In the Chiba Project the program was untested, open-ended, and involved few pre-conceptions. Our intention was to investigate the relationship between an architecture and nature.
The surface of the earth was scraped away to provide a place for two parenthetically inverted walls. A middle ground between these two walls was created to serve as both a part of nature and to provide a commentary on it....the impulse to dominate the landscape by a hermetically sealed object was discarded in favor of the creation of a space in which unexpected relationships were allowed to happen. The normally secondary architectonic element of wall became the focus in this strategy. The walls are directly related to the landscape as non-buildings, with a massiveness that is appropriate to the sheer magnitude of the site. The organization of the space between the walls continues the investigation which began with the Crawford House in the development of a repetitive, totemic geometry which organized the building. In the case of the Chiba Golf Clubhouse, however, these totemic pylons were expanded into habitable pieces of the building itself.
These two idealized notions of walls (restraining the earth), and space created by their placement, were joined by the pavilion, which constitutes the third architectonic element on the site. The Pavilion acts as a counterpoint to the first two elements; it was placed in the air, and outside the limits of the bounding walls, thus affording the observer a perception of the vastness and expansiveness of the natural setting. Rather than being carved from, or integrated into the site, this building is lifted, detached, and isolated from the configuration.