The significance of Japanese “Art Projects” for regional regeneration and development.

The signiďŹ cance of Japanese Art Projects for regional regeneration and development.

Marie Nihonyanagi University of Greenwich BA Architecture Year 3 Tutor: Marko Jobst 2013/2014 (8,167 words)

Acknowledgement I would like to gratefully and sincerely thank Dr. Marko Jobst for his guidance, understanding and patience during my studies.

I also would like to express my deepest gratitude to my friends Will Tsan and Paul Kenrick, their support to check and correct my writing to complete my dissertation. I would never have been able to ďŹ nish it without their help.

Finally, I would like to express my special appreciation to my family who always understand and support me.

Acknowledgement

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Abstract Naoshima island, Japan, has recently been successfully revived and developed by "Art Projects". In Japan, the regional social issues are becoming a serious problems and required a prompt solution. In this current situation, Naoshima Art Project offers a clue to addressing these regional issues. This research questions whether the "Art Projects" in Japan are functioning properly and efficiently for forming New Communities , and it offers a discussion on continuous regional regeneration by studying the history and clarifying the methods, mechanism and challenges of the "Art Projects". Deriving the future potential of the "Art Projects" and exploring the future possibilities for development of the relationship between "Art Projects" and architects will be of signficant value for both "Art Projects" and the discipline of architecture.

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Abstract

Contexts Introduction

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Chapter-1. The signiďŹ cance of "New Communities Formation

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Chapter-2. Art Projects

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Chapter-3. The analysis and evaluation of the case study

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Naoshima Art Project Chapter-4. The categories of "New Communities"

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Chapter-5. The challenges of "Art Projects"

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Chapter-6. Architects and "Art Projects"

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Conclusion

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List of Figures and Images

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Bibliography

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Contexts

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Fig-01. Naoshima Art Project

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Introduction

Introduction In recent years, the islands called Naoshima has been the focus of attention in Japan. Naoshima was a obscure island which has had troubled regional social issues such as depopulation, industrial stagnation, declining birthrate and aging population, as same as other ordinal islands until about 20 years ago. However, why did this island become famous? It was a result of Naoshima being revived by "Art Projects" and the the whole island being developed in the process.

The regional social issues are becoming serious problems in Japan. As a result, a decline in the number of towns and villages is occurring in many regions across Japan. The aging population rate, for instance, is forecasted to become an aging society with approximately 25% of aged people in 2012, and an aged society with over 33% of aged people in 2035 in Japan (MIC 2013). The issue has been increasing year on year and requires corrective measures as soon as possible. Japanese economist Kenichi Miyamoto (1998) describes the current social situation as follows. Mankind is now standing at the end of the era of modernization that gave rise to the industrial revolution. To address this situation, the government s commitment to change is required for the regeneration and revitalization of the suffering regions. Meanwhile, architects, as city planners, are expected to be responsible not only for the design of buildings and spaces where people gather, but also for the planning of activities or events that lead to developing the residents "New Communities". In addition, it is important to incorporate the participation of residents and their views from the planning stage (Kikuchi 2008). It was also required that the "New Communities" would expand outside their original areas, connecting a wide variety of people from surrounding regions, including local residents and organizations to regenerate regions. The "Art Projects" are currently attracting a lot of attention as an effective solution for forming "New Communities" and held across the country. Naoshima is a project that took the initiative in this trend.

The "Art Projects" are regarded as one of the lastest art phenomena in the Japanese art scene. Its contents are diverse and it is an attempt to review the role of art in traditional Japan. The art expression styles of the "Art Projects" integrate several trends of Site-specific Art . The "Art Projects" are trying to create a new relationship between art, human beings, society, and nature by utilising conventional materials or Introduction

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elements into art works. The University of Shimane Professor Noriko Hatta (2004) expressed that the "Art Project" is a movement aiming to revive the regional areas by creating human communities comprising of many people from various fields. To interact with a variety of citizens and re-build the city, an effective tool for communication is required. The validity of Art to facilitate communication has been recognized (Serizawa 2006). In order to launch "Art Projects", it is necessary for talented, capable people to be present to direct the planning and management. To date, "Art Projects" have been produced by artists mainly for the purpose of creative expression. However, the "Art Projects" as a public policy have an underlying purpose of regeneration and revitalization of the region. Therefore, in order to develop them and find further possibilities, human resources from various fields have been appointed to lead these projects. An architect, for example, who is an expert in designing relationships between cities and the people within, are seen as a human resource, and can play an important role in the "Art Projects".

The main purpose of this essay is to verify whether the "Art Projects" in Japan are functioning properly and efficiently for forming New Communities and it will lead on to discuss continuous regional regeneration and revitalization by studying the history and clarifying the methods, mechanism and challenges of the "Art Projects". Moreover, deriving the future potential of the "Art Projects" and exploring the future possibility of the relationship between "Art Projects" and architects is also an important objective.

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Introduction

Chapter-1.

The significance of "New Communities Formation.

Why is the formation of New Communities is important for the regional regeneration? Nowadays, immediate action is required for regional revitalization, because many areas of Japan are experiencing a crisis situation. In such circumstances, the establishment of "New Communities" is crucial, and is one of the most important factors in regenerating and revitalizing the rural areas. According to the dictionaries, a community is defined as a group of people living in a particular area, location, or people who are considered as a unit because of their common interests, social group or nationality. The New Communities are open to the region and beyond, in order to connect a wide variety of people, and allowing them all to participate in activities together. The interchanges in the "New Communities" will create connections between people from different fields. The conversation and discussion between them in the community will stimulate many of the members into the community s activities and create even more new opinions and ideas. An American social scientist Scott E. Page (2007) explained in his book why a group of people can find better solutions and improve performance more than brilliant individuals. The theory of Page provides a clear answer to the question: why must one collect various people in the "New Community" to achieve regional regeneration and revitalization. One of the conditions is that The Problem Is Difficult: No individual problem solver always locates the best solution. (Page 2007, p10.). The social problems are different in each region in Japan, meaning that the resulting solutions are also different.

Therefore the challenge of how to regenerate and revitalize each region cannot be resolved by an individual competent person or one standardized solution. It needs diverse ideas and opinions. It could be said that this situation is qualified as the condition which Page mentions.

One could say that a "New Community" which mobilizes a variety of people has great potential for regional regeneration and revitalization.

