Architecture News

Unveiling Universal Wisdom Through Diverse Perspectives

The Genesis of "The Fish": A Pufferfish's Geometric Mastery

In 2018, the genesis of this expansive project lay in the observation of a pufferfish's remarkable ability to create intricate circular patterns on the ocean floor, reminiscent of terrestrial crop circles. This natural spectacle, captured in a BBC documentary, sparked profound questions for Pietroiusti and Ramos. They pondered how such marine creatures conceptualize and execute such complex geometry, the implications of this knowledge for our understanding of nature, and how it might reframe human perceptions of intelligence. This captivating ritual served as a powerful springboard for their collaborative research.

A Collaborative Journey: Bridging Disciplines and Minds

Drawing inspiration from the pufferfish's enigmatic artistry, the curators launched "The Shape of a Circle in the Mind of a Fish" program, active from 2019 to 2025 at London's Serpentine Galleries. This long-term initiative brought together a diverse assembly of artists, scientists, technologists, and environmentalists from various cities. Their collective mission was to probe the subtle and often overlooked connections between human, animal, plant, mineral, fungal, and artificial forms of consciousness and intellect.

A Deep-Seated Partnership: The Evolution of a Shared Vision

Filipa Ramos reflected on her enduring collaboration with Lucia Pietroiusti, describing it as a "long family affair." Their professional relationship blossomed from shared academic experiences, ultimately leading to Ramos's involvement in the Serpentine Gallery's General Ecology program, which Pietroiusti curated. Their shared conversations, spanning art, ecology, metaphysics, and various life forms, solidified a belief that exhibitions and public platforms could evolve into dynamic spaces for collective knowledge practice and collaborative learning.

Embracing Interdisciplinary Dialogue: Beyond Anthropocentric Views

Throughout the symposiums organized under "The Fish" program, a wide array of practitioners, including artists, biologists, technologists, and even a dolphin cognition researcher, converged to exchange insights. Early discussions centered on the concept of language, with subsequent sessions exploring themes of connection and existence through a "more-than-human" lens, pushing participants to consider perspectives beyond human-centric frameworks.

Redefining Expertise: Knowledge as a Fluid Exchange

Ramos noted a significant shift in her understanding of expertise, moving away from a singular, authoritative perspective. When no single species or discipline dominated the discourse, expertise began to manifest as a fluid exchange of understanding. She observed that knowledge acquisition, especially concerning other life forms or natural phenomena, inherently involves acknowledging the limitations of human comprehension. This perspective emphasizes that other beings perceive, communicate, and transform the world through forms of intelligence that may be partially or entirely inaccessible to us.

Communication Beyond Translation: Proximity and Mystery

A fundamental realization emerged regarding communication: it is not merely about achieving equivalence or direct translation. Instead, Ramos highlighted its deeper dimensions, such as proximity, rhythm, atmosphere, mutual exchange, co-presence, and opacity. This implies that what remains unexplained or untranslatable can be as significant, if not more so, than what is readily understood, fostering an appreciation for the inherent mystery in interspecies interactions.

Navigating the Edges of Understanding: Respect and Awe

Pietroiusti further elaborated on the implications of understanding the limits of human knowledge, posing the critical question: "How do we behave when we do not understand other beings?" She drew parallels to relational dilemmas within our own species, where responses to misunderstanding can be complex. This line of inquiry advocates for forms of relating that prioritize respect and a sense of mystery over judgment, empathy, or a desire for mastery. "The Fish" program, through its discussions and workshops, championed non-anthropocentric development models, challenging fast-paced growth narratives that often prioritize economic gains above all else. Participants engaged in practices such as listening to plants, contemplating with snails, observing soil, composting, dreaming, and reimagining technology as primitive expressions of intelligence. These activities underscored a rejection of efficiency and immediacy, encouraging engagement with processes that transcend the hurried pace of human intentionality.

Future Horizons: Bergen Assembly 2028 and Alternative Technologies

The "Shape of a Circle in the Mind of a Fish" concluded in 2025 with the publication of a book documenting its rich tapestry of ideas and dialogues. However, Pietroiusti and Ramos's collaborative journey continues as conveners for the Bergen Assembly 2028 in Norway, where they will further explore sustainable futures. Their focus extends to technologies in a broad sense, encompassing not just digital tools but also ancient, vernacular, embodied, and cosmological practices. Mapping, divination, meteorology, storytelling, navigation, healing, and poetic expressions are all viewed as technologies—ways of sensing, transmitting, and ultimately shaping worlds. Ramos expresses a growing interest in knowledge forms that do not promise control, like forecasting, which acknowledges uncertainty, or remembering, which serves as a tool for imagining alternative futures rather than merely preserving the past. This approach emphasizes that creation is not solely about producing objects but about fostering deeper relationships with materials, environments, and other living entities.

