a broader cultural discourse beyond the scope of a single architect’s work, relevant to all ‘modern unhomely’ societies. Introduction Biennale for the Japanese Pavilion (Fig. 2) can be Terunobu Fujimori (b. 1946), who began his career considered as a watershed moment in his career as an architectural historian,1 is now more popular since it greatly increased his recognition on the inter- for his design work than for his academic publi- national stage. His invited exhibitions in Melbourne cations, and has even been praised as ‘the most (2009), London (2010) and Munich (2012),4 as influential architect in Japan’ by the critic Kenjiro well as several projects in Taiwan,5 highlight his Okazaki (2006).2 Whilst his achievements as a expanding worldwide fame. Peter Cook (2008), history professor at the University of Tokyo contin- the leading member of the legendary British group ued to grow, he suddenly made his debut, in his Archigram, stated that Fujimori was the person he mid-forties, as an architect with the completion of most wanted to meet.6 Fujimori’s work and ideas the Jinchokan Moriya Historical Museum (1989– occupy a central role in Dana Buntrock’s Materials 91; Fig. 1). Since then, he has completed more and Meaning in Contemporary Japanese Architec- than twenty buildings, though the number is much ture (Abingdon, Routledge, 2010).7 Finally, the higher if we include his small teahouses and urban ‘communicative and expressive’ form of his design design proposals for exhibitions, which have been was given as an example of ‘Radical Post-Modern- widely reported in many publications.3 Fujimori’s ism’ in Architectural Design (2011) under the aegis participation in the 2006 Venice Architecture of Charles Jencks.8 # 2016 RIBA Enterprises 1360-2365 http://dx.doi.org/10.1080/13602365.2016.1142464 91 The Journal of Architecture Volume 21 Number 1 Figure 1. Jinchokan Moriya Historical Museum, Chino, Nagano, 1989–91 (photograph by the Author). The basic theme of Fujimori’s design concept, and are, arguably, even unsettling at times. This con- developed over the past two decades, primarily con- tradictory sentiment has been hinted at in the com- cerns naturalising the finish of buildings. As mani- mentary of other architects, albeit vaguely and from fested in the Venice Biennale catalogue, he different perspectives without any gloomy connota- emphasises the use of natural materials and roof tions. According to Kengo Kuma (1992), Fujimori’s planting, adopting a methodology generally based architecture conveys ‘nostalgia like nothing you’ve on simple workmanship, with some playful ever seen’,9 and Toyo Ito (2010) remarked that nuances. As a result, his designs appear natural ‘not only does it look vernacular but it also appears and nostalgic, and it is these characteristics, often to have flown from an alien world and landed on combined with a fairy tale-like cuteness, that its site’.10 This paper insists that the rather strange attract the public’s attention. However, his designs emotion evoked by Fujimori’s work deserves more also assume a quality of unintended unfamiliarity attention and should be discussed in terms of the 92 The uncanny side of the fairy tale: post-apocalyptic symbolism in Terunobu Fujimori’s architecture Hyon-Sob Kim Figure 2. Japanese Pavilion at the 2006 Venice Architecture Biennale (photograph courtesy of Peter Blundell Jones). notion of the ‘uncanny’. Sigmund Freud undertook strange, but something that was long familiar to an aesthetic investigation into the concept of the the psyche and was estranged from it only through uncanny from a psychoanalytical viewpoint in his being repressed’.12 What is notable about this essay ‘Das Unheimliche’ or ‘The Uncanny’ (1919),11 observation is the original familiarity of the eerie thus offering a powerful insight for later cultural feeling,13 which is ultimately related to our longing critics and practitioners. Despite his acknowledge- for our first home—that is, the womb. This charac- ment that this category of ‘the frightening’ is not teristic is recognisable in Fujimori’s nostalgic but easily definable, it was clear to Freud that ‘the somewhat alien design. It was Anthony Vidler who uncanny element is actually nothing new or tackled the notion of the uncanny in architectural 93 The Journal of Architecture Volume 21 Number 1 hermeneutics. In The Architectural Uncanny aspect of the uncanny in the context of the recent (1992),14 he briefly historicises various ideas about architectural climate. the uncanny, from pre-Freudian concepts (eg, the Although his strange primitivism developed eighteenth-century aesthetic concept of ‘the slightly late to be noticed by Vidler, it can be said sublime’) to post-Freudian ones (eg, the latest that it perhaps belongs to the stage that might post-structuralist, post-colonial and feminist pos- come after what Vidler calls ‘a techno-uncanny’20 itions), pivoting on the Freudian uncanny itself. (although the chronology is often blurred), consider- Vidler then projects the quality of uncomfortable- ing the development of post-war Japanese architec- ness onto late twentieth-century architecture and ture. Fujimori’s architecture should be read within urbanism, from deconstructivist dismembered build- the Japanese context, which formed the uniqueness ings to ‘homes for cyborgs’, and from ‘post-urban- of his uncanniness. The word ‘unheimlich’,or ism’ to the ‘psycho-metropolis’, all of which evoke ‘uncanny’, is usually translated as bukimi [不気味] the different depths and structures of ‘the modern in Japanese to indicate an ominous sensation (lit- unhomely’. For Vidler, the ‘social and individual erally, bu signifies ‘negative’ while kimi means estrangement, alienation, exile, and homelessness’ ‘feeling’) and is paraphrased as kimyo-na shin- reflected in contemporary architectural and urban mitsu-sa [奇妙な親密さ; ‘strange intimacy’] (the spaces are a critical representation of ‘a fundamen- very Freudian idea).21 Meanwhile, expressions such tally unlivable modern condition’.15 as kikai [奇怪; ‘grotesque’ or ‘weird’] and fushigi Yet, Vidler’s frame of the uncanny does not [不思議; ‘mysterious’ or ‘strange’] are also some- always appear to fit with Fujimori’s design, and, times used to convey the meaning. Bukimi has at worst, its application risks resorting to the kind been associated with diverse Japanese cultural of formalism that Vidler warns against.16 (Contrary genres, from pre-modern folktales and fictions to to Vidler’semphasisonspace,Fujimoriseemsto religious practices and post-war pop culture.22 This have more interest in form, and he has never paper will argue that such cultural manifestations used the notion of the uncanny to explain his are condensed and reflected in Fujimori’s designs, designs.17) Nevertheless, this paper maintains that explicitly or implicitly. the odd sensibility tangible in Fujimori’sarchitec- The present study of the Fujimorian uncanny is ture is worthy of study, partly relying on and expected to provide a balanced and critical under- partly bypassing Vidler, let alone Freud, whose standing of this increasingly popular architect’s essay ‘The Uncanny’ is itself uncanny.18 This is designs. Moreover, the discussion can lead to a because Vidler’sandFreud’s notions of uncanni- broader cultural discourse, based on Japanese ness are not necessarily fixed;19 rather, they are culture but relevant to all ‘modern unhomely’ flexible and therefore still provide a theoretical societies. Before beginning the investigation, common ground for interpreting Fujimori. More however, we should first cover the more widely importantly, Fujimori’s fairy tale suggests a fresh recognised side of his story. 94 The uncanny side of the fairy tale: post-apocalyptic symbolism in Terunobu Fujimori’s architecture Hyon-Sob Kim Figure 3. Onbashira,or Natural, nostalgic and playful: fabricating the a freestanding wooden Fujimori fairy tale pillar at a Suwa Shinto The fairy tale of Terunobu Fujimori starts with his shrine (photograph by the Author).