This Collective Atlas gathers student observations from Okinawa and Tokyo through photography, drawing, and short written reflections. Each entry studies a material, craft, spatial condition, or environmental logic encountered during the RISD Global Summer Travel Course 2026, Tropic Future: Material Ecologies of Okinawa, Japan. Photographs document what was observed; drawings interpret what was understood.
Nakamura Residence
中村家住宅
Kitanakagusuku Village, Okinawa
The Nakamura Residence was built in the mid-18th century with several design choices intended to combat Okinawa’s frequent typhoons and humidity. Most of these strategies revolve around surrounding the house and using layering or ground elevation. Just outside the residence is the hinpun, a stone wall that provides privacy while also protecting from wind and rain. Fukugi trees planted around the hinpun act as another windbreak, followed by a taller and thicker limestone wall. This wall surrounds the house on the east, west, and south sides and offers a final layer of wind protection. The north side of the house is raised to stop the same winds from reaching the building.
Logic Drawing by Allyson Lee
Overhanging eaves were also included in roof design to create shaded areas along the exterior of the house, with several ventilation holes that allow the release of hot air as it rises to the ceiling. While these design strategies were used in the construction of a traditional Okinawan house, they can be applied similarly in contemporary times to adapt buildings to regional climates, or in situations where ventilation must be considered. However, modern technologies might offer more flexibility or possibilities than what was available in the eighteenth century. How would these same climatic strategies differ depending on their location? Would trees from other regions be more successful as a windbreak?
Hana Block
花ブロック
Okinawa
Hana block was invented in the 1950s, shortly after World War II, by Hisao Nakaza as a solution to encourage airflow within the newly popularized concrete architecture. While concrete was effective at blocking sunlight from entering indoor spaces, it also trapped hot air inside. The perforations of hana block enable buildings to still shade intended areas while introducing better ventilation. Beyond air circulation, it also protects from typhoon damage by preventing debris from entering spaces; many water tanks on top of Okinawan houses have been shielded by an encasing of hana block.
Pattern-Material Translation by Ally Lee
This construction also succeeds aesthetically as a decorative element, adding ornamentation to the island’s relatively plain concrete architecture through its diverse pattern- or textile-like designs. Recognized by different names such as breeze blocks or cobogó (Brazil), hana block has already been applied outside of Okinawa in regions with similar climates. Yet beyond the climatic benefits, the overall idea of hana block—combining building strategy with visual appeal—might also be considered in modern architecture. Just as hana block enlivens Okinawa’s concrete architecture, how might other versions of it influence more contemporary minimalist architecture? In what ways could it contribute to the visual language of today’s architecture in terms of color or pattern design?
Okinawa Prefectural Budokan
沖縄県立武道館
Naha City, Okinawa
The Okinawa Prefectural Budokan was completed in 1997 and designed by Kan Sekkei, Sekkei Shudan, Atelier Noa, and Setsubi Kenkyusho K.K. The martial arts facility features a titanium roof that combats Okinawa’s salty air and subtropical weather due its corrosion-resistant properties and ability to withstand high temperatures. This characteristic of titanium stems from its high reactivity: when exposed to salt water or to heat in the presence of oxygen, it produces titanium oxide, which forms on the surface of the metal and creates a protective layer between the surrounding air and the metal itself. This slows down the process of corrosion over time.
Material Surface Observation by Allyson Lee
Titanium is also a light metal. It creates a lightweight roof that is ideal for regions prone to earthquakes, since the roof reduces structural stress and decreases the likelihood of collapse or damage. Titanium roofs have been featured in other buildings around the world, and in some cases it has been used for further aesthetic purposes, such as the facades of the Guggenheim Museum and the Fudan University School of Management. Would the architects of the Okinawa Prefectural Budokan consider using titanium as a facade element as well? Despite the benefits of titanium, however, it’s important to note that its advantages should not be generalized for any corrosion-resistant or lightweight situation, particularly because of its high cost.
Sefa-Utaki
斎場御嶽
Nanjo, Okinawa
From a cultural and mythological standpoint, the natural landscape of Sefa-Utaki was formed by the creation goddess Amamikiyo, who is believed to have created the seven utakis around the Ryukyu Islands. This sacred place has also been shaped by weathering from Okinawa’s climate over the years, resulting in distinct organic limestone formations. Although there are no man-made design choices behind Sefa-Utaki, the natural construction of the space has played an important role in its function as a quiet place for prayer and a former ceremonial site: the forest canopy offers dappled shade along pathways and around altars, which counters Okinawa’s subtropical weather and contributes to an ideal peaceful or meditative environment for the prayer space.