The community which is open to the public with a diversity is a "New Community". In addition, the "New Community" can evolve its form and activities constantly in a process of trial and error, by using the interactions between its diverse members. From this trial and error, the best activities of the community are determined and connections between people are built. It is expected that the creation, continuation and development of the "New Community" will be an effective process to regenerate and revitalize regions of Japan.

Chapter-1

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Fig-02. The Ambler Project (1992) by Jeanne Claude

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Chapter-2

Chapter-2.

Art Projects Why is the "Art Project" considered to be an effective tool of public policy? In this chapter, I will clarify what "Art Projects" are and why the projects have been utilised as a tool of regional regeneration and revitalization by summarising their history with social trends.

"Art Projects", have flourished since the 1990s, continue to flourish across the country in the 2000s. The "Art Project" is a type of "Site-specific Art", a term used to incorporate various artistic expressions, activities and philosophy in the public space. This means that artistic expressions such as "Public Art", "Installation", "Performance" and "Earth work" are included in the "Art Projects". It could be said that the "Art Project" gathers many artistic elements that are at the cutting edge of art activities in the 20th century. However, the "Art Projects" have a major difference from previous art activities. This is that "Art Projects" focus on the process of the activities and its social benefits more than completed art works.

Nakajima (2012) explained that "participation", "collaboration" and "communication" are crucial factors and also the process is important than the result in "Art Projects". In the 1990s, the words "Art Project" meant social artistic activities which in turn could have two meanings.

One meaning is carrying out artistic activities in the public and presenting completed art works. The other is by using artistic activities in public policy to approach social issues (Hatta 2004). However, since the year 2000, most of the time the words are used in the latter sense.

Nowadays, "Art Projects" have been recognised as artistic expression activities that provide social benefits such as the regeneration and revitalization of the regions. Each "Art Projects", currently have shown original unique developments relating to each project s purpose or activity style. Toshiko Hashimoto (1997) mentions that the "Art Project" is an open activity that consists of and is supported by the participation and cooperation of a variety of people. The expected outcome of "Art Projects" as public policy are projects which encourages local people s participation and emphasise the interaction of people in an artistic activity.

Chapter-2

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Fig-03. The Echigo-Tsumari Art Triennial in 2000 Set North for Japan (74째33 2 ) by Richard Wilson

Fig-04. The Echigo-Tsumari Art Triennial in 2000 House of Light by James Turrell

Fig-05. The Echigo-Tsumari Art Triennial in 2000 House of Light by James Turrell

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Chapter-2

The history The words "Art Project" were generally used in the 90's for exhibitions by artists that took place outside museums and galleries. However previously, there were also many activities that were exhibited outside of museums and galleries. In the1950s, avant-garde art organizations exhibited their art works outdoors and carried out performances of art activities, and it could be described as the origin of the Art Projects (Kajiya 2009). In this chapter, I will discuss how the "Art Project" linked with social trends and has evolved since the 1990s.

Footnotes The former history (1950-1990) In the1950s, avant-garde art organizations such as "Kyushu-ha" and "Gutai" exhibited their art works outdoors and carried out performances of art activities. It can be said that this is the origin of the "Art Project". In the late 60s, exhibitions which were held by artists began in earnest. Outdoor exhibitions such as Happening , Event and Yagai-chokokuten are now carried out on a much larger scale. In the 70s and 80s, outdoor exhibitions were carried out in various places, for example, the public parks and sand dunes. However, the exhibitions or art works were only for the artists own gain, and focused on the artists preferences. Exhibitions considering the point of view of the viewer were rare, despite the fact that the exhibitions were in public places. The fact that artworks were made in the artists attitude without any consideration of the public, led to a problem in one important exhibition called The Outdoor Modern Art Festival in the Kodomo no Kuni park. The organization of the park removed and destroyed several art works because these were considered inappropriate in the place. This incident highlighted the lack of understanding between artists and the local community and revealed the problem that artistic expression and activities were created by artists self-centeredness. It also demonstrated the difficulty of public exhibitions. However, In the 1990s, art began to attract attention as a tool of public policy and the exhibitions required activities with an emphasis on public nature rather than just the artists own creative expression. During this period, artists began to focus on relationships with the local community. It can be said that this is the basis of what is now referred to as "Art Project"（Kajiya 2009）.

Chapter-2

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Unlike the activities by local governments or museums, the "Art Project" was a social activity that was created by the initiative of citizens and artists. The subsidies for arts and cultural activities by the government and private companies that began in 1990 had a significant impact on "Art Projects". At present, many of the "Art Projects" take advantage of such subsidy programs (Taniguchi 2013). Many of these subsidy programs required that the activity have aims of local revitalization and social contribution as terms of the grant. Therefore public policy considered the purposes of the activities at the initial stage of its planning (Kikuchi 2008). In addition, due to changes in society during this period, from 1992 public opinion in urban planning came to be regarded as important. In other words, having a dialogue and relationship with residents became necessary, when developing urban areas. This led to workshops being held across the country providing the opportunity to communicate with inhabitants. It is suggested that these activities are linked to the "Art Project". In 1994, The Foundation for Regional Art was established. The establishment of the Foundation was to promote the revitalization of local communities by art culture, and influenced the development and dissemination of "Art Projects" (Kajiya 2009). Since 1994, activites that formed the subsequent "Art Projects" have begun to be practiced throughout the country. In addition, the Great Hanshin-Awaji Earthquake in 1995 is one of the significant events that triggered the development of the "Art Project". Volunteer activities were spread throughout the region due to the huge impact of the earthquake, and urban regeneration was executed by citizens. In the cities reconstruction projects, many architects, such as Tadao Ando, played an important role to promote recovery and reconstruction, and the "Art Project" was also introduced as one of the activities in this Provincial Reconstruction (Disaster Reduction and Human Renovation Institution 2004). From this period, Art-based Nonprofit Organizations (NPO) were established across the country and leaders of the "Art Projects" expanded from individual artists to the social organizations (Taniguchi 2013). Public policy is incorporated into projects from the planning stage and it is assumed that leaders of the projects were selected from various fields, and have a keen interest in public policy as well as artistic expression. Since 2000, large projects like The Echigo-Tsumari Art Triennial have been carried out cooperation with the government, and their significant social influence in Japan was noticed. Awareness of the social value has increased and the notion "Art Project" has spread across the country. In 2001, cultural art promotion was mandated by national and local governments, promoting the development of the "Art Project" (Kajiya 2009). As a result, "Art Projects" were increasingly being used as public policy. At the same time in Japan, educational reform and reform of the welfare for the disabled was advancing (Taniguchi 2013). The "Art Project" was connected to these reforms and begun to show its further possibilities.

