Architects Today The present is not the time for us to have an exaggerated awareness of the Kansai and Kanto regions as different. Because I was not born in Kansai, perhaps I am able to observe with an unbiased eye, but it is impossible for me not to notice the special feelings that Kansai people have for the region. I am convinced that this is somewhat different from the warm feelings that everyone has for his or her hometown and is something particular to the people of Kansai. The partiality to the region that exists here can be illustrated in the way that Kansai people always cheer for the local Tigers baseball team, win or lose. Unlike the average Kansai person, however, most architects today pay little attention to whether something is "Kyoto" or "Osaka." Looking at the work of foreign architects Renzo PIANO and I.M. PEI, and such Japanese architects as ISOZAKI Arata, KUROKAWA Kisho, ANDO Tadao, HARA Hiroshi, and others, one is able to see that design in Kansai has become more universal than provincial. This said, the character of Kansai is still woven into the fabric and continues to be expressed in its own way, blazing its own trail with no particular tendencies toward metabolism, post-modernism*, or late modernism**. This may be because of its location far from Japan's capital. With the exception of the larger corporate architectural firms, architects are not worrying about size or quantity but are rather pursuing the true essence of architecture, and I believe that that is the very reason it has been possible to preserve and sustain the true character of the Kansai region in its architecture. Of course every architect has an opinion on the subject, but if one were to cite the common characteristics of Kansai vernacular architecture, the following would most likely be included: Image is more important than concept. Structures have an extremely human feel to them, with no inorganic coldness. Surroundings are taken into consideration, and consciousness of the aboriginal is always maintained. Relatively many walls are employed, and considerable emphasis is placed on materials. A certain sense of forwardness is presented. Architects known for this type of work include IZUE Kan, YOSHIMURA Tokuichi, ISHII Osamu, TAKAGUCHI Yasuyuki, ENDO Takao, TAKAMATSU Shin, WAKABAYASHI Hiroyuki, SHIGEMURA Tsutomu, and TAKEHARA Yoshiji. In contrast is the international group that works from the cosmopolitan viewpoint and builds structures with a clear, cold sense of tension, putting concept ahead of image. This group includes AZUMA Takamitsu, Ando, mentioned previously, TAKI Mitsuo, YAMAZAKI Yasutaka , KISHI Waro, TAKEYAMA Sey and KIMURA Hiroaki. Of the two groups, I would most likely be categorized in the latter. I also might note that Takamatsu has recently softened his aggressive form of expression and is working toward balancing substance with clarity. Many other Kansai architects need to be mentioned; the above are just a few who came to mind. And most of the structures introduced in these pages are large-scale, although I feel that many small structures better exhibit the Kansai feeling. Even though this is a simple overview of Kansai architecture, I believe that by changing our perspectives just the slightest, we can see that a wide variety of styles have spawned Kansai architecture, which is now enjoying its halcyon days. * Post-modernism. An architectural style that uses lyrical, human, and symbolic means of expression. Contrasted with modern architecture, which is largely based on functionalism and rationalism. * Late modern. An architectural style updating the sophistication of forms that appeared in early modernism. All images Copyright. 1997 Kansai International Public Relations Promotion Office.All Rights Reserved.