Spatial Observation by Allyson Lee
Caves further block sunlight from reaching sacred areas, while also acting as a threshold between the “indoors” and outside. In combination with man-made construction, natural architecture might be used similarly to develop indoor spaces that immerse people with the outside environment through naturally-made thresholds. Tree location could also affect bodily movement as one passes through a given space. While Sefa-Utaki does not feature any artificial structures, how would the introduction of human-made architecture affect the experience and sacredness of the site?
Urasoe Municipal Library by Shozo Uchii
浦添市立図書館/内井昭蔵
Urasoe, Okinawa
The Urasoe Municipal Library addresses the challenge of creating a quiet space for community members within the bustle and heat of Urasoe, Okinawa. Built during the civic development period, it was intended as a major public knowledge and community facility for Urasoe. Libraries require stable environmental conditions for books and archives to survive the climate while also serving as social infrastructure for the community. This building therefore balances protection, openness and access. Uchii’s design uses thick walls, recessed openings, and carefully controlled natural light to create comfortable reading environments without excessive glare or heat.
Material-Pattern Translation by Sophie Takano
The broader logic for the library was that designing environmental and civic experience together as one creates a very cohesive and strong site, which can definitely be applied to other places globally. However, implementing the exact material palette, including the red tile roofs, hana blocks, and cement, which deeply reflect the Okinawan conditions, culture, and traditions are not necessary to be generalized as universal solutions.
Question: How was the need for Okinawan environmental control and book preservation balanced with Uchii’s architectural philosophy for creating blurred boundaries between interior and exterior spaces?
Urasoe Art Museum by Shozo Uchii
浦添市美術館／内井昭蔵
Urasoe, Okinawa
The Urasoe Art Museum responds to Okinawa’s intense climate of sunlight and humidity, as well as the cultural history of traditional Ryukyuan lacquerware. The building frames courtyards, walkways, and seamless transitions between interior and exterior space that allows for heat regulation and also encourages viewers to have a slower-paced movement for artwork observation. Furthermore, the consistent placement of plants in close relationship to the structure creates a sense of continuity between architecture and landscape, common in Uchii’s works.
Spatial-Material-Pattern Translation by Sophie Takano
Uchii also consciously responded to the scale of the surrounding residential neighborhood. Instead of a single monumental volume, the museum is broken down with octagonal towers connected by corridors, softening its presence within the overall community. The octagonal geometry, along with repeated diamond motifs, creates a lighter expression throughout the building. These strategies on shape and materiality could transfer globally. However, it is important to note the purpose of this museum’s creation as a place housing Okinawan culture, in which cultural references and crafts should not be replicated without context. How did Okinawa’s lacquerware directly influence the ornamentation and geometry of the site? What does the process of transferring aspects and qualities of lacquerware into architecture look like?
POLYHEDRA Lab
ポリヘドララボ 喜如嘉翔学校
Ogimi, Okinawa
POLYHEDRA Lab responds primarily to the social and regional challenges of Okinawa, particularly the increasing endangerment and scarcity of indigenous Okinawan plant species. Their project aims to not only preserve these plants physically, but also raise awareness of their ecological and cultural importance to the broader community. Its design logic uses as much natural resources as possible to allow the plants to retain its original form and color longterm, even as long as several years after the plant’s death. According to the lab, this preservation functions as the starting point for spreading knowledge throughout the Okinawan communities, schools, museums, and local educational spaces, where they can eventually start reclaiming the presence of these species to spread across Okinawa’s territory.
Ecological Process Drawing by Sophie Takano
In the process of research, understanding each plant’s anatomy, along with determining the precise ratio of preservation formula to inject into the species was very critical. POLYHEDRA Lab is working on sharing these plant preservation techniques internationally. However, as these methods start to spread, it is very important for individuals to recognize the overarching purpose of the project: to conserve and spread knowledge of Okinawan heritage, and also being conscious of the number of plants used in the process.
Question: How do you balance the counter of preserving endangered plants through harvesting them, and where do you draw the ethical line between conservation and extraction?
Yachimun Fragments
やちむんの破片
Naha, Okinawa
Yachimun fragments emerged from the centuries of Okinawan pottery production, where broken ceramics accumulated around kilns, workshops, and overall property. What was once considered waste gradually became a part of the physical landscape and memory of Okinawan history. Instead of intentional design, Yachimun fragrant’s design logic started accidentally. Embedded within paths, walls, and soil, these fragments document the cycle of years and years of making, breaking, and reusing.