To summarize the history of the "Art Project", in the 1950s art activities 12

Chapter-2

and exhibitions in the field began. Until the 1980s, the art activities explored the meaning of art in a local community, and in public places.

The time from 1990 to 1993 was when the foundation of support for the "Art Project" was formed in relation to financial resources and organizations. Furthermore, it was the time when the style of the current "Art Project" began. The period between 1994 and 1999, full-fledged Art Projects started to be practiced and experimented with, and "Art Projects" came to be socially recognized. Since 2000, the Art Project continued to develop and spread across the country. The aspect of Provincial Reconstruction related to "Art Projects" have allowed a diverse collection of people to participate in the projects. It has been noticed that the time artistic activities started considering relationships with civil society, overlaps with the time the government began to recommend public entities participation in urban planning. Furthermore, when society became aware of the possibility of art and explored its application, it led to the development of the "Art Project".

Architects and the "Art Projects" connected local communities to urban planning from 1992 by using workshops. The "Art Project" has the ability to encourage the participation of residents in the architecture of urban planning. In addition, the Great Hanshin-Awaji Earthquake in 1995, has formed strong relations between "Art Projects" and architects. The urban reconstruction and regeneration was required not only to create an urban space with new buildings, but also to form a New Community of citizens. Architects have begun designing software (communities), and not only designing the hardware (buildings). The "Art Project" was introduced into urban regeneration as an effective measure, with architects leading these projects. It is probably said that architects, who had previously avoided involving the art field in their works because of the strength of its self-expression, began to actively include it as part of the "Art Projects" which were functioning as public policy.

Footnote In 1992, the Ambler Project by Jeanne Claude indicates the potential of introducing contemporary art in a regional community, and their work became a subsequent development of the "Art Project".

In 2000 the Echigo-Tsumari Art Triennial was held in Nigata prefecture, and succeeded in revitalizing the local areas by introducing contemporary art to the depopulated region in the mountainous area.

The Art Project attracted numerous visitors from all over the country (Takahashi 2011).

Chapter-2

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Fig-06. Pumpkin (1994) by Yayoi Kusama

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Chapter-3

Chapter-3.

The analysis and evaluation of the case study Naoshima Art Project In recent years, various "Art Projects" have been held throughout the country and it is expected to help create new communities, regenerate local regions and grow economy in rural areas. A project which has become well-known in the world as a successful model is "Naoshima Art Project" which is on the island in Kagawa prefecture. "Naoshima Art Project" is a project which is sponsored by a single company, Benesse Corporation . It can be said that the successful project was an initial prototype of "Art Projects", that indicated the future direction of the "Art Projects" and its position in society (Nagahata and Edahiro 2010). The whole island is an "Art Project" in "Naoshima Art Project", and dierent styles and sizes of "Art Projects" have been performed in this island. To research and analyse the results of the "Naoshima Art Project" which is representative of "Art Projects" is to be able to extract the eective methods in regional regeneration. In addition, many architects are involved in the "Naoshima Art Project and its research may have to consider the relationship between the "Art Projects" and Architects. In this chapter, the "Art Projects" which are held in "Naoshima Art Project" will be collectively discussed and considered.

Chapter-3

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Fig-07. Naoshima

Fig-08. Naoshima Map

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Chapter-3

Naoshima Art Project Naoshima islands are composed of 27 dierent sizes of islands including Naoshima. Naoshima is located in the central part and its size is around 8 km2. The population of Naoshima is 3,206,000 and about 30% of the population is 65 years old and over (Naoshima-town 2013). In 1985, Naoshima faced environmental issues, population declineand an aging population. In this time, Fukutake bookshop owner Tetsuhiko Fukutake and the Naoshima mayor Chikatsugu Miyake at the time planned to transform Naoshima into a cultural destination to regenerate the area.

Subsequently, the project was inherited by Soichiro Fukutake in 1988, and it started to develop the south of the island as an educational culture area (Nagahata and Edahiro 2010). This was the beginning of "Naoshima Art Project". Currently, there are a variety of "Art Projects" in Naoshima. The main projects will be introduced and considered in chronological order and divided between permanent and temporary projects.

Chapter-3

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Fig-09,10,11. Naoshima International Camp (1989 ) by Tadao Ando

Fig-12,13,14. Benesse House Museum (1992) by Tadao Ando

Fig-15,16,17. Oval (1995) by Tadao Ando

Fig-18,19,20. Park (2006) by Tadao Ando

Fig-21,22,23. Beach (2006) by Tadao Ando

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Chapter-3

The ďŹ rst project is "Naoshima international campsite" and involved an architect, Tadao Ando as the supervisor in 1989. This campsite is open to the general public, and by staying overnight in Yurts that have been relocated from Mongolia, people experienced nature of the Seto Inland Sea. In 1992, "Benesse House Museum" designed by Tadao Ando was opened. This facility is a unique because it integrated museums, accommodation and restaurants.

In 1995, other accommodation buildings "park" and "beach" were opened, and also "Oval" was opened in 2006.

In 1998, "Art House Project" which renovated old houses in the village began. These Art Projects connected life, history and citizens of the region with contemporary art. The "Art House Project" renovated old empty housesas contemporary artin the area where there are many vacant houses because of aging and as depopulation progresses.

Currently, seven houses"Kadoya" "Minamidera", "Kinza", "Go'o shrine", "Ishibashi," "Gokaisho" and "Haisha" have been opened to public. The Art House Project utilised vacant houses that are spread out in residential areas, and turns the buildings into art works, with memories and the history of the period when people ďŹ rst lived in the houses.

Encounters between visitors and the local people within the houses and on the streets occur daily, and provides opportunities for valuable communication and sharing ideas. The Art House Project focus on "Art and People" and conducting the activities in a place of residents lives.

The Projects could gradually grow into more localized projects. The "Art House Project" will be considered in detail later as the project led to form "New Communities".

