The Exhibition features three walls, their surfaces riddled with nearly fifty peep holes. Through them, one can glimpse fragments of Kitagawara’s concepts. In the center of the exhibition space, more fragments of his architecture can be seen floating sealed within seven transparent plastic cubes.

In the five years since its opening, GALLERY·MA has held some forty-two exhibitions, a striking average of seven to eight events per year. This retrospective exhibition features models of the work of some twenty past contributors.

24 architectural models have been fixed atop 24 wood columns, systematically placed equidistant to one another. Every 24 curved model has been designed to give the appearance of each project.

Textile designer Minagawa is principally known for her work in designing fabric materials. In this exhibition, the display space is set up unlike any others in the past.

As suggested by its title, this exhibition features a straight presentation of the group’s activities. The metal and wood object places at the center of the exhibition space is specially designes display device.

The exhibition area is divides up into a number of different sections consisting of varying spaces which are linked together in a kind of labyrinth. As one passes through the labyrinth, each step into a new space erases one’s memory of the previous space.

This is a joint exhibition of the work of the designers who participated in the planning of the Hotel Il Palazzo. Inside the gallery are partial models of each space, while outdoors is featured a complete model of the hotel’s facade.

This exhibition focuses Miyamoto’s architecutural achievements during his more than a decade of work on “the Obuse Landscape Restoration Project” (1975–90). Displayed in chronological order on a large, curved wall which passes through the interior and exterior of the gallery is story of the project’s genesis.

This exhibition, entitled SHIKIMI, or threshold, features three teahouses, each design according to the concepts of “shin”,“gyo”, both of which are exhibited indoors, and “so” exhibited outdoors.

Drawings are arranged systematically on the walls. Lying in the center of the gallery is a red painted object serving as a base. Models are fixed to its sharply cut, angled surface, themselves tilting at an angle to produce a sense of direction and speed.

The work of Sei Takeyama and his colleagues depicts the chaos of the contemporary city. The indoor exhibition features an almost amorphous collection of different works.

Hiroshi Ohe undertook to produce architecture during one of the most tumultuous periods of its modern development, nearly isolating himself in his struggle to preserve an independent style.

This exhibition focuses on Ando’s two works, “Church on the Water” (1988) and “Church of Light” (1989). Painted in white, the exhibition space has been designed to reproduce the original work’s atmosphere of refinement.

This is a joint exhibition featuring the work of three leaders from the so-called third generation of contemporary Korean architects, Kim Ki Seok, Joh Sung Yong, and Kim In Choul.

The exhibition makes a sensitive distinction between the use of indoor and outdoor space. The indoor exhibition features only Hasegawa’s main work, “Shonandai Culture Center” (1989).

Some people maintain that the shape of furniture never changes. Kita, however, has shattered this notion marvelously. The form of Kita’s furniture is designed to change shape freely depending on the purpose for which it is being used.

Both the indoor and outdoor space of the gallery are used to present the concept of the dome. In the outdoor display, a hemispheric space is created using a combination of acrylic frames. Visitors can experience an actual dome space within this hemisphere.

Placed at the center of the exhibition are four massive pieces of furniture, entitled “Denka no Hoto.” Hidden within each piece of furniture are Rokkaku’s aspirations and memories of the past, present and future.

Plans are arrayed systemicatically across the surface of the floor. Models hang suspended from above. Colored drawings decorate the surrounding walls. Contrary to expectation, the orthodox arrangement of this exhibition actually provides visitors with a fresh look at Koolhaas’s work.

This exhibition makes extremely sparing use of conventional display materials such as models, photographs, drawings, and plans. The space itself has been created exclusively to convey the special quality that permeates Izue’s architecture.

Suzuki’s works are presented in sequence to suggest the shape of his past, present, and then future development. A walk around the exhibition area gives a clear picture of the architect’s development, featuring childhood sketches as well as assignments completed as a student.

Each one of eight respective motifs printed upon cloth by the artist stands independently. The display is organized to produce a spacial opposition between interior and exteior.