Material Drawing by Sophie Takano
Yachimun Fragments function as Okinawa’s historical traces that reveal labor, craft, and everyday life. Its storytelling effectiveness lies precisely in their incompleteness, where each fragment suggests a larger object, and therefore a larger story.
The concept of reusing broken material is highly transferable globally, especially for sustainability purposes and new forms of art. The cultural significance of yachimun fragments are deeply tied to Okinawan pottery traditions and should remain tied to that context.
Tsuboya Pottery Museum
那覇市立壺屋焼物博物館
Naha, Okinawa
Ink drawing by Kevin Jia
My drawing focuses on the floral relief pattern carved into traditional Tsuboya pottery displayed in the museum. Rather than drawing an entire ceramic vessel, I isolated a single decorative detail to examine how repeated carved lines create texture, and movement across the surface. The cracks in the background reference the aging of the fired clay and remind us(viewers) that ceramics record the passage of time as well as the touch of the maker. I think by enlarging the pattern, I can transform a functional object into an abstract study of craftsmanship and material. The flowing curves echo the gestures made while carving wet clay, revealing that decoration is not separate from the making process but an extension of it. Through this observation, I learned that Okinawan pottery communicates cultural identity through small details that combine natural motifs and centuries of tradition preserved within the museum.
Okinawa Craft Industry Promotion Center
(おきなわ工芸の杜) 藍染
Naha, Okinawa
Ink drawing by Kevin Jia
My drawing studies the indigo plant that provides the natural dye used in traditional Okinawan textiles. Instead of illustrating the finished fabric, I focused on the plant itself to emphasize the relationship between nature and craft. The ink lines describe the texture of each leaf and flower, while the broad leaf in the background introduces the organic patterns that later become abstract motifs in dyed textiles. The composition also highlights that every piece of dyed fabric begins with a living material. Through careful observation, I recognized that indigo dyeing is not only a coloring technique but also a process shaped by cultivation, harvesting, fermentation, and craftsmanship. The drawing reflects how traditional knowledge transforms natural resources into cultural expression. By emphasizing botanical forms, I wanted to show that Okinawan textile traditions remain deeply connected to the local landscape and the environmental knowledge passed between generations.
Yonabaru Catholic Church (St. Clare’s)
与那原カトリック教会（聖クララ教会）
Yonabaru, Okinawa
Ink drawing by Kevin Jia
This drawing focuses on the geometric stained-glass window pattern rather than the overall church building. I think by isolating the window, I studied how repeated rectangles, textured glass, and thick concrete framing organize light into a simple but meaningful composition. The contrast between clear and patterned panels creates rhythm while allowing natural light to enter the interior in different ways throughout the day. Also the clean geometry reflects the modern architectural language of the church, while the handcrafted textures soften the rigid structure and create a peaceful atmosphere. Through this close observation, I realized that architectural identity can be communicated through small details rather than monumental forms. The window functions as both a practical source of light and a symbolic element that encourages reflection. This drawing records how pattern and material work together to express spirituality while responding to Okinawa's climate and architectural traditions.
Minatogawa Stateside Town
港川ステイツサイドタウン
Urasoe, Okinawa
Ink drawing by Kevin Jia
My drawing focuses on the weathered corner of a building in Minatogawa Stateside Town, where aged concrete, exposed cracks, and wooden framing reveal the passage of time. I isolated a small architectural detail which reflects the character of the neighborhood. The layered textures record years of weathering and continual adaptation, showing how older military housing has been preserved and transformed into spaces for local shops, cafés, and craft studios such as SHIMA DENIMWORKS. Through the ink linework and cross-hatching, I emphasized and understanded the contrast between rough concrete and the natural grain of the wood, highlighting the beauty found in imperfection and use. This observation suggests that architecture can preserve memory through its materials. Instead of erasing signs of age, the town embraces them, allowing history and contemporary creative life to exist together. This drawing becomes a study of material, craftsmanship, and the evolving identity of Minatogawa Stateside Town.
Tsuboya ceramics / Yachimun
焼物（やちむん）/壺屋やちむん通り
Okinawa
Okinawan Yachimun differs from other kinds of ceramics in various areas which had the initial influence on the development of tsuboya ceramics, dating all the way back in the ryukyu kingdom era. While tsuboya ceramics are classified into two categories: arayachi and joyachi, the overall style was also developed upon an Okinawa-specific impact.