Chapter-3

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Fig-24. Art House Project

Fig-25,26,27. Kadoya (1998)「角屋」

Sea of Time '98 (1998) Naoshima's Counter Window (1998) Changing Landscape (1999) by Tatsuo Miyajima

Fig-28,29,30. Minamidera (1999)「南寺」 Backside of the Moon (1999) by James Turrell

Fig-31, 32,33. Kinza (2001) 「きんざ」 Being given (2001) by Rei Naito

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Chapter-3

Fig-34,35,36. Go o Shrain (2002)「護王神社」 Appropriate Proportion (2002) by Hiroshi Sugimoto

Fig-37,38,39. Ishibashi (2006)「石橋」

The Falls (2006) The Garden of Kū (2009) by Hiroshi Senju

Fig-41,42,43. Gokaisho (2006)「碁会所」 Tsubaki (2006) by Yoshihiro Suda

Fig-44,45,46. Haisha (2006)「はいしゃ」

Dreaming Tongue/Bokkon-Nozoki (2006) by Shinro Ohtake

Chapter-3

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Fig-47,48,49. Chichu Art Museum (2004) by Tadao Ando

Fig-50,51,52. Seirensho (2008)

Fig-53,54,55. Naoshima bath I♥湯 (2009) by Shinro Ohtake

Fig-56,57,58. Lee Ufan Museum (2010) by Lee Ufan, Tadao Ando

Fig-59,60,61. Miyanoura Gallery 6 (2013) by Taira Nishizawa

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Chapter-3

In 2004, "Chichu Art Museum" designed by Tadao Ando was completed as a place to think of the natural and human. This museum has mostly been built under the ground, and achieves integration with the landscape of Naoshima. Natural light is adopted in the basement, and the appearance of the artworks change according to the time of day and is also an installation attraction. It can be described that the whole building is a huge artwork. There are only three artists artworks, Claude Monet, Walter de Maria and James Turrell within the museum. These are site-specific works which are part of the permanent installation only for this Art Project .

In 2008, the Inujima Art Project opened on the small island of Inujima in the Seto Inland Sea. As the first project of the Inujima Art Project , the Art Museum Seirensho was opened. It is restoring and preserving a closed copper refinery which is an industry heritage site. It represented a new way of reforming the area with architecture, contemporary art and the environment.

In 2009, Naoshima bath "I♥湯" designed by artist Shinro Ohtake was completed. This is an art facility where people are actually able to take a bath. "I♥湯" provides a venue for exchanges between international and Japanese visitors and locals, and for the Local residents to rejuvenate. Artist Shinro Ohtake and the creative group graf collaborated to create the facility, and the design of every detail of the exterior and interior reflect the world of Artists.

In 2010, Lee Ufan Museum which resulted from the collaboration between the artist Lee Ufan and architect Tadao Ando opened. In the space which is a semi-underground structure, artworks, paintings and sculptures by Lee spanning a period from the 1970s are exhibited. Lee's artworks in Ando's building are giving visitors an impression of dynamism and stillness. The Lee Ufan Museum is located on a valley surrounded by mountains and sea. The museum offers a harmony between art, nature and architecture, and visitors will be provided with an opportunity to find time for quiet reflection from society.

In 2013, Miyanoura Gallery 6 was completed. The Miyanoura Gallery 6 was transformed from "Pachinko 999 (Three Nine)", which was a previous amusement arcade enjoyed by local people in Naoshima, along with an adjoining park by architect Taira Nishizawa. The gallery is a new facility where visitors and residents can communicate and relax.

The gallery will be used for an exhibition space for photography and video art. From 1989 to the present, it has been revealed that various permanent Art Projects were constantly founded in the Naoshima Art Project .

Chapter-3

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Fig-62,63,64. STANDARD (2001) NAOSHIMA STANDARD 2 (2006)

Fig-65,66,67. Naoshima Rice-Growing Project (2006 - )

Fig-68,69,70. Naoshima Harvest Festival (2008 - )

Fig-71,72,73. Art Setouchi Triennale (2010, 2013)

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Chapter-3

The exhibition "OUT OF BOUNDS" was held in 1994 and is the first temporary "Art Project". In this "Art Project", there was an outdoor exhibition and most artworks were created in the island and displayed outside the museum as permanent exhibitions. Invited artists selected the location on the coast and nature of the island for their artworks which are site-specific works. In 2001, the exhibition STANDARD was held as a celebration of the Naoshima Contemporary Art Museum's 10th anniversary. The exhibition was installed in houses, streets and facilities all over the island. After five years later from the STANDARD , the exhibition Naoshima Standard 2 was held in 2006. In this exhibition Naoshima Standard 2 , Naoshima Rice-Growing Project started in abandoned paddy fields from 2006. Rice growing had declined in Naoshima since the 1970s, but this project restored the traditional activity accompanying the exhibition. The project was continued to restore the pastoral landscape of the island after the exhibition. The Naoshima Harvest Festival was held in 2008 and 2009. The festival concept is linking art, food and local culture, and it was held in autumn at harvest time in Naoshima. In the festival, workshops which are related to Naoshima were opened to the public, and artworks and agricultural products were displayed in the markets. Visitors and local residents could buy these products and celebrate the harvest event together. It is a festival that creates communication between local residents and people from outside in a cultural activity. From encouraging interactions between culture and people, new connections can be formed to find new values of Naoshima. In 2010 and 2013, Art Setouchi Triennale which was the largest scale temporary festival in Naoshima, was held.

This festival is held around every three years. During that time, a variety of artists were invited and created their artworks in Setouchi area which included Naoshima. It can be said that exhibition and festival events of Naoshima Art Project have a function to constantly gather people from the region and beyond. It is true to say that providing incessantly new activities is effective in continuing to encourage the people of the region to participate in Naoshima Art Project and beyond. According to this research, it is clear that the Naoshima Art Project has pioneered a diversity of "Art Projects".

Chapter-3

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Fig-74. Red Pumpkin (2006) by Yayoi Kusama

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Chapter-3

As a result of these efforts spanning more than 20 years, the number of visitors to Naoshima has been rapidly increasing since 2004 and it was more than 350,000 in 2009. Approximately 90% of the visitors are tourits who come to sightseeing in the island (Nagahata and Edahiro 2010).

