SCHOOL OF ENGINEERING, TOHOKU UNIVERSITY Driving Force THE POWER TO MAKE TOMORROW INTERVIIEW REPORT
SCHOOL OF ENGINEERING, TOHOKU UNIVERSITY Driving Force THE POWER TO MAKE TOMORROW INTERVIIEW REPORT

Settling in
the Countryside,
and Engaging
with Society through
Architecture

HARYU WOOD STUDIO.corp
Takashi Nameda
Hikaru Saito REPORT #37

© School of Engineering, Tohoku University

Designing a symbol for “Tree Town” with local artisanship and low-tech approaches

Minamiaizumachi is a town located in the southwestern part of Fukushima Prefecture. With more than 90% of its area covered in forests, forestry was once Minamiaizumachi’s key industry. In the 1950s, Minamiaizumachi was the largest collection and shipping hub of hardwood in the Tohoku region. Current lumber production has drastically declined to only 10% of its peak in the 1950s, so various initiatives are underway for its revival as a “tree town.” One of those initiatives is the resumption of the long suspended “Forestry Festival.”

This initiative was sparked by the “Minamiaizu Forest and Tree Information and Activities Station ‘Kitone’” (“Kitone” for short) which opened in April 2022. Fully utilizing local forest resources and processing technologies for structural and interior materials, flooring, furniture, and others, Kitone was designed by Haryu Wood Studio Corporation which is based in Minamiaizumachi.

Mr. Takashi Nameda and Ms. Hikaru Saito, who designed Kitone, both graduated from Tohoku University’s School of Engineering, Department of Architecture (which later merged with the Department of Civil Engineering and Architecture to become the Department of Civil Engineering and Architecture), and after receiving their master’s degrees from Tohoku University’s Graduate School of Engineering, they joined Haryu Wood Studio. They speak about what they kept in mind when they designed Kitone, as follows;

Mr. Nameda: “The idea was to design architecture using low-tech approaches combined with the artisanship of the local carpenters. If we simply pursued ease of construction, the carpenters wouldn’t find it engaging. We designed it in a way that would slightly challenge their craftsmanship, allowing them to take a leap and maximize their potential.”

Ms. Saito: “It was important to me that we design something with a steadfast structure. I wanted to design something with a structure that simply stands out, something that the people of Minamiaizu would be proud of. Minamiaizu has a rather small community where the faces of craftsmen and carpenters are familiar to town people. Through architecture, I wanted to design something that would become a symbol of the entire community, encompassing everyone from those at the upstream stages to the downstream stakeholders, and including those who commissioned the work.”

In 2024, Kitone received the “Architectural Design Commendation” from the Architectural Institute of Japan. The following is an excerpt from the institute’s review: “While they rationally consider the strength of the wood and how the structure is made, they do not try to minimize the amount of wood used. This non-minimalistic approach produced a unique structure type. This will also lead to the revitalization of the local forestry industry. … While this wooden structure possesses Minamiaizu’s unique individuality, it also focuses on a universality that can be used in other regions. … We hope that the studio continues from their base in Minamiaizu their original approach that can compete on an international level.

Mr. Nameda: “The open space of Kitone is gently divided by vertical logs and a stacked beam framework. There’s a real possibility that the building’s purpose may change in the future, or repairs and renovations may be made. That’s why we thought we had to design it in such a way that the building could be used in any way in case such changes are made. This made us realize that thinking about wooden structures with a “non-minimalistic approach” will eventually lead to their longevity.”

Meeting Mr. Sei Haganuma, and moving to Minamiaizu

Mr. Nameda was born in Tokushima Prefecture and raised in Kagawa Prefecture, and he moved to Sendai City, Miyagi Prefecture in April of his senior year in high school because of his parents’ work. Ms. Saito was born in Aichi Prefecture. The person who led these two who had no prior connection to the region to Minamiaizumachi was the late Mr. Sei Haganuma, the founder of Haryu Wood Studio. After turning 40, Mr. Haganuma attended Tohoku University’s Graduate School as a working adult to earn his master’s degree. While doing design work locally, he was also studying under Prof. Takashi Omi (currently an emeritus professor at Tohoku University) at his Urban Analytics Lab. At around the same time, Mr. Nameda and Ms. Saito were students at the School of Engineering. Being 20 years their senior, Mr. Haganuma was someone of great interest to them.