Acrylic marker & pencil drawing by Anky Chu
An observation made was that the Okinawan people tend to depict the natural element found in their surrounding environment. The prints depicted on pots and bowls usually reflect how they value nature, patterns include but not limited to: flowers, leaves, fish, and various tropical plants. Inspired by the specificity of tsuboya yachimun, the drawing is a response to mimic the Fringed Pink flower that is considered as a significant motif in the history of tropical Okinawa and their daily life. Colors embrace the purple feature of the original flower while lines expand out to reach far in all directions, just like the nature of Fringed Pink flowers in tropical climates.
Ryukyu indigo
琉球藍
Okinawa Craft Industry Promotion Center
Ryukyu Kingdom was known for all kinds of craftwork done by artists and designers, now being well-preserved and continued to practice through centuries. One of the most important Okinawa practices is the Ryukyu Ai, also known as Ryukyu indigo dye. While the whole process was completely natural, it makes the indigo dye more special than other kinds of dye due to the nature of uncertainty and randomness from the process.
Acrylic marker drawing by Anky Chu
The dyes were extracted from natural leaves, then fermented to get the dye in the water for use. This specific natural process allows the ryukyu blue to last longer than any other kinds of dye that are artificial, it is known to last 100-200 years for the longest. The practice is entirely open-ended for the artists to create, that patterns result randomly according to the way the fabric was tied and prepared. Considering this nature in ryukyu dye, the drawing started off completely aimless only with mark making scattered around the paper. Later colors were filled to convey the vibrant color of ryukyu ai.
Gallery TATI
螢窯
Nago, Okinawa
Gallery TATI presents all ceramic works from Yamagami Manabu, the pieces include sculptures, plates, cups, and other functional objects.
Acrylic marker drawing by Anky Chu
The inspiration of the drawing comes from the use of vivid glaze and the unique “Yamagami” texture. Most of the pieces were synchronized in white or black based glaze, topped with a gradient of Ryukyu blue that resembles the beautiful nature in Okinawa coast. Textures were made by using coral reef stone as a natural source which embraces the pattern from the ocean, stenciled directly onto the surface of the pottery, creating bubble-like effects. The uniqueness of Yamagami’s ceramics works were all depicted through the use of colors and the organic pattern in the drawing.
Okinawa Emerald Beach
エメラルドビーチ
Nago, Okinawa
As a well-recognized international ocean exposition, the Motobu Emerald Beach has made its way of “jade-like” scenery though well maintenance. The beach is the masterpiece from above which is given an incomparable quality layered in vivid emerald-green and turquoise blue.The beach is especially noticeable for its coral reef lagoon, clear water, and the contrasting bright white sand.
Pencil & marker drawing by Anky Chu
Throughout the coast of its water line, there stands stones layered in various dimensions in all elevations. Some stones were big enough to cover the areas of sand, creating cave-like structures above the water, also allowing the plant species to grow on top of it. The drawing was inspired by the dynamic texture from above the stones, combining a rough sandy surface that speaks to the uniqueness of the Emerald beach.
Naha Culture Arts Theater NAHArt
那覇文化芸術劇場なはーと
Naha, Okinawa
The Naha Cultural Arts Theatre (NAHArt) is shaped by both climatic and cultural conditions unique to Okinawa. One of the most innovative aspects of the building is its use of Hybrid Prestressed Concrete (HPC) reinforced with carbon fibre and carbon wire rather than traditional steel rebar. The region experiences intense sunlight, high humidity, heavy rainfall, frequent typhoons, and salt-laden coastal air. These conditions often cause conventional reinforced concrete structures to deteriorate over time as moisture and salt penetrate the concrete and corrode the internal steel reinforcement. However, because carbon materials do not rust, NAHArt is far more resistant to corrosion. HPC also allows concrete elements to be made thinner and lighter while maintaining their strength, as demonstrated by the building’ facade.
Facade Diagram by Iris Lee
It is this facade that incorporates references to Shuri-ori, a traditional Okinawan textile known for its intricate woven patterns. This creates a connection between contemporary construction technology and historical Okinawan craftsmanship. The broader principle of using corrosion-resistant materials such as HPC to withstand different environmental conditions can and should be applied globally. However, the theatre’s specific form and cultural references are deeply connected to Okinawan history and should not be copied elsewhere. Designers should instead adapt the approach of celebrating the heritage of the locations in which they build. One question I would ask the architect is: What challenges did you face when designing with carbon reinforcement instead of traditional steel rebar, and how did those challenges influence the final form of the building?
