Architectural historian and architect. Born in Nagano prefecture. In 1971 (Showa 46), graduated from the Department of Architecture, Faculty of Engineering, Tohoku University, and in 1978, completed the doctoral course in the Department of Architecture, Graduate School of Engineering, the University of Tokyo. Professor at the Institute of Industrial Science, University of Tokyo since 1997 (Heisei 9).
Fujimori, as an architectural historian, wrote in "The Tokyo Plan of the Meiji Era" (1982, published based on his doctoral dissertation "Historical Study of City Planning in the Meiji Era"), which describes the formation of Japan as a modern nation in Western European architecture. I saw the introduction of city planning and discussed it through a concrete episode. Edo of the city to the building of which began in Ginza brick (brick) city with the goal of non-flammable, look at the Tokyo of the plan vision of the future of properly amendment, further around a centralized plan of government, bureaucracy, business leaders, architects He made his debut by realistically drawing a drama in which various thoughts of Tokyo intersect in a realistic way that has never been seen in the history of architecture. In 1998, he received the Architectural Institute of Japan Award for his achievements in a series of papers on "Research on Modern Japanese Architecture and Cities", which discussed the history from the end of the Edo period to the modern era.
Fujimori not only has an academic research method centered on literature research, but at the same time, he has formed an "architectural detective team" to repeat on-the-spot surveys and tours of modern architecture and stylized architecture that remain in Tokyo and other parts of the country. We made efforts to disseminate and enlighten not only architectural students but also the general public's architectural culture and background. As a result, it reaffirmed the value of modern architecture and boosted the momentum for the architectural conservation movement.
Not only as an architectural historian, but as an architect, Fujimori made his late blooming debut at the Jinchokan Moriya Archives (1991, Nagano Prefecture). It all started with a design consultation for a museum that restores and displays a former ritual site near the birthplace of Chino City. With the help of his methodology and imagination as an architectural historian, he adopted spaces and details that differed from the way modern architecture was established, based on cultural anthropology, folklore research, and restoration work. He was skeptical about how to make modern and automatic buildings in terms of construction methods and construction, and established a stance of actively taking up traditional construction methods by conducting various experiments on his own. Fujimori's work as an architect does not try to establish the style of the individual architect there, but always aims to prove a bold hypothesis made in advance by research and experiment, and is a researcher of architectural history. The method as is applied.
After that, the dandelion house (1995) and the Nira house (1997), where the residents participated in the construction, are private houses, but they created the design, space, and details unique to the simple construction method. The greening of roofs and walls is made up of handmade details and construction methods.
The Kumamoto Prefectural Agricultural College Student Dormitory (2000) was the first large-scale building for architect Fujimori, but it is a public space that has generality while adopting the methodologies that have been practiced in houses and a series of buildings. Has won the 2001 AIJ Prize for Architecture.
Other major works include Ipponmatsu House (1997) and Akino Huku Art Museum (1998, Shizuoka Prefecture).
His books include "Japanese Architecture Meiji Taisho Showa 3" (1979), "Architectural Detective Adventure (Tokyo)" (1986), "Tokyo Street Museum" (1987, co-authored with Hiroshi Aramata), and "Tanpopo House". There are "Until you can do it" (1999) and " Fluff of dandelion (Watage) " (2000). [Akira Suzuki]
"" Japanese Architecture Meiji Taisho Showa 3-National Design "(1979, Sansho-do) ▽" Showa Housing Story: 23 Houses and Architects from Early Modernism to Postmodernism "(1990, New Architecture) ▽" Dandelion "Fluff" (2000, Asahi Shimbun) ▽ "Architectural detective, cutting books" (2001, Akibunsha) ▽ "Until the dandelion house is made" (Asahi Bunko) ▽ "Meiji Tokyo plan" (Iwanami contemporaries library) ) ▽ "Architectural Detective Adventure (Tokyo)" (Chikuma Bunko) ▽ "Introduction to Architectural Studies in the World" (Chikuma Shinsho) ▽ "Modern Japanese Architecture" Up and Down (Iwanami Shinsho) ▽ "Modern" by Sakae Omi and Terunobu Fujimori Unique Japanese Architects (1984, Asahi Shimbun) ▽ Takashi Ozawa, Terunobu Fujimori, "Town Planning in Tokyo: How Modern Cities were Created" (1986, Shokokusha), Hiroshi Aramata, Terunobu Fujimori, "Tokyo Street Museum ”(1987, Kashima Publishing) ▽ Terunobu Fujimori et al.
"Signboard architecture" is a form of store and housing. Most of them are two- to three-story wooden buildings that suddenly appeared during the reconstruction period after the Great Kanto Earthquake, and only the front of the building is covered with refractory materials such as copper plates, mortar, tiles, and slate to decorate the townhouse. .. Although it is a building, the façade of the store itself has become an outdoor advertisement. This façade was literally like a "signboard" and was likened to a canvas, and became a place of expression by the people. This allowed the participation of expressions from amateurs to artists, and created anonymous common housing and people's art. The "Concept of signboard architecture" presented at the Architectural Institute of Japan was a meaningful transmission that made us aware of "architecture without an architect" in modern Japan. While traditional townhouses have a completely different composition of foreign matter, it is also interesting to see a wide variety of eccentric decorations on the foreign body façade. If the word style is used for "signboard architecture," two styles with different levels are used properly. And the two style levels are described at a distance so that they do not collide with each other and get confused. Fujimori regarded "signboard architecture" as an underground river of pseudo-Western style architecture that seemed to have disappeared in the Meiji era. On the other hand, Teijiro Muramatsu does not regard this as the return of the pseudo-Western style architecture created by the vitality of the people, but is positioned as a result of fire prevention measures for wooden buildings that follow the flow of the Urban Building Law of 1920. It is supposed to be a thing.
~ Related architectural ideas ~