SOIHOUSE Inc.
ENDO Jiro

Current job responsibilities

We design an array of different kinds of spaces, ranging from those that are only available for short times to spaces that are used over long periods. Currently, we are particularly focused on festival architect activities, which involve designing spaces, time, lighting, and more, extending all the way to operational execution.

Role in Future of Life/Responsibilities and duties at the Pavilion

In various levels of involvement, we were responsible for the role of providing comprehensive direction in the Pavilion in areas ranging from overall architecture design starting at the concept level to exhibition design, experience design, and lighting production for the final presentation.

Feelings on the Pavilion, the exhibits, and the product concept

The most interesting thing was the concept presented by Professor ISHIGURO Hiroshi that human life originates from inorganic matter, evolves through organic matter and protein, and returns to inorganic matter. I found this profoundly intriguing and felt immense motivation in the role of figuring out how to translate this idea into architecture. I also naturally resonated with the idea that the boundaries between humans and machines would fade away through a merging with technology, which also leads to an expansion in human capability. The reason this appealed to me is my underlying belief that life emerges when things that are different from each other collide, and I feel this also applies to the relationship between humans and machines. I believe the very changes and transitions arising from the collision and fusion of dissimilar entities feel like what life is, and the expansion of humanity represents what it means to be alive.

Memorable impressions from associating with Producer ISHIGURO Hiroshi

What stood out to me was Professor Ishiguro’s powerful idea that we must design our own future with our own hands. This is the idea that, instead of just completely relying on someone else, as humans, we are invested with the responsibility to think for ourselves and design our path with our own hands. I felt his desire to convey this at the Expo intensely, and I believe the Pavilion successfully embodies this desire. Personally, I consider the creation of new definitions to be an essential act of architecture, art, the humanities, and the sciences. I have long held the philosophy that the world is composed of the relationship between the actions a person chooses as an individual and everything else external to the person, so Professor Ishiguro’s ideas deeply resonated with me.

Commitments

I have actually been entertaining the idea of the shore as an architectural theme for some time now. The shore is a boundary where different states of matter – solids, liquids, and gases – meet, and some consider it the birthplace of life. Though in constant flux and unable to be perceived as one specific, definite form, an environment where differing elements collide and influence each other is beautiful… The concept for this Pavilion architecture and our specific design commitments were born from the union of this theme with Professor Ishiguro’s concept of inorganic and organic elements. The composition of the Pavilion architecture, where water falls due to the force of gravity and is illuminated by light, exists in a minimal, mineral-like form conceived within an architectural vision inspired by minerals, energy, gravity, and water as the elements that originated life. At first glance, this composition seems organic, but it is actually an inorganic form put into motion by gravity.

Challenges and innovations

Exchanging opinions with a number of partner companies and creators that greatly exceeded any of our standard projects, overcoming each of the various hurdles, including compliance and legal problems, and making sure we had consensus while we advanced the project forward, was an immensely time-consuming and labor-intensive challenge. It was a unique experience in terms of taking the extremely long time of about four and a half years, and the sheer volume of matters involved.

New discoveries

I discovered the importance of not wavering in direction from the initial sketch stage in production, and holding to the overall concept in the process of bringing it to life in its final form. Also, delegating portions of the process to trusted colleagues culminated in all of the different elements converging at the final stage, leading to the experience of the separate parts crystallizing into a cohesive product, a moment that brought me immense joy. Feeling that climactic moment at the conclusion of this lengthy, four-and-a-half-year project remains deeply etched in my heart.

Lessons learned from the project

I learned the importance of trust. I realized anew that it’s crucial to strike a balance in not being too controlling and accepting and trusting diverse opinions, while also communicating my own views when necessary. This attitude of creating something greater through collaboration, of maintaining a critical perspective while also not getting caught up in “what I would do,” is something I want to apply to future projects.

Highlights not to be missed

＜Architecture＞
Outside the building, the flow of water changes every two minutes. Through this, we dynamically designed a boundary in architecture. When the water flows, it acts like glass and forms an interior space. When it stops, it becomes a semi-external space like eaves. This is based on the idea that architecture is the act of deciding how to define and edit boundaries. Additionally, the water performs functions such as temperature adjusting, air purification, cooling, and dust removal, making it an environmentally active device. The spatial composition features a gradient design that gradually shifts from exterior to interior, intentionally guiding a continuous transition from outside to inside. Unlike conventional architecture that separates the exterior, structure, and interior of a space, this project aims for an architecture that offers a fluid and seamless transition experience. Viewing it from this perspective may lead to new discoveries.

＜Exhibition＞
The exhibition is composed of three zones, which are also structured like a gradient that changes progressively. First, Zone 1 is a freely navigable space, like an art museum or public archive. Zone 2 is a performative space where visitors experience narrative by moving through it themselves. Lastly, Zone 3 is a fully immersive theater where time and space are completely controlled. The transitions between each zone are managed by robots. It is a system that uses machines, not humans, to facilitate the transitions. In the transition from Zone 1 to Zone 2, content is staged such that it arises gradually, while the transition from Zone 2 to Zone 3 shifts from a visual and auditory experience to a focus on scents along a black staircase, culminating in the final Zone 3, “Life 1000 Years in the Future: Mahoroba.” Keeping this structure in mind while viewing may enhance your enjoyment.