Pineapple / Banana Leaf Upcycling at FOOD REBORN
株式会社 フードリボン
Ogimi Village, Okinawa
The pineapple and banana lead upcycling initiative at FOOD REBORN emerged from a significant challenge within agricultural production: a large proportion of a crop becoming waste despite requiring the same land, water, and labour to produce. In pineapple cultivation, only the fruit is consumed, while the leaves—which account for roughly two to three times of the plant’s biomass—are discarded after harvest. Similarly, banana plants generate large quantities of leaves and stems that are treated as agricultural waste. This project responds by transforming pineapple and banana leaves into valuable materials. Through a water pressure extraction method, fibres from leaves can now be used to create textiles, paper products, and packaging, extending their utility.
Pattern-Material Translation by Iris Lee
This approach is effective because it reduces waste and promotes a circular economy where resources remain in use for longer. The mindset of viewing waste as a resource can be applied globally across industries such as Industrial Design, encouraging designers and manufactures to identify the hidden value in materials that are typically discarded. However, it is important to consider that sustainable design is most successful when it responds to the resources and conditions of a particular place. Pineapples and bananas are upcycled in Okinawa as these crops are abundant here; this might not be true elsewhere. A question I would ask the initiator of this project is: How do you determine whether an agricultural by-product is best suited for upcycling into a new material rather than being composted and returned directly to the ecosystem?
Red Clay Roof Tiles / Akagawara
赤瓦
Naha, Okinawa
The red clay roof tiles, or Akagawara, found throughout Okinawa are a result of the region’s available resources, challenging climate, and rich history. Okinawa’s soil contains high concentrations of iron-rich red clay, making it an accessible and practical building material for local communities. When fired at high temperatures, the clay develops its characteristic red color and becomes highly durable. These properties made roof tiles moulded from it particularly well suited to Okinawa’s climate, where roofs must withstand intense sunlight, humidity, rainfall, and frequent typhoons. Additionally, the overlapping curved tiles of Akagawara creates a watertight roof that efficiently sheds rainwater, while their weight helps resist typhoons winds.
Pattern-Locale Translation by Iris Lee
This structure also allows it to be repaired tile by tile, extending the lifespan of the roof as it bears environmental stress. Although originally a roofing system only available to the wealthy, these distinctive red clay tiles became an important symbol of Okinawan identity, particularly following the influence of the former Ryukyu Kingdom. Around the world, successful vernacular architecture often emerges from the relationship between local materials and environmental challenges. Just as Okinawa developed Akagawara from its abundant red clay, other regions have relied on materials such as slate, adobe, timber, or bamboo. What can be transferred globally is the principle of designing with local resources. One question I would ask the makers is: How has the sourcing and firing of Okinawan red clay changed over time, and what impact have these changes had on the performance and sustainability of Akagawara?
Naminoue Shrine
波上宮
Naha, Okinawa
Perched atop a cliff overlooking the sea, the Naminoue Shrine was shaped by Okinawa’s geography and its cultural relationship with the ocean. Historically, the shrine served as a place where sailors, fishermen, and travellers prayed for safe voyages and protection, reflecting the importance of maritime trade and seafaring to the former Ryukyu Kingdom. Its elevated position above the coastline allows it to remain visible from the sea while also providing it protection from waves and flooding. The bright vermillion pillars on the exterior wall—made of traditional Japanese wood and lacquer—make the shrine a visual landmark amongst the surrounding cliffs and vegetation.
Facade-Locale Diagram by Iris Lee
Traditional construction methods and periodic restoration have allowed the shrine to endure despite exposure to typhoons, humidity, and salt-laden air. This site is successful because it uses its location not only for practicality but also to reinforce its spiritual connection to the ocean. Around the world, sacred architecture often derives meaning from its relationship with the natural world. From mountaintop monasteries in Tibet to churches built along pilgrimage routes in Europe, the philosophy of designing religious spaces in dialogue with the environment can be applied globally. A question I would ask the shrine’s caretakers is: How has the shrine balanced preserving its historical identity with the need to repair and rebuild after natural disasters and war?
