A Monument to Slow Architecture: Keisuke Oka’s Arimaston Building
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“In a world where scarcity once reigned, we now find ourselves drowning in excess,” 59-year-old Keisuke Oka reflected during an interview within the building’s curved, grey walls, adorned with unconventional ornamentation. “We must reassess our methods and adopt a more judicious approach to production, lest we invite trouble.”
The building’s unconventional design, replete with wobbly lines and an air of mystique, has drawn comparisons to the animated Studio Ghibli movie “Howl’s Moving Castle.” Oka’s approach, inspired by Japan’s avant-garde butoh dance, involved creating the design as he constructed the building, fostering an organic, intuitive process.
Keisuke Oka, a prolific Japanese architect, has earned the moniker “Gaudi of Mita,” a nod to the illustrious Spanish architect Antoni Gaudí and the Tokyo district where the Arimaston Building is situated. Growing up, Oka felt that the buildings in Japan’s towns and cities lacked a vital spark, appearing soulless and mechanically designed.
“The individual responsible for designing a building and the one who constructs it are often disconnected,” Oka noted. “To infuse the building with life, I sought to integrate the thinking and building processes, allowing the structure to evolve organically.”
A Towering Counterpoint to High-Rise Development
Oka initiated construction on the Arimaston Building in 2005, opting to work largely alone, with occasional assistance from friends. He crafted the building’s concrete, imbuing it with exceptional durability that will purportedly withstand the test of time, lasting over 200 years.
The structure is now nearing completion, with Oka planning to inhabit the upper three storeys while utilizing the ground and basement floors as a studio and exhibition space. When the project commenced, he had envisioned a three-year timeline, but the iterative nature of his design ultimately led to the extended two-decade journey.
Rebelling Against a Throw-away Society
Arimaston Building currently stands alone on a sloping street, its presence all the more striking against the backdrop of large-scale redevelopment efforts. As part of the area’s transformation, the building is slated for relocation, a meticulous process involving transportation of the entire structure on rails.
Upon completion of the relocation, Oka plans to move in, refining the finishing touches alongside his university teaching positions. Amid the area’s upheaval, he hopes to convey the significance of handcrafted work, recalling his childhood, where his mother created clothing for the family due to financial constraints.
“Nowadays, more than half of the clothes we produce are discarded,” Oka lamented, illustrating a world overwrought with material possessions. “We must adopt a more measured approach, eschewing the frenetic pace of production that perpetuates waste and cultivating a deeper appreciation for the value of slow, deliberate craftsmanship.”