Ms. Saito: “Mr. Haganuma used to walk around in straw sandals even during winter so at first I thought, ‘Who’s that? What’s up with him?’ But when I talked to him, he was very friendly and caring. When I was having some trouble with my graduation design, he’d say ‘If I could be of help,’ brought me old maps, gave me information and data, and supported me without me asking for it.”

Mr. Nameda: “I first got to know Mr. Haganuma through an architectural model. When I visited Prof. Omi’s lab during my junior year, I saw a model of the “Urban Planning House 2,” a project of Prof. Omi and Mr. Haganuma, which I found interesting. It was going to be Mr. Haganuma’s house and a base for his activities in Sendai, with paper outer walls and a tent that could be set up inside the house during winter. It was also going to have a path inside the property by connecting the two paths that connect both ends of the property. That was the reason why I joined the Urban Analytics Lab, which then allowed me to take part in their project.”

Ms. Saito received her master’s degree in 2004, followed by Mr. Nameda in 2005, marking the start of their careers as designers. Among the various options they had (architectural firms, atelier-style design offices led by architects, organizational design firms with 100 to 1,000 employees specializing in design, etc.), they chose to join Haryu Wood Studio.

Ms. Saito: “At the time, the job market was in the so-called “ice age,” and I was having a hard time finding a job. When I consulted Mr. Haganuma, he said, ‘Why don’t you come over and lend me a hand?’ Shortly after that, I packed up my things and loaded them in a car, and it felt like I literally rolled into Minamiaizu. After joining the studio, I gradually learned about the design of wooden houses that Mr. Haganuma was working on.”

Mr. Nameda: “I felt that if I joined an atelier or a firm, I wouldn’t be able to do the kind of architecture I truly wanted to do. Prof. Omi also advised me saying, ‘You’d grow more if you went to the countryside and joined a small company or organization, rather than working at a big firm,’ so that’s why I came here. Mr. Haganuma’s brother also runs a construction company, so from the very beginning, I’ve been on building sites working alongside carpenters. I often frustrated the carpenters due to my inexperience, but in such a small world in the countryside, I’ve gained experience and I had time to improve myself.”

School of Engineering, Tohoku University Driving Force, The Power to Make Tomorrow. INTERVIIEW REPORT

From temporary housing initiatives to the proposal for Vertical Log Construction

In 2010, the two embarked on a new challenge, entering the “SD Review” competition organized by Kajima Institute Publishing. This competition emphasizes showcasing a designer’s thought process in producing a clear concept through drawings and models. The two created and entered their “Mud Kamakura House,” an environmentally symbiotic housing plan. Based on their experiences in Minamiaizu, a cold region with heavy snowfall, they made a large, mud-based heat storage unit in the roof in an attempt to recreate the warmth of a snow hut.

Ms. Saito: “Our design was selected for the competition. The head of the judging panel, Mr. Toyo Ito (a world-class architect known for his design of Sendai Mediatheque) picked us out. We planned to refine the resolution of our design for the exhibition, but upon seeing our design plan, he gave us a stern critique, saying, ‘It’s disappointing that the designers themselves are unaware of the essence of the design such as the concept and the merits of this plan.’ That was the first time we realized that our architecture should also incorporate our own hopes and social perspectives in its logical construction.”

Mr. Nameda: “That was a challenge that made us hope we can create something even from Minamiaizu that can compete on a global scale.”

The following year, 2011, the Great East Japan Earthquake struck, marking a major turning point for Haryu Wood Studio. With the destruction caused by the earthquake and tsunami, and the evacuations triggered by the Fukushima Daiichi Nuclear Power Plant Accident, there was an urgent need to secure housing, so the first thing Haryu Wood Studio did was to supply temporary wooden housing. Temporary housing needed to provide comfort, be constructed quickly, and address the challenge of recycling after the evacuation period ends. As a solution, Mr. Haganuma and his team proposed temporary log houses made from locally sourced Fukushima cedar.

