Amir Abbas Aboutalebi interviews Ryue Nishizawa

May 4, 2025

Amir Abbas Aboutalebi.: Prof. Ryue Nishizawa, with your extensive background as a prominent Japanese architect and the youngest recipient of the Pritzker Prize for your work with SANAA alongside Kazuyo Sejima, I warmly welcome you to this conversation for Villa Magazine. Additionally, your role as a professor at Yokohama National University, along with your position as a guest professor at prestigious universities around the world, adds great depth to our discussion. Today, I would like to explore a specific architectural form that has captured the imagination: The Villa!

A.A.: Firstly, I would like to discuss the concept of the villa in the West, which is related to the idea of “Charbagh” in Persia, a poetic garden surrounded by natural elements that reflects the aspiration to create a paradise on earth. Is there a similar concept in the history and culture of Japan?

Ryue Nishizawa: Japanese architecture is deeply rooted in the idea of integrating living spaces with nature. Traditionally, this is exemplified by small pavilions within gardens—these pavilions are often minimalistic and lack defined walls or specific functions. This concept marks the beginning of architecture in Japan and has laid the foundation for later developments in Japanese design.

AA:  Historically, the reflection of that idea was attainable only by kings and patrons as a true residence.

R.N.:  Yes, we had such typologies in our history. For example, "Miya" refers to imperial residences, while "Rikyū," which can be described in more modern terms as a detached Miya, served as homes for the imperial family. This concept is somewhat akin to Villa Adriana that we see in the West.

A.A.: The villa functions as a "myth of fantasy."

R.N.: The design of a villa goes beyond mere physical functions. It serves as a response to human imagination, fantasies, dreams, and even temptations. Architects have the mission to incorporate these fantasies into their designs, creating a villa that is centered around the individual's experience and desires.

A.A.:  Can we conclude that villa life, in essence, serves as a "second home" that embodies the promise of a "second life," a chance to realize an imagined ideal?

R.N.: Everyone imagines something about the concept of a second life. As you mentioned, the idea of paradise on earth serves as a physical reflection in your culture. In Japanese culture, the aim of creating similar qualities is to cultivate a spiritual and sensual experience. This approach goes beyond merely fulfilling basic human needs; it seeks to address deeper spiritual needs, such as those found in practices like prayer or recreation.

A.A.: Can we define the purpose of the villa as an escape from the hazards and chaos of city life, while seeking health and psychological well-being?

R.N.: Sometimes, yes! In Japanese culture, we have a type of second residence or weekend house designed for escaping to a natural environment. However, this concept is not as popular in Japan.

A.A.: Does the teahouse serve the same purpose?

R.N.: No, no, the teahouse is different. It represents another form of relaxation entirely.

A.A.: According to James Ackerman's book "Villa, Form and Ideology," he states that "A house tends to be simple in structure and to conserve ancient forms that do not require the invention of a designer, while the villa is typically the product of an architect's imagination and asserts its modernity."  How do you define Houses vs Villas in Japan?

R.N: In Japan, architecture is more democratized, so there isn't a significant distinction between the terms "villa" and "house." Generally, villas and houses can be understood as the same type of residence. However, as I mentioned earlier, the Japanese sometimes define weekend houses as sanctuaries, which adds a unique layer to their purpose in our culture.

A.A.: Considering that many architects practice architecture through villa projects, do you believe villas can be considered an ideal setting for discussions on "architectural inventions"?

R.N.: Yes, I agree. Single-scale projects like villas provide architects with greater opportunities to explore new technical and spatial innovations.

A.A.: Sometimes these explorations fail, as with Villa Savoye, which was never fully utilized by the client.

R.N.:  No, I don’t think so. Mr. Savoye lived there for a very short time. Although he may not have been satisfied with the villa, the design itself offered a high quality of living—not just for Mr. Savoye, but for anyone who would choose to live there. This isn't the architect's fault; you cannot separate experimentation from creating good quality architecture that enhances the quality of life.

A.A.: Through the case studies of the Los Vilos Villa (2019), Villa in the Forest (1992), and Weekend House (1997), we have witnessed how you expertly utilize transparency, in-betweenness, and emptiness to embody the Japanese aesthetics of simplicity, ambiguity, and ephemerality. Can you tell us about the types of clients you typically have for villa projects?

R.N: In 1997, Kazuyo Sejima commissioned me to design a weekend house in Usui-Gun, Gunma, Japan. This house was intended for occasional use and features a strong dialogue with its natural surroundings, supported by 36 wooden pillars.
The Los Vilos Villa was commissioned by a Chilean developer who has since become a friend. Its design emphasizes a harmonious integration with nature, featuring large windows and glass walls that dissolve the boundaries between the interior and the surrounding forest.
As for the Villa in the Forest from 1992, I was not involved in its design. Currently, we are also working on a new villa design project scheduled for 2025.

A.A.: Would you accept a commission to design a villa project in Iran? 

R.N.: Yes, if we are asked to.

A.A.: Did you intend to convey your concept of "In-Between Life" through your projects, such as the Garden & House or the Moriyama House?

R.N.: Oh, you mean "in-betweenness," or the other term "MA."
Yes, these projects embody the idea of in-betweenness. The Garden & House exists between two objects, serving as a true in-between project, tempered by nature through its floating layers. It functions as both a residence and a workplace for two women in the editorial business.
The Moriyama House consists of ten separate buildings—seven larger structures and three single-room units—arranged non-hierarchically on a compact plot. Essentially, Moriyama House embodies the "in-between" concept by challenging traditional dichotomies such as public versus private space, architecture versus urban planning, and fixed versus flexible functionality.