In the tranquil town of Inami, Japan, a unique concept of hospitality has taken root. OUKA, the seventh project by Bed and Craft, reimagines accommodation as an immersive cultural experience. This 'stayable gallery,' meticulously designed within a historic Showa-era residence, invites visitors to live amidst the exquisite beauty of Japanese craftsmanship. It's a space where the boundaries between lodging, architectural design, and traditional artistry dissolve, creating an environment that celebrates the region's rich woodcarving legacy.

Details of OUKA: A Living Homage to Japanese Artistry

Nestled beside the scenic Daimon River in Toyama Prefecture, OUKA is a testament to the vision of Bed and Craft, an initiative launched in 2016. This organization has been instrumental in revitalizing Inami, a town boasting over 80 woodcarving workshops, by restoring historic buildings and integrating them into a broader cultural framework that includes a brewery, bakery, restaurant, and craft shops. OUKA enriches this network, offering a two-bedroom sanctuary where every element, from its architecture to its everyday objects, showcases contemporary Japanese artistry.

The transformation was skillfully executed by Corare Artisan Japan, under the guidance of architect Tomotsugu Yamakawa. Esteemed Japanese designer Masanori Oji, known for bridging industrial design with traditional craft, curated the interior. Oji's philosophy was to make craft an integral part of daily life, allowing guests to interact with and appreciate the materials and techniques through direct use, rather than mere observation. His deep collaborations with artisans across Japan brought together a collection of furniture, lighting, and tableware that harmoniously shapes the residential atmosphere.

A striking feature of OUKA is its redesigned entrance, where a portion of the ground floor was opened to create a semi-outdoor passage. Here, a large, naturally formed stone serves as a transition point between the external landscape and the interior, doubling as a seating area. This thoughtful detail overlooks a planned garden of kainyo, traditional windbreak groves endemic to the Toyama region, further grounding the space in its local environment.

Within OUKA's walls, guests discover pieces from renowned craft producers: the intricate woodcarvings of Inami's IPPA, the cast brass works of FUTAGAMI from nearby Takaoka, the wooden creations of Wajima-based AIZAWA Wood Works, and the delicate porcelain from Arita's JICON. These selections highlight the interplay between regional production methods and modern living. Noteworthy items include AIZAWA Wood Works' Bandsaw Trays, carved from single timber blocks to minimize waste and emphasize wood grain, and FUTAGAMI's Twist Veil pendant lamp, which casts captivating light patterns through spiraling brass. Custom furniture, including TENON's TAO Half-Arm Chairs and a circular table crafted by woodworker Komei Tanaka, complements the living spaces. A raised tatami platform replaces conventional seating, encouraging relaxed social interaction, a theme continued with handcrafted zaisu floor chairs by Hiroshima-based Isorok Fabrik, designed for comfortable, floor-based living.

The sensory experience at OUKA is further enriched by its materiality. JICON's porcelain tableware, with its subtle hues derived from Arita's unique porcelain stone, adds a refined touch. Throughout the interiors, brass, cedar, stone, and hand-finished wood surfaces weave a narrative of continuity between the building, its furnishings, and the curated objects. Even the bathing area, intentionally integrated with the living space, emphasizes the project's dedication to embedding craft into every aspect of domestic routine.

OUKA stands as a remarkable example of adaptive reuse, transforming a Showa-era home into a vibrant center where hospitality, architecture, and the legacy of artisanal production coexist. It champions craftsmanship not as static museum exhibits, but as dynamic elements that enrich daily life through their utility, tradition, and aesthetic beauty.

The establishment of OUKA represents a forward-thinking approach to cultural preservation and tourism. By transforming a historic dwelling into a dynamic exhibition of living craft, Bed and Craft not only provides unique lodging but also fosters a deeper appreciation for Japan's rich artisanal heritage. This initiative offers a profound lesson in how traditional arts can be seamlessly woven into contemporary lifestyles, enriching the experience of both residents and visitors alike. It encourages us to reconsider the value of handmade objects and the stories they tell, promoting sustainable tourism that honors local traditions and supports skilled artisans. OUKA serves as an inspiring blueprint for cultural immersion, demonstrating that true luxury lies in authentic connection to craft and community.