The view from Mori Tower, looking northeast. Photo: Anna Blair
On my first evening in Tokyo I looked out from the Mori Art Museum, on the 53rd floor of Mori Tower, and saw only the city, stretching to the horizon in every direction. Tokyo doesn’t seem to have any periphery, from this vantage point, but instead has multiple centers—and highways hinting at other centers unseen.
Kazuyo Sejima & Associates. Model of Villa in the Forest, Chino, Nagano, Japan. 1992–94. Acrylic, 6 1/2 x 29 1/2 x 29 3/4″ (16.5 x 74.9 x 75.6 cm). Gift of the architect in honor of Philip Johnson. © 2016 Kazuyo Sejima. Photo: Anna Blair
Some visitors to MoMA’s Endless House: Intersections of Art and Architecture exhibition tell me Frederick Kiesler’s designs don’t have enough windows. His Endless House couldn’t have connected the inhabitants with their environment, they say, comparing Kiesler’s model to Ludwig Mies van der Rohe’s Farnsworth House, a glass and steel box intended to float among the trees.
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