Possibly the most famous of the 12 islands to participate in the world-famous Setouchi Triennale art festival, Naoshima is an island of only 3,000 inhabitants but countless famous artworks. While they are often considered the main draw, the island is also home to an abundance of architectural creations that are worthy of a visit in themselves. If you're lucky enough to have a chance to explore the island, here are a few to look out for.
Hiroshi Sambuchi's Naoshima Hall
Located in the old castle town of Honmura, this community center, garden and performance hall was finished in 2015 to great acclaim.
Visiting the area repeatedly for two years before he began his designs, Hiroshi Sambuchi developed an understanding of the community and its pivotal relationship with the environment. These bonds are reflected in the design, which uses a natural air ventilation system as well as using well water to cool the building in summer.
Visually, the building's hipped cypress roof is striking, reminiscent of traditional thatched roofs and natural mountainsides. The focus on natural flow is clear, be it wind, water or visual impact and the building blends into the town's landscape easily.
Tadao Ando's many museums
Having somewhat adopted the small island, internationally famous architect Tadao Ando has created a world of carefully designed structures to house impressive artworks, people and even his own work. Starting with a campground for a 1989 festival, followed by the Benesse House hotel and exhibition complex (which he gradually added to over the years) and the stunning Chichu Art Museum, his contributions helped elevate the island's reputation extensively. While many attend for the Setouchi Triennale and the showcased artworks, Ando's creations are a draw in themselves.
Possibly the most well known, the Chichu Art Museum, which means 'underground', takes the concept quite literally. Finished in 2004, much of the space is built into the mountainside so as to minimise the impact on the scenery and surrounding natural habitats.
The design results in a series of sunken open-air spaces as well as covered ones and uses natural light to affect the perception of art — changing throughout the day and year.
While Ando's signature use of concrete may seem in opposition to the natural focus, here is it used to create a beautiful juxtaposition, with entire rooms themselves designed as artwork in tandem with artists such as Walter de Maria.
In an unconventionally meta move, Ando also has his own self-designed museum located in a traditional century-old house in Honmura. Created in a pandora's box-style notion, he describes it as a "space that conjures a rich sense of depth despite its small size, where oppositional elements such as past and present, wood and concrete, and light and shadow clash intensely as they are superimposed against each other". The space showcases the Ando style in a condensed and intense vision, and has exhibitions about his life, work and the history of Naoshima.
Sou Fujimoto's Naoshima Pavilion
A steel structure with a surprisingly light-weight look, the pavilion is a short stroll from the celebrated ferry terminal designed by SANAA. Designed for the 2016 Setouchi Triennial, the white mesh polyhedron can be spotted on the approach and is a surreal, 3D addition to the waterside.
Built to be interactive, people can venture inside for an alternative view of the island. As a permanent installation, the piece reflects Fujimoto's well-known preference for permeable materials and light structures which explore concepts of space and presence.
A similar exploration on a grander scale, the Pavilion he created for the Serpentine Gallery in London a few years before was also an interactive space with a similar visual style.
SANAA's ferry terminals
Designers of two starkly different terminals, SANAA's contributions to the island are equally impressive in both visual impact and concept.
The larger main ferry terminal is a minimalist, light structure with open sides built in 2006 and closest to the Naoshima Pavilion and Kusama's Red Pumpkin. Offering uninterrupted views of the sea and distant islands, the building also features mirrors to minimise the visual impact of the structure. Adhering to their trend of creating deceptively simple structures, it encloses a cafe and shop as well as an office in glass-enclosed rooms.
Alternatively, the cloud-shaped and instantly eye-catching smaller terminal sits in the town of Honmura — the port closest to Kusama's Yellow Pumpkin and Ando's Chichu Museum. Easily spotted even from a distance, it sets the tone for those arriving, especially when viewed alongside the aforementioned Naoshima Pavilion. Using a simple wooden frame to support the plastic spheres, the structure is a waiting space for people and bicycles alike, with a warm glow in the evenings.
By Lily Crossley-Baxter
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