RAD on landscape as fu-kei and kei-kan
We should begin by defining fu-kei (風景) and kei-kan (景観). Both are Japanese words for 'landscape'. The former is used when referring to the space in which we live, and the latter to objects we see. The notion of 'landscape' in English is much closer to kei-kan.
Here we conceive of kei-kan as framed fu-kei – framed in order that we may see only the 'beautiful' part of a 'landscape'. From this point on in this text, then, we are concerned with this matter of framing – i.e. it is 'landscape' as kei-kan that we examine. Specifically, we want to reconsider the concrete effects of the human desire to frame 'landscape', for it is this exercise of power, sometimes violent, that results in what may be termed 'architectural desire'.
When talking about 'architectural desire', we are not interested in putting the architect in the position of protagonist at all, saying something along the lines of, 'the architect did this or that'. Rather, by 'architectural desire' we mean a devilish seduction of people by 'city architecture'. It is the process of this seduction that we are interested in.
In one way or another, people have often felt beauty in various aspects of the city. This is evidenced in many ancient tanka and haiku poems, in which images of the city have been created. Notions like 'picturesque place' and 'sightseeing spot' are the result of the accumulation of this kind of expression of 'landscape', and are currently perpetuated in various media, such as newspapers, magazines, novels and TV to a point where people are physically moved by 'beautiful landsacpes' (kei-kan) and see it as something desirable that they want to share with each other. The problems is, no one can really say exactly what 'beauty' is. Each one of us has her or his own standard of 'beauty'. This is a problem because 'beautiful landsacpes' (kei-kan) can only exist when shared by people. There being no clue as to precisely what 'shareable beauty' is like, 'beautiful landsacpes' (kei-kan) frequently suffer damage, often at the hands of overriding financial pragmatism.
It is individuals who gaze at 'beautiful landsacpes' (kei-kan), and consequently judgements about them are personal. However, landscapes are created by acts of collective framing. This raises an interesting question: how far do 'we' extend and where do 'you' and 'I' begin?
The problems of landscape (kei-kan) are 'our' problems, but we do not consider 'our' collective problems to be personal to 'you' and 'me'. A sound solution to this paradox of landscape is not so easily found, but perhaps some kind of 'inverse perspective' on attitudes and behaviour toward 'landscape' will help.
A Perspective on RAD
 |
RAD "Spectacular View Points"
objects・photographs・information
|
Here we conceive of kei-kan as framed fu-kei – framed in order that we may see only the 'beautiful' part of a 'landscape'. From this point on in this text, then, we are concerned with this matter of framing – i.e. it is 'landscape' as kei-kan that we examine. Specifically, we want to reconsider the concrete effects of the human desire to frame 'landscape', for it is this exercise of power, sometimes violent, that results in what may be termed 'architectural desire'.
When talking about 'architectural desire', we are not interested in putting the architect in the position of protagonist at all, saying something along the lines of, 'the architect did this or that'. Rather, by 'architectural desire' we mean a devilish seduction of people by 'city architecture'. It is the process of this seduction that we are interested in.
 |
RAD "Spectacular View Points"
objects・photographs・information
|
It is individuals who gaze at 'beautiful landsacpes' (kei-kan), and consequently judgements about them are personal. However, landscapes are created by acts of collective framing. This raises an interesting question: how far do 'we' extend and where do 'you' and 'I' begin?
The problems of landscape (kei-kan) are 'our' problems, but we do not consider 'our' collective problems to be personal to 'you' and 'me'. A sound solution to this paradox of landscape is not so easily found, but perhaps some kind of 'inverse perspective' on attitudes and behaviour toward 'landscape' will help.
A Perspective on RAD
by Minoru Morikawa (installation artist)
I have known the people at RAD for almost two years now, following their activities as an onlooker. Even so, I cannot claim to fully understand them, their programs and what they aspire to do in the future. Perhaps, though, RAD's unique character lies in the very fact that it is hard to understand fully.
But I believe RAD's wide scope of activities is closely connected to one of the themes of this project – that is, the desire of humans, sometimes violent, to exert power over the 'landscape'. During the final round of our preparatory discussions for IPP #0 Landscape, Sakakibara said, 'I am not interested in putting architects in a position of protagonist at all, saying, "The architect did this or that"'. This statement clearly represents their attitude.
My discussions with RAD always centered on the difference between two Japanese words for landscape: fu-kei (風景) and kei-kan (景観). Broadly speaking, the former word refers to something one belongs to, and the latter to an object to see. However, from beginning to end, we did not seem to stand on common ground with regard to our understanding of these two words.
As we neared the end of our discussion, though, I began to understand the basic difference between fu-kei and kei-kan. Fu-kei transcends the control of all human beings and can only be grasped from a macro point of view. Kei-kan, by contrast, has a stronger connection with the sometimes violent desire for power of human beings, and as such is of greater concern to the people at RAD, who daily base their activity on such a powerful thing as architecture for without doubt architecture has a tremendous power over human beings.
Though I must admit I did feel a jittered and uncomfortable with the gap that remained between us, identifying it is of course it an important step in progressing to a resolution. Our discussion also proved to be a great opportunity for me to once again appreciate the uncertain nature of the word 'landscape' in Japanese.
But I believe RAD's wide scope of activities is closely connected to one of the themes of this project – that is, the desire of humans, sometimes violent, to exert power over the 'landscape'. During the final round of our preparatory discussions for IPP #0 Landscape, Sakakibara said, 'I am not interested in putting architects in a position of protagonist at all, saying, "The architect did this or that"'. This statement clearly represents their attitude.
My discussions with RAD always centered on the difference between two Japanese words for landscape: fu-kei (風景) and kei-kan (景観). Broadly speaking, the former word refers to something one belongs to, and the latter to an object to see. However, from beginning to end, we did not seem to stand on common ground with regard to our understanding of these two words.
As we neared the end of our discussion, though, I began to understand the basic difference between fu-kei and kei-kan. Fu-kei transcends the control of all human beings and can only be grasped from a macro point of view. Kei-kan, by contrast, has a stronger connection with the sometimes violent desire for power of human beings, and as such is of greater concern to the people at RAD, who daily base their activity on such a powerful thing as architecture for without doubt architecture has a tremendous power over human beings.
Though I must admit I did feel a jittered and uncomfortable with the gap that remained between us, identifying it is of course it an important step in progressing to a resolution. Our discussion also proved to be a great opportunity for me to once again appreciate the uncertain nature of the word 'landscape' in Japanese.
RAD: abridged resumé
– Research for Architectural Domain (RAD) is an architectural design company established by Shinichi Kawakatsu and Mitsuhiro Sakakibara in 2008 with the remit of exploring architectural possibilities.
– Lecture programs include 'Query Cruise'
– Exhibition projects include: "rep", and 'KENCHIKU | ARCHITECTURE 2011' (Paris)
– For more on RAD's work and activities, see their website at: http://radlab.info/