When I was sightseeing in 2009, I could see a wide age group of people in each place. In addition, there were also large amount of tourists from abroad which is about 10% of all the visiters (Nagahata and Edahiro 2010). By the efforts of Naoshima Art Project , local authorities, local companies, local residents and tourism agency collaborate closely and a system of cooperation is built. Therefore, revitalizing the local economy and community, and residents is being achieved. It can be ture to say that the "Art Project" is an effective solution to the regional revitalization.

In Naoshima Art project , there are a lot of different styles and contextual projects, for instance, Museums for tourism, galleries renovated from old buildings, artworks created with local people and restored traditional activities. Moreover, the effects of the Art Projects on regional regeneration are slightly different from each project. The major Naoshima Art Projects , especially, Museums and festival projects, are expected to revitalize the economy by developing the tourism industry but some of them also focus on the revitalization of local residents. However, it is clear that all Art Projects adopt history, tradition, life and culture of the region, and are integrated with contemporary art. These activites increase the value and attractiveness of the area and highlights the characteristics such as local resources of the region. This is referred to as Regional branding or Place branding (Hanna and Rowley 2008). Place Branding is a promotional scheme which includes activities that increase the attractiveness of an area as a place for living, working and spending free time (van Ham 2001).

Regional branding is purposed at creating more of a special image which helps to increase the areas regional reputation (Maessen et al., 2008). It can be said that strengthening the regional identity and developing their characteristics is effective in regenerating the local regions, especially the countryside. In the next chapter, I will focus on the "Art Projects" that can create connections between people. It means that the projects that have an effect, lead to the formation of "New Communities", and I will elicit and analyse its effective method.

Chapter-3

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Fig-75. "Goodwill (Noren) Alley" (2001) by Yoko Kano

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Chapter-4

Chapter-4.

Categories of "New Communities" For the formation of "New Communities", firstly it is necessary to gather a wide variety of people from the region and beyond. The "Art Projects" in Naoshima were designed to be a collaboration between contemporary art and local resources such as nature, history, regional tradition, regional culture and regional food, and was successful to as Regional branding . Due to this result, its appeal has led to lots of people contributing to the activities. Naoshima Art Project was able to attract a large amount of people by the appeal of each project. However, once people simply assembled together, it cannot be said that this has formed a "New Community". The "New Community" formation required people s continued participation in the activity and to maintain a connection to them. By using the art project, there are two methods that can be used which lead to regional revitalization. One is economic growth by attracting more tourists to the region and utilizing the art activities to attract customers. The other is regeneration of the region itself and the local residents. By using different methods, the type of community that is formed as a result is also different. Hachinohe Gakuin University professor Yano Mineo (2011) described that communities which are formed from different methods of Place branding , can be classified as " Pursuing Business type" and "Creating Life type".

In this chapter, "New Communities" which are formed by the "Art Projects" in Naoshima will be divided into two categories according to the method of the regional regeneration. By using the Yano s different types of community as a reference, I will analyse and discuss the reasons how the regional regeneration of "Naoshima Art Project" has succeeded.

The first community to be defined as "Business communities" was focused on commercial activity to stimulate the economy in the region.

"Business communities" is a community formed by the "Art Projects" aimed at economic community revitalization by utilizing local resources.

The communities consist of mainly local companies, local authorities and residents. It is a community that is developing activities for the project as a way for businesses to benefit. The activities operate in museums, galleries, hotels and restaurants, and include activities such as planning and workshops, production and selling souvenirs. This benefits the local residents and provides employment for them as staff of the various facilities. Many regions including Naoshima have valuable regional resources that naturally become tourist attractions due to their Chapter-4

29

magnificence. The regional resources have been promoted in the regional branding with adding value by collaborating with art.

"Naoshima Art Project", for instance, became a tourist resort by constructing new accommodation buildings and museums, and installing the art projects throughout the island. The project gained profit from the tourism industry and stimulated the regional economy.

"Naoshima international campsite", "Benesse House Museum", "Chichu Art Museum", Lee Ufan Museum and accommodation facilities, "park" and "beach" "Oval" can be classified as the "Art Projects" that led to the formation of "Business communities". Through the collaboration of art and the nature of the island, it has attracted tourists. "Art House Project" Art Museum Seirensho are the projects that revived the old empty houses and public spaces, and also ruined industrial factories that were not being occupied into art museums and galleries in the"Art Projects".

They were given historical and cultural value by the "Art Projects"and became popular tourist spots in the island. Moreover, the use of place branding and promoting the use of local food have been developed in the wider area (Yano 2011). The "Naoshima Harvest Festival" introduces local rice, which is part of the food culture of Naoshima. "Business communities" ambition is creating businesses that generate as much profit with incorporating the customers needs as the activities of the regional revitalization. "Business Communities" can be self-managed and activities could continue by creating their own funds and they do not need to rely on governmental support and volunteers. "Business Communities" can maintain their activities by using their own funds (Yano 2011). It is expected to have the ability to develop entrepreneurs and local companies to contribute to the region.

The second community is defined as "Life Communities", and was established for the purpose of creating an attractive region, and making it become less dependent on the commercial activity. "Life Communities" is formed by the "Art Projects" aimed at revitalising the region and the residents themselves. The communities consist of local residents including farmers and civil servants, and also external volunteers. Its activities are supported by volunteer activities (Yano 2011). The communities activities are local-based and include activities such as workshops, growing projects, cultural and traditional festivals.

"Art House Project", "I♥湯", Miyanoura Gallery 6 , Exhibition STANDARD , Naoshima Standard 2 , Naoshima Rice-Growing and Naoshima Harvest Festival are the "Art Projects" that led to the formation of "Life Communities. The dialogue within the community, between local residents and external people, led them to discover the valuable resources of the region that was not noticed before. For example the buildings such as "Art House Projects",""I♥湯" and Miyanoura Gallery 6 , were not used in a long time, and are revived as part of the Art Projects that attracted external artists to the region.

Potential benefits for residents which have great potential are regional 30

Chapter-4

resources which can be found in the Life Communities . A well-developed region becomes a place of pride for the residents and can encourage active participation in the activities of each project. The guided tours of the various "Art House Project", for instance is a volunteer activity that is established by local residents (Yano 2011). The "Art House Project" are situated around where the local residents live, and tourists need to walk through the village in order to visit the projects. Due to this, the "Art House Project" volunteer guide was established (Nakashima 2012). Activities that connect the region and art are required to ensure a change in the attitude of local residents. As a starting point, the exhibition "Goodwill (Noren) Alley" has been published by Goodwill designer Yoko Kano, and exhibitions in the town

by Goodwill still continues today (Nagahata and Edahiro 2010).

