This photo series by Marco Capitanio documents the progression of Terunobu Fujimori’s architectural work in rural Japan, showing how his buildings have aged within the changing natural landscapes of Nagano and Yamanashi. The images track Fujimori’s projects from his first work in 1991 to recent designs, highlighting his use of charred timber, copper roofs, and forms inspired by Jomon traditions. The series begins with the Jinchokan Moriya Historical Museum, featuring sawara cypress wood, earth-toned mortar, and metal bird details. Another image features the Flying Mud Boat tea house, a structure suspended between posts, accessible only by ladder.
Designer: Terunobu Fujimori
Photographer: Marco Capitanio
“Imagine meeting friends you hadn’t seen in person for 20 years. Has time treated them well? How have they changed? If they had children, do they resemble their parents?” Marco pondered over this, leading to the creation of this series. “When it comes to buildings, the experience is not much different: time leaves traces, sometimes with a heavy hand; architects may evolve their style progressively or produce radically different outputs over the decades.”
In addition to researching the theoretical foundations of Terunobu Fujimori’s architecture, the Japan-based designer created a photographic series to document the evolution and endurance of Fujimori’s structures. The series aims to highlight the regional influences in his choice of materials and design, as well as to present his most recent works. Arranged in chronological order, the collection features seven buildings located in Yamanashi and Nagano Prefectures, many of which are situated on the Fujimori family’s land. The series begins with the Jinchokan Moriya Historical Museum, Fujimori’s first project completed in 1991, shown surrounded by spring flowers and new greenery, capturing both architectural and seasonal change.
Terunobu Fujimori was born in Nagano in 1946 and is known for drawing inspiration from the ancient Jomon culture of his region. He incorporates traditional building methods, such as using charred cedar wood (yakisugi) and adobe-like walls, into his designs in creative and modern ways. Although Fujimori is mainly recognized as an architectural historian and a university professor, he has also developed a parallel career as a practicing architect. His goal is to keep Jomon traditions alive through his unique and playful architecture.
Fujimori often works with friends and students during hands-on workshops, further emphasizing his commitment to traditional craftsmanship and community involvement. He humorously refers to himself as a “neolithic daddy” of contemporary Japanese architecture, highlighting his blend of ancient techniques with modern design. Nearly twenty years after gaining international attention as the curator of the Japan Pavilion at the 2006 Venice Biennale, and over thirty-five years after completing his first building, Fujimori remains active in the field. He continues to design innovative structures and sometimes collaborates with international architects, ensuring that his work remains both relevant and rooted in regional traditions.
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