Kiyoaki Takeda: Yes. As a student, I studied ruins and archaeological sites in the UK and Italy. The appeal of ruins lies in the fact that some structures originally built for people gradually transform over time into habitats for plants and living creatures.
Architecture isn’t complete the moment it’s finished; it’s an entity that eventually weathers and changes while forming relationships with its surrounding environment. I designed this landscape based on the same philosophy. As plants grow, the character of the soil changes, and the landscape matures over time. These changes are also an integral part of the work.

Kiyoaki Takeda: The site has a steep slope, making it difficult for vehicles to access. Generally speaking, the piece of land was difficult to utilize for either a building or for agriculture, so it had been “left blank.” However, I believed that it was precisely because of this that the site could generate new value.
In this project, rather than simply creating a backdrop for artworks, I aimed to design an environment where the artworks and the land would exist as a unified whole. Rather than merely planting greenery, I devised a framework that allows the artworks to blend naturally into the landscape while staying true to the artist’s intent.

Kiyoaki Takeda: When a work of art is just placed within a landscape, it sometimes creates a sense of detachment, as if a UFO had suddenly landed. To avoid that, we chose soil as the theme to serve as a medium that gently connects the land and the artwork. The landscapes for Mr. Asai and Ms. Saijo are earth-toned, and so are the bases of Ms. Kubo’s works. We designed them to blend seamlessly with their surroundings.

We used local soil, stones, and plantings to carefully arrange the base of each artwork and its surroundings, with the aim of creating a landscape where the artworks appear as if they had always been there. We also anticipate that, over time, as they are exposed to rain and wind, the works will blend even more seamlessly with the land.

Kiyoaki Takeda: Since Ms. Saijo’s work is themed around Greek fertility rituals, we created a plan to have an orchard of citrus plants such as loquats and mandarins surrounding it. Keeping a memorable landscape like ancient burial mounds and ruins in mind, we incorporated spiral pathways and stone walls.

In the landscape for Mr. Asai’s work, we emphasized the connection to the earth through the composition of the plantings and soil. Plants are also scheduled to grow on the surface of this bowl-shaped landscape. These elements aim to ensure that the experience of the artwork encompasses not just the piece itself, but the entire environment, including plants, microorganisms, and the flow of water. We also hope that both the physical experience of being up close and the effect of seeing it from a distance will leave a lasting impression on the children.

Kiyoaki Takeda: The most challenging part was reconciling the differing approaches of the artworks with the architecture/civil engineering.
While artistic expression requires freedom, safety and durability are essential in public spaces. To ensure the artwork’s long-term durability in harsh natural environments, such as strong winds and salt damage, experts from the artist’s team and the architectural team held repeated discussions. By respecting each other’s areas of expertise and clearly defining their respective roles, we strived to balance safety and artistic expression.

Kiyoaki Takeda: I believe that an indelible landscape in our mind is not a special place, but rather a scene from everyday life that suddenly leaves a lasting impression on the heart.
Children walk the same route every day, but along the way, they may discover the changing seasons, the growth of plants, or have new encounters with works of art. I believe that the accumulation of these small discoveries fosters a sense of attachment to their town and nurtures a rich sensibility.
I hope that the children will cherish this place as a fond memory that will remain in their hearts even after they grow up.

Kiyoaki Takeda: This project took a completely new approach: working together to create a single space from the distinct perspectives of art and landscape.
As I designed the landscape while engaging in dialogue with the artists, I learned their unique insights about the way the viewer encounters the artwork, the worldview they find inherent in the site, and the tactile qualities they create on the artwork’s surfaces with the medium they chose. These are things that you would never touch when designing just a building, and it was a truly invaluable experience that I could bring them into the landscape design.

Furthermore, as we proceeded with the design work in step with the creation of the artwork, we also had the opportunity to experience the actual production process firsthand. Every time we felt the artwork’s power and presence, it naturally influenced our approach to the landscape design. It felt as though we were nurturing a single place while inspiring one another, and the process itself was a truly enjoyable and enriching experience.

Translation: Junko Kawakami