Mr. Nameda: “After the earthquake, my motivation to engage with society through architecture increased dramatically. I also think Mr. Haganuma finally found the work he was truly meant to do.”

From their work after the earthquake, what emerged was the “vertical log construction method” that was also used in Kitone. This uses low-tech approaches wherein wooden materials laid vertically to create panels are made in sawmills and construction companies, and they are then assembled onsite. It is said that Mr. Haganuma, who invented this method, had the idea that vertical log construction employs large amounts of lumber which would make full use of forests.

Ms. Saito: “The decline of forestry and the desolation of forests aren’t just problems in Minamiaizu – these are problems all over Japan. Regions that have the same problems should use wooden materials from their own regions and aim for regional circulation. One solution to these problems is vertical log construction. I hope this form of construction will spread throughout the country while gradually changing in form.”

Haryu Wood Studio states its own concept: “By settling in a rural and not in a central area, we get to see local problems. The problems of a rural area are not limited to one area - they’re common to rural areas nationwide. Though small, the local entities with forward-looking outlook can change the situation in their own regions by cooperating with each other.”

We will continue to use our “strength in thinking” as our weapon

Ms. Saito: “I’ve always wondered about whether I could become an architect and whether I could make a living out of architecture since I was an undergraduate. Despite these doubts, I was dead set on learning architectural planning at Prof. Minoru Kanno and Prof. Yasuaki Onoda’s Theory for Architectural Space Lab. When I actually joined the lab, I saw Prof. Onoda collaborating with many architects.”

Mr. Nameda: “I’ve always been interested in environmental problems, and I was drawn to the words ‘Civil Engineering and Architecture’ of the School of Engineering, which was why I chose Tohoku University. I set my sights on architecture because I recognized the depth of architecture and the joy of design when I was learning broadly about architecture and civil engineering during my first year.”

Looking back at their student days in Tohoku University, the two say that the most memorable thing that’s unique to the Department of Architecture was the exchange program with the University of California, Los Angeles (UCLA). In this program, students from both universities go to the other university to critique and improve each other’s design proposals. Even though this program was for master’s degree students, the two were able to participate in some workshops from their senior year.

Mr. Nameda: “It was a culture shock. At the time, the process of design education at Tohoku University began with approaching architecture through philosophy even before thinking about form, but UCLA students go right into architecture.”

Ms. Saito: “When designing architecture, we Tohoku University students approached it with concepts and ways of thinking first, but the students from UCLA first converted their words into form, then explained that in words through a presentation. This reciprocal process of form and words were repeated at a high proficiency level. This way of designing was stimulating, and it became good training for me. Apparently, the international workshop curriculum continues to this day. I think that interacting with students who set their sights on architecture abroad is a valuable experience even from the point of view of refining their values regarding architecture.”

In addition to this overseas exchange program, there were also many opportunities to have students’ design proposals critiqued by inviting architects who were successful in Tokyo to the university.

Ms. Saito: “Our professors gave us many opportunities to interact with people from outside the university. By receiving external critiques, I could keenly feel the narrowness of my ideas. But at the same time, I also gained new perspectives, and the courage and willpower to face my designs once more.”

Each university’s architecture department has its own characteristics. Ms. Saito and Mr. Nameda believe that the unique characteristics of Tohoku University’s Department of Architecture lie in its “strength in thinking,” and in its lessons to thoroughly develop the ability to think.

Mr. Nameda: “There are many universities that immediately start with design, but Tohoku University’s Department of Architecture starts at the fundamental question, “What is the purpose of creating architecture?” We begin our studies by thoroughly thinking about society’s systems and architecture’s systems. What is the background of this architecture? What resources are needed to make this architecture possible? The dedication to this kind of thinking training may have become our strength at Haryu Wood Studio.”

At Haryu Wood Studio, “creating” goes beyond just designing. It also means making tangible and intangible things, creating spaces, and building up the region. Armed with their “strength in thinking,” Mr. Nameda and Ms. Saito will continue to earnestly pursue the studio’s mission of architecture born and transmitted from the countryside, and architecture that connects people to Minamiaizu.