Furthermore, in 2004, the volunteer center which consists of elderly local residents who are over 70 was established (Nagahata and Edahiro 2010).

This enabled the elderly residents to act as guides for the village. Thus, activities of the Art House Project are not limited to only exhibition artworks to attract tourists. The most basic and important factor of the project is the process of interacting, cooperating and collaboration with local residents. The process utilizes the energy of the local residents and allows for regional regeneration. "Naoshima Rice-Growing" is an "Art Project" which revived the local rice growing industry that was abandoned in Naoshima since the 1970s. It was a unique project that brought external people and local residents together, and encouraged interaction, cooperation and collaboration by the revival of rice planting and regional tradition. In addition, it is supporsed that this project connected to the subsequent "Naoshima Harvest Festival". "Life Communities" have a function to encourage interaction and collaboration between residents and a wide variety of people through activities, and regenerating the region from inside.

It can found that "Art Projects" form two types of communities, "Life Communities" and "Business communities" by the different methods of local revitalization. Many communities are existing among the "Naoshima Art Project" which is a massive "Art Project". In addition, some of the "Art Projects", combine different methods from these two types of communities like "Art House Project". By the style of the project, there is a point where functions overlapped (Yano 2011). In other words, if the activities of the project change, the form of a community also changes which is flexible. "Naoshima Art Project" has created an attractive and high-quality tourism industry by using art as the driving force. Moreover, it was able to further strengthen the connection between local residents by creating an attractive region to be proud of. It is true to say that the reason of success of "Naoshima Art Project" is because the synergistic effect of the combination of the high quality "Art Project" and abundant local resources, and it is an important factor of success that regenerated both the economy and the residents of the region.

Chapter-4

31

Chapter-5.

The challenges of "Art Projects" According to this research up to this point, it had been revealed that the "Art Projects" can form flexible and diverse "New Communities" which led to regional regeneration. However, it could be said that whilst the effect of "Art Projects" led to regional regeneration and many more "Art Projects" being established across the country. This was not without difficulties and challenges when implementing it. The most important challenge is how to maintain, sustain and develop the "New Communities" and the activities of the projects. Furthermore, the development of leaders who can plan the attractive projects and direct the "Art Projects" is also a crucial challenge. In this chapter, I will focus on two challenges of the Arts Projects that are particularly important, and discuss about the challenges with the case studies of Art Projects in Naoshima.

The first challenge of Art Projects is the maintenance, continuity and development of New Communities and projects activities. Especially the maintenance and continuation of the "Life Communities" depend on volunteer support and entities that are held all over the country, and has some problems. "Art Projects" as a public policy were provided by local governments to form communities. However, if local residents would not participate in activities actively as a member of the project, a community becomes temporary. The "Art Projects" as public policy started by local authorities have limited the term in most cases (Taniguchi 2013). It means that even the support for the policies are limited and effect how local residents maintain activities after the period.

"Art Projects" in the future are required to maintain and continue the communities from providing attractive activities which can lead to participation by people outside the region and the local residents.

Activities related to growing plants, festivals and traditional events have a good potential to continue as projects in the future (Taniguchi 2013).

In Naoshima, the festivals and exhibitions such as STANDARD and Art Setouchi Triennale are held on a regular basis, and it has attracted people from the region and beyond (Nakashma 2012). Naoshima Rice-Growing is also urging the participation of people regularly by promoting rice planting activity. In addition, as an effective means of maintaining and developing communities, it is also possible to introduce the business scheme to the "Life Communities" for the development of the community and "Art Project". Yano (2011) claims 32

Chapter-5

that the New Communities can develop the region more efficiently by incorporating the business scheme, and also it is expected to achieve the sustainable regional development by utilizing the consumers point of view. However, there is a crucial difference between "Life Communities" incorporating the business scheme and "Business Communities" itself. This community emphasizes long-term relationships between collaborators and its primary purpose is not profit. Unlike "Business Communities" which are normally motivated to gain profit. It is possible that by converting "Life Communities" into business, this could improve the communication ability of members with external people through commercial activities.

The products or activities that are provided from a community, reflect the customers point of view and is a community response to the needs of customers. It would form a community which is attractive not only to the members but also to people outside. It can be expected that the introduction of this business model can evolve "Life Communities", and will be possible to continue in the future.

Another challenge that is important for "Art Projects" in the future is the development of human resources to lead the "Art Projects". Leaders to direct project planning, management and members are required in "Art Projects". As "Art Projects" as public policy spread across the country, the activities have been organized by universities, art-based NPO or local authorities. In addition, it is also required that people with skills such as support and flexibility act as a facilitator, and people with executive judgment ability as a director. "Naoshima Art Project" is a case where the project was begun by the Benesse Corporation CEO Soichiro Fukutake and the regional regeneration by "Art Project", and was successful.

Fukutake cooperated with diverse local communities and produced the regional revitalization by prompting cooperation between each community area (Nagahata and Edahiro 2010). This successful case in creating community activities, invaluably, had skilful leaders, and gathered people who agreed to its activities from the region and beyond (Wada 2009). In other words, developing human resources who have these overall skills is required for the success of the "Art Project" in the future. However, such human resources will grow by increasing their practical experience. "Art Projects" are social activities and each project has a different style and a variety of people are involved. Therefore, there is no standard solution of dealing with issues that occur in projects and we can only learn individually from each one in the field (Hoashi 2011). It is expected that the leader of the Art Project will grow from among the members involved in the project. "Art Projects" will develop by a variety of people exchanging, repeating, trial and error, and the development of the leader is also performed at the same time. By discussing the two challenges of "Art Projects" faced today, it is found that the development of leaders, development of "Art Projects" for the continuation of New Communities will have a big influence on the in the future.

Chapter-5

33

Fig-76. Benesse House Museum (1992) by Tadao Ando

34

Chapter-6

Chapter-6.

Architects and "Art Projects" In researching the "Art Projects", it is clear that "Art Projects" and architects have related to each others work. An architect is a significant presence for the Art Project for two reasons. The architect is the profession for the renovation or construction of new buildings at a large scale, including "Art Projects" such as "Naoshima Art Project".