Traditional Textile & Dyeing at Suikara
首里染織館
Naha City, Okinawa
Shuri-ori is an art form and craft that Okinawa is not only trying to preserve, but to reclaim. Much of Okinawa’s past has been obscured by a tumultuous past, and Suikara aims to keep this style of weaving alive. Ryukyu Kasuri is especially ingenious: It’s pattern is one of simplicity in which the hand of the weaver can be seen, yet the production is intensely complex.
Watercolor & colored pencil drawing by June Gardner
Kasuri requires the weaver to precisely align the pre-dyed sections of the weft yarn with the warp yarn to create the intended grid. It requires precise calculation of the distance between the randomized motifs. The drawing aims to capture the hand crafted texture of the pattern and the fabric through the seemingly random edges of the crosses. It also tries to highlight the subtle variation in the weft where threads may have been joined together and the subtle change in thread thickness.
Bagasse Upcycle at Shima Denim Works
バガスアップサイクル
Urasoe, Okinawa
Bagasse is a fibrous byproduct of the sugarcane industry in Okinawa. Through a proprietary method of extracting the fiber, creating washi paper from the pulp (traditional paper seen in shōji screens,) and then twisting the paper with the help of partners in Fukuyama of Hiroshima Prefecture, a unique thread can be produced. The performance of garments created with this method suit the tropical climate of Okinawa with moisture wicking, odor/bacterial repellant, and quick drying times.
Watercolor and gel pen drawing by June Gardner
There are many apparel brands that are beginning to adopt this yarn, especially when it comes to denim. This drawing aims to highlight another of the unique properties of the denim: fading that is unique the the bagasse fiber. The patina is subtle but profoundly natural aspect of materials. In a world of fast fashion, to show the history of a garment in a beautiful way is something that can only be achieved slowly and over time.
Subtropical Planting / Urban Vegetation as Climate Infrastructure
亜熱帯植物・都市植栽
Okinawa Prefecture
Subtropical plants have evolved and been nurtured in conditions that include high heat, high humidity, strong sunlight, salt spray from the ocean, typhoons, tsunamis and other harsh conditions. While a subtropical climate has an abundance of plant-life, and has resources that are great for plant-growth, they had to develop protection from the specific climate.
Watercolor and gel pen drawing by June Gardner
The fukugi tree (while not an Okinawan native) has been heavily cultivated for the use of Climate Infrastructure for humans. Because their root systems are deep and narrow, they can be planted near homes without fear of ruining foundations. They can be used as a wind-break and to shield from salt spray because of their dense foliage and sturdy trunks. They also provide shade and respite from the heat. This drawing aims to showcase the waxy protection of the fukugi leaf, while also noting it’s ability to shade and as an added feature, provide a dappled light that brings beauty to the areas in which it’s cultivated.
Shōha Block (Wave-dissipating Block)
消波ブロック
Okinawa Coastline
Upon arriving in Okinawa, your gaze often attempt to find the coastline. And often on the coast, you witness giant interlocking concrete forms that look as though they were put there by a giant playing a game. The structures are called tetrapods, and they are designed to break the force of incoming waves. It seems that these forms tell a story particular to Okinawa. Shōha Blocks are an attempt at safety, through the use of a perceptually strong material.
Watercolor and graphite drawing by June Gardner
Okinawa has adopted concrete en masse. It is everywhere. It is used for safety reasons, but somehow it seems to feel dead. You could say that there is a beauty to the tetrapods, but it is almost certain that there would be more beauty without them. However, they are facinating and this drawing aims to understand the explicit form of the tetrapod. The shape seems to interlock with other tetrapods but not too precisely, just enough to create a safety cluster allowing some water to flow in and through but dispersing the directional momentum of the waves.
Okinawa Prefectural Museum and Art Museum (Okimyu)
沖縄県立博物館・美術館
Naha, Okinawa
The Okinawa Prefectural Museum and Art Museum, also known as “Okimyu” was built in November 2007. Its design aims to blend historical and modern motifs through material, form, and brutalist architectural style. It calls back to ancient Okinawan fortresses called Gusuku and its stacked forms aim to represent a cascading waterfall. Its double skin facade made of local Okinawan limestone has weathered from white to gray due to atmospheric salt and humidity up to 80% caused by the neighboring sea. It also works to mitigate constant sunlight as Okinawa frequently experiences temperatures up to 90 degrees Fahrenheit during the summer. The internal circulation of the building works by splitting exhibitions into two wings, the red wing and the blue wing which house historical exhibits and contemporary art galleries respectively.
