If we were to summarize the results of the classification and organization of the drawing materials used in this research, the oral history of Osamu Ishii, and the production of models based on the drawing materials, the word that best describes the architect Osamu Ishii is “challenge”. He continued to make specific new attempts in each place, in order to support the dreams of his clients. What made this possible, both technically and mentally, was his background in manufacturing. After graduating from elementary school, he studied at Yoshino Technical School, worked for Obayashi Corporation for a short period of time, and then built reinforced concrete facilities during his military service. After the war, he ran his own construction company, and in 1956 he opened his own design office. His career path is different from that of the architects generally criticized in modern Japan. How does one build one’s own stance towards architecture in general, by absorbing and overcoming the influence of one’s teachers at university and in the atelier? Or, how does one show this in journalism and connect it to the next step? In these and other ways, there is a single thread that runs through it all.
The reason why each design request is not lost in the shuffle is probably because each attempt is not divorced from the concrete. Architectural design begins with a request, is carried out for a specific site, and is realized through materials. The challenges in the designs of Osamu Ishii are not unrelated to the wishes of the people who commission them, but are supported by a response to the site, a personal sense of materials and structure, and communication with specialists and craftsmen. Furthermore, it is an internal drive. This is because, as a life’s work, he chose it himself, not being asked by anyone. The client, the site, and the technology are all part of one society. Therefore, even without conceptualizing them, they will eventually connect. Osamu Ishii was not a person who tried to create his own style in a continuous and rational way. He was an architect with the ability and courage to design passionately and spontaneously, while also being able to work closely with the client. As a result, all the elements were in place before the Kaikyo-soan. These included the straightforward use of materials such as logs, bricks and industrial materials, the stone walls that integrated with the landscape, and the cross-sectional composition that relativized the ground surface. Another thing that is not visible is the relationship with the client. The network of connections cultivated before the Kaikiso-an house was surprisingly connected to the client of the house. This is also a different circuit from the architects who place importance on journalism.
However, it is undeniable that the Kaikiso-an house (Megamiyama House 1), completed in 1976, was a major leap forward. This was the first time that a design that challenged the ground surface was fully realized in Megamiyama. The house is built as if it were buried in the sloping surface. It is easy to say, but when it comes to actually realizing it, it would be a series of difficult problems in terms of planning, technology and design. However, the nearly 30 years of experience gained during the period of rapid economic growth helped us overcome these difficulties. Whether or not you have graduated from university, it is difficult in your 20s and 30s to avoid recklessness and to discern the key points that should be truly challenged. The construction of his own house was an attempt to create a place of comfort in his life, and at the same time, a challenge to see whether his professional skills were truly viable. The success of this project, combined with his diverse previous experience and his sincerity towards architecture, led to a series of rich and fruitful works.