Kotaro Horiuchi

Kotaro Horiuchi International offices for architecture and urban design and cultural analysis based in Tokyo, Paris

SUSTAINASCAPE — a porous ground in IshigakiA private garden in Ishigaki where no wall was built.Instead of raising a fen...
07/09/2026

SUSTAINASCAPE — a porous ground in Ishigaki

A private garden in Ishigaki where no wall was built.

Instead of raising a fence to block the view from the road, the ground itself was lifted.
The concrete hill becomes a boundary, a barbecue table, fixed seats, and a small terrain for children to climb and move through.

Planting is not decoration.
It creates shade, receives rain, brings birds and small living things back to the site, and completes the screen as a living boundary.

Is there any image that left an impression on you?

JP ver.

SUSTAINASCAPE — a porous ground in Ishigaki

石垣島の住宅地にある、壁をつくらない庭。

道路からの視線を遮るために塀を立てるのではなく、地面そのものを持ち上げた。
コンクリートの丘は、境界であり、BBQテーブルであり、椅子であり、子どもたちが上り下りする小さな地形でもある。

植栽は装飾ではなく、木陰をつくり、雨を受け、鳥や小さな生きものを呼び戻す、生きたスクリーンとして働いている。

印象に残った写真はありますか？

SUSTAINASCAPE — a porous ground in IshigakiA private garden where a requested wall became a lifted ground.Concrete rises...
06/09/2026

SUSTAINASCAPE — a porous ground in Ishigaki

A private garden where a requested wall became a lifted ground.

Concrete rises as a hill, falls into a barbecue table, forms fixed seats, and opens again toward the street. Planting completes the screening, not as decoration, but as a living boundary for shade, rain, birds, and everyday life.

Which image do you like the most?

Jp ver.
壁を求められた住宅の庭で、壁ではなく地面を持ち上げた。

コンクリートは丘になり、BBQテーブルになり、固定された椅子になり、街路へ向かって再びひらいていく。植栽は装飾ではなく、視線、木陰、雨、鳥、暮らしを受け止める生きた境界として働いている。

みなさんは何枚目が好きですか？

06/09/2026

Monet’s Water Lily Pond

05/09/2026

Claude Monet, 1840–1926. He died at 86, after spending the last 43 years of his life here in Giverny.

About 50 minutes by train from Paris Saint-Lazare to Vernon-Giverny station. Step off, and a small, charming town appears. From here, hop on the “petit train,” cross the Seine, and ride 20 minutes through pastoral countryside dotted with grazing cows. Giverny is a classic Norman linear village — a single long street stretched along the foot of the hills. Its name: rue Claude Monet.

Arrival. The stream under the bridge is the Ru, a branch of the Epte that flows on into the Seine — the very same water that fills Monet’s lily pond. Crossing the bridge, I pause to look beneath the surface.

A five-minute walk. Keep going through the pretty village and you reach Monet’s house. Open the door, and a sea of flowers spreads before you — Monet’s garden. Further on, you hear the murmur of a stream, light dancing on the water, and as you cross the bridge, the water lily pond appears.

The view I had been longing for. The one I already knew.

05/09/2026

Musée Albert-Kahn, Boulogne-Billancourt.
Between 1909 and 1931, a banker named Albert Kahn sent a dozen photographers to more than fifty countries. They came back with 72,000 autochrome plates and 183,000 metres of film. The Archives de la Planète — now on UNESCO’s Memory of the World register, and the largest autochrome collection in existence.
Kengo Kuma’s building, opened in 2022 after six years of work, announces none of this. From the street it is a folded screen. From the garden it is timber louvres and an engawa, the in-between space that belongs to neither side. The architecture steps back so that four hectares can come forward: a blue forest and marsh, a Vosges forest, a French orchard, a contemporary Japanese garden.
An archive holds the world still. A garden refuses to. Here they share a site.
On now: Mondes en commun, until 20 September 2026 — eleven contemporary photographers continuing Kahn’s inventory.
—
72,000枚のオートクローム乾板。1909年から1931年にかけて、50か国以上に送られた撮影者たちが持ち帰った記録。それを収める隈研吾の建物は、縁側と木のルーバーで、庭に対して一歩下がっている。

04/09/2026

Musée Albert-Kahn, Boulogne-Billancourt.
Between 1909 and 1931, a banker named Albert Kahn sent a dozen photographers to more than fifty countries. They came back with 72,000 autochrome plates and 183,000 metres of film. The Archives de la Planète — now on UNESCO’s Memory of the World register, and the largest autochrome collection in existence.
Kengo Kuma’s building, opened in 2022 after six years of work, announces none of this. From the street it is a folded screen. From the garden it is timber louvres and an engawa, the in-between space that belongs to neither side. The architecture steps back so that four hectares can come forward: a blue forest and marsh, a Vosges forest, a French orchard, a contemporary Japanese garden.
An archive holds the world still. A garden refuses to. Here they share a site.
On now: Mondes en commun, until 20 September 2026 — eleven contemporary photographers continuing Kahn’s inventory.
—
72,000枚のオートクローム乾板。1909年から1931年にかけて、50か国以上に送られた撮影者たちが持ち帰った記録。それを収める隈研吾の建物は、縁側と木のルーバーで、庭に対して一歩下がっている。
engawa architecture paris

住所

2−27−28Minami-aoyama
Minato-ku, Tokyo
107-0062

営業時間

月曜日 09:00 - 17:00
火曜日 09:00 - 17:00
水曜日 09:00 - 17:00
木曜日 09:00 - 17:00
金曜日 09:00 - 17:00

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