Graphite & Blue Ballpoint Pen drawing
by Tiffany Requeno
Historical research is also conducted within Okimyu as it aims to not only preserve history but create a space where contemporary expression is also shared.
Through conversations with classmates it seems that many agree the internal space could have been thought of in a way to further promote community interaction both internally and externally instead of separating it. Spaces felt too open and it seemed that apart from the moving art exhibitions purpose was hard to find within the open spaces.
The building's facade and the space it created between the outside and the museum's core is what interested me the most. It was also interesting to observe how some openings weathered differently in relation to its location, some housing darker textures or more salt calluses.
New Okicom Office Building
Construction Site
Ginowan, Okinawa
Okicom is an Okinawan partner company in IT solutions with a history of 45 years. The New Okicom Office Building aims to provide a more modern base for the growing company using concrete, HPC technologies, and steel as its main materials as evident by the construction site visit.
Conversation was mostly about how HPC, or Hybrid Prestressed Concrete was going to be used to create a facade that is able to manage and mitigate Okinawa's harsh sun and tropical rain.
Graphite drawing by Tiffany Requeno
When we first visited the construction site I was interested in the diversity of the materials and tools found around the floor. The unexpected combinations of textures, patterns, and tones found within materials we have seen repeated around Okinawa captured my attention. Some commented that the plan for the internal program wasn't too exciting and that more emphasis was placed on the space between facade and office space. However, the environmental goals spiked a lot of curiosity and so did the potential longevity of the materials used.
Ogimison Town Hall
大宜味村役場〔场〕舊〔旧〕廳〔厅〕 (庁) 舎
Ogimi Village, Kunigami District, Okinawa
Ogimison Town Hall is one of the earliest existing concrete constructions in the Okinawan prefecture. Formerly, it was the government building of Ogimi village and it is currently undergoing renovations to host the village community via conference rooms and public space. In conversation with Mr.Ota we learned that the community holds a lot of pride in the building.
Graphite & Blue Ballpoint Pen Drawing
by Tiffany Requeno
Its main room also reminded me (and other classmates) of a church with its excess of light and rectangular shape. However, the scale of some parts of the circulation (i.e. the opening to the stairs) were small and uncomfortable to navigate for people who were taller. Within the space I was mostly interested in how the building had aged and how quiet it seemed inside. The central octagonal room was darker and immediately contrasted the rectangular rooms which received more light due to the consistent windows allowing light to reach across evenly.
Naha Culture Arts Theater NAHArt
那覇文化芸術劇場 なはーと
Naha, Okinawa
The Naha Culture Arts Theater, or NAHArt, is unique due to its HPC facade and modern use of materials commonly found within Okinawa. It aims to provide a center for the sharing of culture. The facade was inspired by the traditional Okinawan textile shuri-ori.
I was really intrigued by the idea of using concrete which has strong ties to brutalism to depict something as culturally specific and delicate as Shuri-Ori. The form of the building also seemed to emphasize the airy-ness of the textile, with each horizontal segment of the facade appearing ribbonlike with a unique fluidity.
Graphite & Blue Ballpoint Pen Drawing
by Tiffany Requeno
Before visiting this building sparked curiosity from classmates as the building seemed massive and imposing from behind, but once inside the theater program seemed to answer the main question of why so much space was needed. Others also commented that it was nice to see the public using the lobby as a lounge space to escape the heat and find a quiet place to rest. It was after having observed both Okimyu and NAHArt that I understood just how much concrete has become a part of Okinawan identity. For many, including me, it seems that concrete is tagged as inherently western. However, it is evident to me that contemporary material use poses the argument that concrete is at once delicate and a reflection of Okinawa's uniquely layered history.
Arakaki Residence
新垣家住宅
Naha, Okinawa
The Arakaki Residence was shaped by both the climatic conditions of Okinawa and the social demands of a pottery-producing household. Located in Tsuboya, the historic pottery district of Naha, the residence had to function simultaneously as a family home and a workplace. Okinawa's hot, humid climate and frequent typhoons also influenced its design. The residence responds through an open spatial arrangement that promotes natural ventilation, while features such as the red-tiled roof and durable construction provide protection from harsh weather. The integration of the noborigama, or climbing kiln, demonstrates how architecture was adapted to support pottery production as part of everyday life.