Furthermore, the architect is also a competent person that can lead "Art Projects". One of the important challenges of the "Art Project" is the need of its leaders to control organization and participants, and to choose the appropriate methods for problem solving. As "Art Projects" spread across the country, a variety of people, including the architects have planned and led the projects. Concurrently with this situation, when the architect is designing a public space, they are not only just designing the open spaces for people, but also designing people s activities, events and communities, whilst also thinking about its development in the future.

Architects Ryuji Fujimura (2012) states the significance of involvement in the local community. Fujimuta used the word "Social Architect" in the sense that the human resources needed to solve social issues are architects can be read in his book. Until 20 years ago, it was believed that the participation of the architect in workshops or communities would have negative effects to the creativity of the architect. Yet, some architects have started to work on the problem of communities, and its rejection has been low. In comparison with previous architects attitude which focused on the impact on the creativity and imagination of the architect, currently it has changed to what is important, for example, how much did the dialogue effect people? or how many people did you communicate with?". Capable personnel who can address challenges that occur in the projects has been required as a leader in Art Projects , which are social activities that have a variety of people involved. It could be said that this is overlapping with the work of the architect. It could also be mentioned that if the practical experience can grow people s skills to be the future leader, architects already have good experience and practice that is required to lead "Art Projects". The architects of the future have a possibility to be the leader of "Art Projects" for the purpose of community building.

"Art Projects" are what kind of existence for the architect? The "Art Projects" is one of the means for community formation, and a place of interaction for architects with local residents. Architects, currently, are Chapter-6

35

required to design spaces of a building which reflects residents opinions, but also to form communities. Due to depopulation and natural disasters in the regions, the needs of forming new communities have increased. "Art Project" is an effective tool to create a New Community and it began to be incorporated into the provincial reconstruction and urban planning. Furthermore, it is predicted that new apartment housing construction in the disaster areas will be required. Rebuilding of housing occurs in multiple instances, and furthermore, architects need to design buildings with the communities.

In addition, architects have to reflect the opinions of residents and involving residents in the planning process is important. In this situation, the "Art Project" will provide a forum for interaction with local residents for architects. Furthermore, utilising "Art Projects" in the planning of the residential area or urban development can be effective in forming "New Communities". "Joy-Farm Shop with Many Orders" which was established in 1995, is the "Art Project" that introduced a farm into a residential area after the Great Hanshin Earthquake. The purpose of the project was creating a connection between residents and people by cultivation, and the harvesting of vegetables. In fact, the project was successful in forming a New Community of local residents in the activity.

In this chapter, the relationship between "Art Project" and architect has been found to be is supportive and they effectively support each other.

It can be considered that the cooperation between "Art Project" and architect would lead to a great synergy. At first, the architect proposes attractive activities as a leader in the "Art Project". Secondly, the "Art Project" forms a New Community which provides attractive activities that can be maintained and continued by the leader. Finally, the cycle will lead to developing the New Community and regional regeneration. It can also be expected to form a New Community which will make a better environment for residents by utilizing the "Art Projects" into urban planning.

36

Chapter-6

Conclusion In conclusion, according to this research, "Art Projects" effected the formation of the "New Communities" and has been discussed. The "New Communities" opened up to the region and beyond to capture the diversity and it is an important factor for the maintenance and development of the communities. The current style of "Art Projects", which could be a public policy, began twenty-three years ago and has a relatively short history, and developing its potential could be unlimited.

The "New Communities", that has been created by "Art Projects", could be categorised into two types of communities by its different methods for vitalization of regions. One named "Business Communities" approaches economic reconstruction, and another named "Life Communities" approaches the vigor of residents themselves to help revitalization and both approaches are effective. However, it is also fact that the "Art Projects" have some challenges to address. The main challenges are the development of leaders and the maintenance and development of the "New Communities. In addition, installing schemes which can provide attractive projects and lead to the participation of a variety of people is the key to the persistent local generation in the future. Furthermore, the cooperative "Art Projects" with architects has the potential to lead and be the resolution of social problems of Japan in the future.

What is the potential continuation and development of the "Art Projects" that is expected in the future. I suppose the "Creation of a site-specific Culture" is the first potential. Among the "Art Projects", new activities customized by local residents have been reported. In "Art Projects" in Naoshima, for example, customization, the activities to decorate the town by goodwill, Establishment of volunteer guide center by residents aged over 70, "Naoshima Harvest Festival" was led from "Naoshima Rice-Growing". It can be described that the continued activities of the Art Projects could shift to the independent activities by local residents. By developing a given project into a local community-based one, places more emphasis on the regional characteristics of the project. In addition, it can be expected that creation of the indigenous cultures by customizable activities will be reflected with the indigenous people's lives with the passage of time (Hashimoto 2004). With long term maintenance and the continuation of activities of the "Art Projects", it is possible in the future that it may be developed into a new local culture. Creation of new local culture by "Art Conclusion

37

Projects" is a possibility that follows the continuation of activities. I believe that the "Art Project" is a significant social project that will connect with the "Creation of a Region-specific Culture". The second potential of the "Art Project" is that the development of leaders by "Art Projects" will enable the development of leaders for Japanese society in the future. The "Art Projects" consist of community members such as local residents, local authorities, local companies, students and volunteers. The projects often includes a plurality of elements, a leader who has practical skills to put them together is essential in the projects.

There is no manual training of human resources to be a leader in the "Art Project" (Hoashi 2011). The leader will have to learn skills to direct the participants put together by practice. Activities of "Art Projects" are a wide variety and everyone from any field have a chance to be a leader if they acquire or have the skills that are required. There are several university students who participated in volunteering at "Art Projects" said that they would like to participate in these activities after graduation (Taniguchi 2013). There is a possibility that these students may become the new leaders of "Art Projects" or more. It is considered as a future possibility to nurture the next generation of leaders by "Art Projects".

At the end, I will consider the value of the "Art Project" for the architects.

The "Art Projects" as a public policy expanded the working field of the architect to the field of art. If the existence value of the architect is redefined as Fujimura's works "Social Architect", architects success will spread and go beyond various fields. Fujimura (2012) mentioned that Architects design in a group, participate in many meetings, discuss with clients and suppliers, and manage collective opinions. Architects can take advantage of their ability in various fields including "Art Projects".