The entire exhibition space has been converted into one of Sugimoto’s works. “Lines” consisting of acrylic pipes devide the space in two. An entirely different space emerges in the narrow space lying between these “Lines” depending upon the angle from which of they are viewed.

A large shelter occupies the center of the exhibition, representing a sort of cosmic space, the interior of which symbolizes the dim space within the human womb. In the corner of the gallery’s interior, an extremely large egg has been placed, a seed representing the origin of all things. This egg, the root of life and the source of creation, has been stamped by Mozuna’s past memory or genes.

This exhibition commemorates the publication of the 100th issue of the Takenaka Corporation’s PR magazine “APPROACH” (founded in 1964) published under the art direction by Ikko Tanaka with cover photos by Yasuhiro Ishimoto.

Gregotti has been active in a wide range of fields, from architecture to urban planning, industrial design, and graphic design. This exhibition displays models, plans, and sketches of fourteen of his projects.

This exhibition displays twenty-two of Aida’s projects, mainly residential, from over a period of fifteen years. Aida’s architecture always possesses a strong sense of theme.

This exhibition displays Kurokawa’s designs in four categories: faucet, wrist watches, lighting and stationery. Kurokawa, who works as product designers as well as an architect, believes things possess the same quality as structures in so far as they comprise a kind of space of their own.

This exhibition displays thirteen of Yoh’s projects, ranging from his residential works such as “House with Light Lattices” (1981) and “House with Cross of Light” (1985) through his large-scale wood truss structures such as “Oguni Dome” (1988).

This exhibition features twenty-nine of Takamatsu’s works spanning the ten-year period from 1977 through 1987, includeing “Orijin I, II, III” (1981, 82, 86) and “Week” (1986) and “Kirin Plaza” (1987).

This exhibition presents fifteen examples of Kawakami’s recent works. The exhibition space is designed to convey a sense of the multiple spheres in which this interior designer is active.

This exhibition focuses on seven of Toyo Ito’s more notable projects, include “Silver Hut” (1984), “Restaurant Nomad” (1986), as well chairs and tables he has designed using aluminum mesh.

This exhibition displays eighteen of Jahn’s principal works, from his “State of Illinois Center” (1985) through the present. Visitors might feel somewhat overwhelmed by the space, the power of its large-scale towers.

It was in Shibuya, Tokyo, a bustling center known for its throngs of young people, that “SEED” was born, the commercial space development centering around the Seibu Department Store. The concept behind SEED was not its function as a facility. Rather, it was an attempt to create an organic, complex image that could anticipate the shapes and strategies of commercial space in the years to come.

This is a memorial exhibition dedicated to one of modern Japanese architecture’s great masters, Kunio Mayekawa. Mayekawa is revered in the Japanese architecture world for his devotion to the cause of modernist architecture.

This architect has focused himself on the “landscapes that architecture produces” within it’s relationship to the city. This exhibition presents private and communal residential projects that have been based in this concept.

This exhibition features models, photographic panels and drawings of eighteen of Ishiyama’s main projects, such as his debut work “Gen-an” (1975), and his later “Egg-shaped Dome” (1981) and “A Series of Works for Matsuzakicho” (1985).

Japan’s largest private corporation, NTT was established in 1985. NTT therefore held a competition in which six companies competed for the chance to take on the new companies CI project. In the end, the proposal by PAOS (Motoo Nakanishi)+Dentsu was awarded and graphic designer Yusaku Kamekura was asked to design the company’s core logo by PAOS.

This exhibition brings together the first place winners in postwar Japan’s most important state-sponsored open architectural competitions. It features the “Four Great Competitions” which captured the attention of the Japanese architecture world namely, the plan for “National Diet Library”, “National Theater”, “Kyoto International Conference Hall”, and “Japanese Supreme Court”.

This exhibition presents a comprehensive survey of fifteen years of Ishii’s work. Beginning with “Naoshima Kindergarten” (1974), and extending through “Chrysler House” (1987), it centers on twenty-three models of residential architecture displayed so densely that they almost overlap with each other.

The exhibition covers a range of his works, from “Loyola School of Law” (1981), “California Aerospace Museum” (1984), through residential projects such as “Peterson Residence” (1984).