The Art of Transformation: From Naoshima to MONA

Teshima Art Museum

Nestled in the serene waters of the Seto Inland Sea, off the coast of Japan, lies the small island of Naoshima—a destination that has undergone a remarkable transformation over the past three decades. Once a sleepy fishing community, Naoshima has become a global art tourism phenomenon, renowned for its stunning blend of contemporary art, architecture, and natural beauty. This extraordinary metamorphosis has not only reshaped the island itself but has also inspired similar projects around the world, including the controversial Museum of Old and New Art (MONA) in Tasmania, Australia.

MONA, the brainchild of David Walsh, a mathematician turned professional gambler and art collector, has had a profound impact on Tasmania's cultural landscape since its opening in 2011. Walsh's vision for the museum was to create a unique and immersive art experience that would challenge visitors' perceptions, provoke thought, and ignite conversations. The museum's collection is a testament to Walsh's eclectic taste and his penchant for the unconventional, spanning a wide range of genres and periods, from ancient Egyptian artifacts to provocative contemporary installations.

The architecture of MONA is as captivating as the art it houses. Designed by Nonda Katsalidis, the museum is largely subterranean, with a striking Corten steel façade and a spiral staircase that descends into the depths of the earth. This innovative design creates a sense of mystery and discovery, inviting visitors to embark on a journey through the labyrinthine galleries and hidden spaces of the museum.

MONA's impact on Tasmania's tourism industry has been nothing short of remarkable. Since its opening, the museum has attracted over 1.5 million visitors, driving significant growth in the local economy and transforming the island state's image as a cultural destination. This phenomenon, dubbed the "MONA Effect," has led to a surge in art tourism, with new galleries, studios, and festivals emerging in the museum's wake.

However, the concept of an "art island" is not new, and the roots of this cultural phenomenon can be traced back to Naoshima, Japan. As Island’s industrial base dwindled and population aged the number of inhabitants declined from over 8,000 in the 1950’s to only a little over 3,000 in the 1980s. In Japan, this is not that strange. Populations of small towns are declining all over the country. Some towns are disappearing altogether. The reasons are a combination of the country's overall shrinking population and an increase in the number of people moving from rural areas to big cities.

Clockwise from top left: Ando Museum,  Honmura village, Chichu Art Museum courtyard and entry

Naoshima might have been headed for the same relentless decline. In the late 1980s, the Benesse Corporation, under the guidance of its chairman Soichiro Fukutake, embarked on an ambitious project to transform the island into a hub for contemporary art and architecture. Fukutake's vision was to create a harmonious blend of world-class art, stunning architecture, and the island's natural beauty, ultimately establishing Naoshima as a destination that would inspire and enrich the lives of those who visited.

Over the years, Naoshima has become a pilgrimage site for art enthusiasts from around the globe. The island's art museums, such as the Chichu Art Museum and the Lee Ufan Museum, have gained international acclaim for their innovative designs and thought-provoking exhibitions. The Chichu Art Museum, designed by the renowned Japanese architect Tadao Ando, is a masterclass in how architecture can enhance the art viewing experience. Built mostly underground to minimize its impact on the landscape, the museum's spaces are meticulously crafted to showcase the art, with natural light playing a pivotal role in creating an atmosphere that evolves throughout the day.

During my recent visit to Naoshima, I had the privilege of experiencing the island’s museums and traditional architecture firsthand. Exploring the island by bicycle was a great way to do it, with each turn revealing new surprises and discoveries. The Art House Project, an initiative that has transformed abandoned houses in the island's villages into unique art installations, was a particular highlight. The Minamidera house, featuring an immersive work by James Turrell housed in a building designed by Ando, was a unique experience. As I stepped into the pitch-black space and allowed my eyes to adjust to the darkness, I found myself captivated by the subtle interplay of light and shadow, creating a mesmerizing and introspective experience.

Throughout my journey on Naoshima, I was struck by the seamless integration of art, architecture, and nature. From the iconic red pumpkin sculpture by Yayoi Kusama at the port to the sleek SANAA-designed ferry terminal (SAANA recently designed the new Sydney Modern) and the numerous outdoor installations scattered across the island, every element seemed to contribute to the island's overall artistic vision. The thoughtful placement of each artwork and the attention to detail in their execution created a sense of discovery and wonder, inviting visitors to engage with the island's environment in new and unexpected ways.

Water droplets running over smooth concrete surface at the Teshima Art Museum.

A short ferry ride took me to the neighbouring Island of Teshima. The main attraction on Teshima is the Teshima Art Museum, one of the most intriguing contemporary artworks in Japan. Standing amongst terraced rice fields, the building consists of an amazing concrete shell, devoid of any pillars and covers a space of about 40 by 60 metres. Two large oval openings in the shell allow wind, rain, sounds, falling leaves and the light of the world outside into this organic space where nature and architecture are interwoven. Through a myriad of tiny holes in the concrete floor water slowly enters the space and transverses the carefully contoured floor before disappearing again. If you had told me before I went to Japan one of my favourite experiences was lying on a concrete floor waiting for drops of water to move I might have been concerned for my sanity – but it was an amazing experience.

The parallels between MONA and Naoshima are undeniable, as both destinations exemplify the transformative power of art when combined with vision, investment, and a respect for the local context. The integration of contemporary art and architecture can revitalize communities, stimulate economic growth, and create a unique sense of place. The success of Naoshima and MONA has inspired similar projects around the world, as more and more communities recognize the potential of art tourism to drive social and economic change.

Clockwise from top left – Benesse Art Site on Naoshima, Teshima Art Museum and 2 installations at Benesse House Museum

As an architect specializing in workplace strategy, my visit to Naoshima and the neighbouring art island of Teshima has reinforced my belief in the power of art to transform spaces and enhance the lives of those who inhabit them. The lessons gleaned from these islands—the importance of contextual design, the value of immersive experiences, and the potential for art to foster a sense of community and belonging—are ones that I will carry with me in my own practice.

The examples set by Naoshima and MONA serve as a testament to the potential of art tourism to create destinations that resonate with visitors on a deep, emotional level. As the world continues to face the challenges of urbanization, globalization, and environmental degradation, the role of art in shaping our built environment and our sense of place becomes increasingly important. The transformative power of art, when combined with vision and a deep respect for local context, has the ability to create experiences that inspire, enrich, and connect us all, leaving a lasting impact on both the places we visit and the lives we lead.