A.A.:  "Ma" concept was first brought to the forefront by Arata Isozaki in The exhibition "MA: Space-Time in Japan," which premiered at the Musée des Arts décoratifs in Paris in 19782. How do you see him?

R.N.:  Arata Isozaki is a very impressive figure in architecture. For us, and almost every Japanese architect, including me, he is really big!
He doesn't belong only to Japan; his visionary perspective originates in Japan but manifests globally. He examines Japanese culture from an external viewpoint, which allows him to describe "Ma" and interpret Japanese culture in a way that transcends national boundaries. He is not simply Japanese but rather a global citizen. He had extensive knowledge of Asia, Europe, and the world, and then he looked back at Japan as an international figure. This is his genius, which is not easily emulated.

A.A.: What is your opinion on the experimental built and unbuilt works of Arata Isozaki, such as the Nakayama House (1964), the Responsive House (unbuilt project, 1970), and the Kaijima House (1979)?

R.N.: As you mentioned, the Responsive House shares some similarities with Coop Himmelb(l)au's Villa Rosa, both designed during the 1970-75 period as pneumatic living prototypes that aimed to incorporate elements for a sensory living experience.

The Kaijima House in Kichijoji, Musashino City, Tokyo, completed in 1977, and the Karashima Glass Block House in Chiyo, Oita, from 1978 are like forgotten treasures in Japan. I have not visited these two houses, so I can't comment on them. However, I did visit the Nakayama House, and I can say it is quite nice.

There's also a smaller work by Arata Isozaki—a cubic wooden house that measures 2 by 5 meters. It was his study house elevated above the ground, with two walls filled entirely with books. The entire structure is elevated, requiring you to climb up to access everything. I think this is one of his best works; it was built in Shinjuku in 1957 and appears to be one of his first projects. 

A.A.:  How much were you inspired by Arata Isozaki when deciding to become an architect?

R.N.:  I was 19 years old at that time, and Arata Isozaki was truly a superstar. I had heard of his name, but I didn’t know much about him in depth. My decision to become an architect was somewhat accidental; I found myself in an architecture course without having thought about it too much—it just happened!

 

 

 

Villa Magazine

Registration No.74246
ISSN 2981-197X (EN) / ISSN 2981-1961 (FA)
Link to Copyright Notice (villanews.ir)
Link to Privacy Notice (villanews.ir)
Foto: ©Courtesy of Villa Magazine
Foto: ©Farhad_Bazazian

All images are © each office/photographer mentioned

 

THE VILLA

While the villa holds a central place in the history of Western architecture and Italy, it overlooks the significant villas and villa cultures of Iranian antiquity, which greatly inspired the ancient Greeks and Romans. Originating in ancient Italy, the concept of a residence set apart from urban life and nestled in nature has historically captivated affluent patrons and architects alike. Throughout the ages, although architectural forms have evolved and locations have transitioned to suburban or urban garden settings, the fundamental design principle has persisted: creating an architectural sanctuary that embodies tranquility for intellectual pursuits and spiritual retreat from city life.

Following the Renaissance, the villa outreached its Italian roots, emerging as a redefined architectural form (type) across Western Europe and other regions influenced by European culture. This evolution reflects a broader appreciation for the villa not just as a building type but as an ideological construct that fosters a unique lifestyle intertwined with nature and artistic expression.

For architects, designing villas represents more than merely creating residences; it offers a chance to explore new ideas and solidify architectural concepts. The tradition of summer villas has long been associated with a return to the pioneering spirit of artists; villas, solo houses, or pavilions designed by these architects can be seen as experimental works that delve into technical and functional aspects while also developing spatial ideas.

These examinations, whether built or unbuilt, become ideal settings for discussions on "architectural inventions," serving as prototypes for future manifestations that can be observed as laboratories for testing theories and critiquing existing methods.

 

CITATION

Ackerman, James S. The Villa: Form and Ideology of Country Houses. Princeton: Princeton University Press, 1990.
Boucher, Bruce. Andrea Palladio: The Architect in His Time. New York: Abbevile Press, 1994.
Coffin, David R. The Villa in the Life of Renaissance Rome. Princeton: Princeton University Press, 1988.
MacDonald, William L., and John A. Pinto. Hadrian's Villa and Its Legacy. New Haven: Yale University Press, 1995.
Peck, Amelia, et al. Period Rooms in the Metropolitan Museum of Art. New York: Metropolitan Museum of Art, 1996. Ackerman James S., The villa: form and ideology of country houses (Princeton 1990)
Archer, John, Architecture and Suburbia: From English Villa to American Dream House, 1690-2000 (Minnesota 2005)
Brothers, Cammy, Michelangelo, Drawing, and the Invention of Architecture (Yale 2008)
Elet, Yvonne, Architectural Invention in Renaissance Rome: Artists, Humanists, and the Planning of Raphael’s Villa Madama (New York 2018)
Glaire D. Anderson, The Islamic villa in early medieval Iberia: architecture and court culture (Farnham 2013) p.6-7
Loudon John Claudius, An Encyclopedia of Cottage, Farm, and Villa Architecture and Furniture (London 1833) p.01
Sellers, Vanessa Bezemer, and Geoffrey Taylor.
Una casa di Magistretti, in collina, Domus 409, December 1963(
Villa ideology as literary production and writing architecture (Villa Magazine, Monograph issue No.10 2018)
https://iranian-architect.ir/interview-0038