The opportunity to be a leader in "Art Projects" can be a place to play an active part for the architect. I believe that the architect as "Social Architect", who has the ability to solve social issues, should actively be involved in the "Art Projects". To solve the social problems by "Art Projects", may become a future workplace for the architect. In addition, "Art Projects" is considered to be a place capable of producing a new challenge for the architect. When designing a permanent building, architects are tied down to restrictions such as laws and demand, structure, budget and clients opinions, therefore producing experimental design is very difficult. Even if there are new ideas, there is almost no place to try it and only some of the famous architects have the opportunities. Despite producing interesting ideas at competitions, there is little chance that young architects and architecture students can actually build their unique ideas. In this current situation, the "Art Project" can be a place that gives a chance to them to utilise their ideas.

Moreover, the possibility of the future "Art Projects" which will connect the Creation of a Region-specific Culture", provides architects the opportunity to engage in activities of social significance. It is possible that the target for future architects will be leading successful "Art Projects" and connecting the Creation of a Region-specific Culture".

38 Conclusion

Fig-76. Shipyard Works Bow with Hole (1990) by Ohtake Shinro

Conclusion

39

List of Figures and Images Fig-01. Naoshima Art Project : http://jpnnavi.blogspot.co.uk/2013/01/blog-post_18.html Fig-02. The Ambler Project (1992) by Jeanne Claude : https://www.pinterest.com/chicky94/umbrella/ Fig-03. The Echigo-Tsumari Art Triennial in 2000: Set North for Japan (74°33 2 ) by Richard Wilson : http://www.echigo-tsumari.jp/artwork/set_north_for_japan_74332 Fig-04, 05 The Echigo-Tsumari Art Triennial in 2000: House of Light by James Turrel01 : http://www.echigo-tsumari.jp/eng/artwork/house_of_light Fig-06. Pumpkin (1994) by Yayoi Kusama : http://luxuryyachtjapan.com/east.html Fig-07. Naoshima : http://www.archdaily.com/281070/white-cube-green-maze-new-art-landscapes-exhibition/ Fig-08. Naoshima Map : http://www.benesse-artsite.jp/en/access/map_naoshima.html Fig-09,10,11. Naoshima International Camp (1989 ) : http://www.geocities.jp/soleil_kei/j_nao/frame_nao.htm Fig-12,13,14. Benesse House Museum (1992) by Tadao Ando : http://setouchi-artfest.jp/en/artwork/a013 Fig-15,16,17. Oval (1995) by Tadao Ando : http://openbuildings.com/buildings/naoshima-contemporary-art-museum-profile-2460 Fig-18,19,20. Park (2006) by Tadao Ando : http://blogs.yahoo.co.jp/manabanap/11403703.html Fig-21,22,23. Beach (2006) by Tadao Ando : http://blog.livedoor.jp/parisu1956/archives/26106412.html Fig-24. Art House Project : http://www.benesse-artsite.jp/arthouse/ Fig-25,26,27. Kadoya (1998)「角屋」: Sea of Time '98 (1998) Naoshima's Counter Window (1998) Changing Landscape (1999) by Tatsuo Miyajima1 : http://www.benesse-artsite.jp/en/arthouse/kadoya.html Fig-28,29,30. Minamidera (1999)「南寺」: Backside of the Moon (1999) by James Turrell : http://www.benesse-artsite.jp/en/arthouse/minamidera.html Fig-31, 32,33. Kinza (2001) 「きんざ」: Being given (2001) by Rei Naito : http://www.benesse-artsite.jp/en/arthouse/kinza.html Fig-34,35,36. Go o Shrain (2002)「護王神社」: Appropriate Proportion (2002) by Hiroshi Sugimoto : http://www.benesse-artsite.jp/en/arthouse/gooshrine.html Fig-37,38,39. Ishibashi (2006)「石橋」: The Falls (2006) The Garden of Kū (2009) by Hiroshi Senju : http://www.benesse-artsite.jp/en/arthouse/ishibashi.html Fig-41,42,43. Gokaisho (2006)「碁会所」: Tsubaki (2006) by Yoshihiro Suda : http://www.benesse-artsite.jp/en/arthouse/gokaisho.html Fig-44,45,46. Haisha (2006)「はいしゃ」: Dreaming Tongue/Bokkon-Nozoki (2006) by Shinro Ohtake : http://www.benesse-artsite.jp/en/arthouse/haisha.html Fig-47,48,49. Chichu Art Museum (2004) by Tadao Ando : http://www.benesse-artsite.jp/en/chichu/portfolio.html Fig-50,51,52. Seirensho (2008) http://www.benesse-artsite.jp/en/seirensho/portfolio.html Fig-53,54,55. Naoshima bath I♥湯 (2009) by Shinro Ohtake : http://hdri.iwalk.jp/2009/09/building254.php Fig-56,57,58. Lee Ufan Museum (2010) by Lee Ufan, Tadao Ando : http://ameblo.jp/naoshimataishi/ Fig-59,60,61. Miyanoura Gallery 6 (2013) by Taira Nishizawa : http://4travel.jp/travelogue/10828755 Fig-62,63,64. STANDARD (2001) NAOSHIMA STANDARD 2 (2006) : http://www.shinbun-p.co.jp/blog/2009/07/post-67.html Fig-65,66,67. Naoshima Rice-Growing Project (2006 - ) : http://www.komezukuri-project.com/archive2009/2009/07/2-1.html Fig-68,69,70. Naoshima Harvest Festival (2008 - ) : http://www.komezukuri-project.com/2008/10/post-41.html Fig-71,72,73. Art Setouchi Triennale (2010, 2013) : http://setouchi-artfest.jp/en/artwork/a044 Fig-74. Red Pumpkin (2006) by Yayoi Kusama : http://dearblog.exblog.jp/13705385 Fig-75. "Goodwill (Noren) Alley" (2001) by Yoko Kano : http://ogijima.com/naoshima/ Fig-76. Benesse House Museum (1992) by Tadao Ando : http://andrewrowat.com/blog/page/3/ Fig-76. Shipyard Works Bow with Hole (1990) by Shinro Ohtake : http://madame.lefigaro.fr/art-de-vivre/naoshima-lile-tresors-310312-227045

40

List of Figures and Images

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