Michele De Lucchi, architect and designer, first met the legendary Issey Miyake in 1982. De Lucchi, then in his early 30s, was a prominent member of the iconic design collective Memphis. “We hit it off immediately,” De Lucchi recalls with a chuckle, “We met in Tokyo frequently, so much so that he’d ask me why I never contacted him if I wasn’t coming to Japan.”
In 2018, Miyake invited De Lucchi to 21_21 DESIGN SIGHT, dreaming of a future exhibition together. Six years later, De Lucchi is showcasing his work at 21_21 DESIGN SIGHT Gallery 3 with the solo exhibition, ‘Roppongi Rokken: Six Houses by Michele De Lucchi’. The exhibition features six sculptural houses inspired by the name Roppongi, each crafted from half wood and half bronze, materials De Lucchi considers “the oldest and most noble materials with which humanity has formed its civilization and allowed human nature to develop.” De Lucchi even designed the details of the oak pedestals, stabilized with a process called acetylation, which increases their water resistance and prevents rot.
Though Miyake sadly passed away in 2022 (De Lucchi wrote a tribute to him in the Italian edition of Vogue), the theme of “humanity and nature,” a topic they often discussed, remains central to the exhibition.
The Importance of Loggias and Sustainability
“Sustainability has thousands and hundreds of ways of existing,” De Lucchi says. “The six sculptures in the exhibition are all called ‘loggias’. A loggia, in Italian architecture, is a semi-outdoor structure with a roof, offering an open, yet sheltered space. I believe it’s a particularly important architectural element. Loggias represent the intersection between living and nature, a space between the artificial and the natural environment.”
“Humanity cannot compete with nature, and humanity can achieve nothing without it. Even with our large brains compared to other animals, and even though we can communicate with each other using language and symbols, nature is still a far more powerful force. Architects stand between this incredible power of nature and the fragile essence of humanity.”
Carrying on Miyake’s Legacy
“I heard that you often discussed humanity, nature, and the future with Mr. Miyake,” I ask. “Issey Miyake actively adopted sustainable materials. He understood very well that all our actions today have an impact on the future, many years from now.”
“I too have been thinking about sustainability for many years. There is no single way to achieve sustainability. For example, sustainability in tropical regions is vastly different from that in deserts, continental climates, or temperate climates. Each region has different climates and needs, and there are countless ways to create the right balance. That is why sustainability has thousands and hundreds of ways of existing.”
“In this sense, anthropology is extremely important. Looking back at the origins of humanity, when our ancestors began using materials, techniques, and tools in each region, we can understand how traditions were born, and even find clues on how to resist negative traditions.”
The Correct Way of Living
“As an architect, you design the ‘correct way for humans to live’. What do you think the role of an architect is in considering the relationship between humanity and nature?”
“When I started my career as an architect, there was a trend in European architecture called ‘radical architecture’. At its core, this concept suggests that architects not only design the shape, function, and space of buildings, but also design people’s behavior. Following this principle, one could say that it’s also the architect’s role to encourage people to adopt the correct way of living.”
“What is the ‘correct way of living’ in your view?”
“I believe it’s sustainability. But not just sustainability in terms of climate change. It is also crucial to have sustainable human relationships. Many of the problems we face today, such as war, political strife, and economics, are rooted in our relationships with each other.”
“Of course, gender is one of those issues. If one extreme is male and the other extreme is female, then it’s only natural that things won’t function if the balance between the two extremes is not achieved.”
The Power of Family and Transformation
“Was there a particular turning point that made you think deeply about the imbalance between genders?”
“This is a very personal story, but I am the eldest of eight siblings. My mother gave birth to eight boys in nine years. I was raised in a household surrounded by men. In Italy in the 1950s, when I was born, there was a strong belief that women should stay at home and men should work outside. What changed that for me was meeting my German wife. My father had been a prisoner of war in the German army, so I was very afraid to introduce her to him. But my father welcomed her with open arms. That meeting with my wife completely transformed my male-centric thinking and my Italian perspective. This was a crucial step in my career.”
Inspiring Change Through Architecture
“Could you tell us about the balance between nature and humans? As an architect, how do you think about the balance between humanity’s desire for comfort and convenience and sustainability?”
“For example, if we constantly run air conditioners to keep our homes cool, it leads to carbon emissions. It seems like the two are at odds with current technology.”
“I understand the intention behind your question. I would like to answer this by saying that all our emotions and sensations originate in our minds. Reality is determined by our perception of it, by our minds. You could even say that reality exists in our minds, and this reality is very easy to manipulate. For example, if someone points to a grape in front of you and says, ‘This is a very bitter grape’, you might feel a hint of bitterness, even if the grape is actually sweet. That is why it is important to make people conscious of what they are thinking, what they are doing, and what thoughts are driving their minds. Architects must influence the reality within our minds, not just the physical reality.”
“What do you mean?”
“Buildings can create an environment that makes people conscious of their actions. There is no point in building beautiful, circular, and sustainable homes if people continue to live lives of mass consumption within them. We must also make the mentality of the people who live there sustainable.”
The Power of Material and Meditation
“So, you are saying that it is also the role of architecture to educate the people who live in the building?”
“You could say that, but I would call it inspiration. Education is a strange thing nowadays. There is an abundance of information available online, and if there is anything we don’t know, we can just ask AI. In that sense, the spread of knowledge is not the problem. It’s about how we understand and use that knowledge.”
“Speaking of understanding, you said in the exhibition that you create sculptures to ‘understand the material’. It’s a kind of meditation. The creation of sculptures is a time to think about what is happening there and what we are communicating to the material and substance with our hands. When working with wood, you have to cut the planks, glue them together, combine them, and assemble them. When working with bronze, you pour it into a mold. Each material has its own way of being handled. Through this process, you come to understand the material and explore what you can communicate through it.”
“For me, the world is made up of space and objects. As a designer, I design objects, and as an architect, I design spaces. How they coexist, interact, and influence people’s behavior is my eternal theme.”
— Asuka Kawanabe
Roppongi Rokken: Six Houses by Michele De Lucchi
Location: 21_21 DESIGN SIGHT Gallery 3, Tokyo Midtown Garden, 9-7-6 Akasaka, Minato-ku, Tokyo
Dates: September 20th (Fri) – October 14th (Mon, National Holiday), 2024
Opening Hours: 10:00 – 19:00
Closed: Tuesdays
Admission: Free
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