Graphite drawing by Florence Li
This design is effective because it combines living, working, and environmental adaptation within a single compound, creating an efficient and sustainable way of life. A principle that can transfer globally is the integration of workspaces with residential environments and the use of passive climate-responsive design. However, the specific form of the residence, its kiln technology, and its relationship to Okinawan pottery culture should not be generalized outside their local context. These elements emerged from environmental, historical, and cultural conditions unique to Okinawa.
Arakaki Residence Stone Wall
新垣家住宅 石牆
Naha, Okinawa
The stone wall (sekishō) of the Arakaki Residence was shaped primarily by Okinawa's challenging environmental conditions, particularly frequent typhoons, strong coastal winds, heavy rainfall, and high humidity. In addition to providing protection, the wall also defines the boundary between public and private space, creating a sense of enclosure while maintaining a connection to the surrounding environment. Its construction uses irregular pieces of locally sourced Ryukyuan limestone carefully fitted together without relying on perfectly uniform blocks.
Graphite drawing by Florence Li
This design logic is effective because the wall's thickness provides stability, while the small gaps between stones introduce porosity, allowing moisture to escape and enabling the structure to accommodate minor movement during extreme weather events. The result is a durable yet adaptable system that has weathered for generations.
A principle that can be transferred globally is the use of locally available materials and climate-responsive construction techniques. However, the specific form, material properties, and cultural significance of Okinawan stone walls should not be generalized without considering local environmental and social conditions.
Bise Village and Fukugi Tree Road
備瀬集落＆フクギ並木
Nago, Okinawa
Bise Village and the Fukugi Tree Road were shaped by the climatic challenges of Okinawa's coastal environment, particularly strong typhoons, intense sunlight, high humidity, and salt-laden winds. Rather than relying on engineered barriers, the community developed a settlement pattern that integrates vegetation as a form of climate infrastructure. Dense rows of fukugi trees are planted around homes and along pathways, functioning as windbreaks, shading devices, and environmental buffers.
Graphite drawing by Florence Li
This design logic is effective because the trees simultaneously reduce wind speed, filter sunlight, lower surface temperatures, and create more comfortable outdoor spaces. The vegetation also helps organize the village spatially, defining circulation routes, property boundaries, and transitions between public and private areas.
What can be transferred globally is the principle of using landscape elements as active environmental infrastructure rather than treating them as decoration. However, the specific use of fukugi trees and settlement patterns should not be generalized without considering local climate, ecology, and cultural practices.
Amawari Park
あまわりパーク
Uruma City, Okinawa
Amawari Park was shaped by the challenge of presenting and preserving Okinawa's cultural heritage while making it accessible to contemporary visitors. Located adjacent to the historic Katsuren Castle Ruins, the project had to balance tourism, education, and conservation without diminishing the significance of the UNESCO World Heritage site. The design responds by using open spaces, controlled circulation routes, and exhibition facilities that guide visitors through the landscape while maintaining visual connections to the castle and surrounding coastline.
Graphite drawing by Florence Li
This approach is effective because it allows the historical site to remain the primary focus while providing the infrastructure needed for interpretation and public use. One aspect that can be transferred globally is the idea of integrating visitor facilities with heritage sites in a way that supports learning rather than competing with the historic environment. However, the specific cultural narratives, landscape conditions, and historical context of Okinawa should not be generalized, as they are unique to the region.
Okinawa Prefectural Peace Memorial Museum
沖縄県平和祈念資料館
Itoham, Okinawa
The Okinawa Prefectural Peace Memorial Museum was designed by Shunji Fukumura and opened in 2000. It stands in the larger Peace Memorial Park which contains additional monuments and memorials to those lost in the war. The park rests on Mabuni Hill: the final command post of the Japanese army in Okinawa. The museum is a large, curved building adorned with square, traditional red-tiled roofs. Past the museum, flat, zig-zagging memorial stones radiate outward from a circular stone landing that looks out to the ocean. In my drawing, I wanted to capture the tension between square and circular forms. When I first arrived in Japan, I visited Kyoto–
Water color and ink translation by Daisy Fallon
Observing the city from above, I was struck by how the traditional roofs seemed to interlock with each other and effortlessly slot into the landscape. Their irregular directionality formed a distinct fabric. Observing Naha from above presents an entirely different landscape. The traditional, pitched roofs of old were largely obliterated in the war. In their place lie flat concrete roofs logically placed into the street grid. These two landscapes– the traditional and the rebuilt– are unrecognizable to each other. The museum’s circular design captures this tension. The stone landing sits in the earth like a crater, marking the destruction of the traditional landscape. The concentric circles formed by the memorial stones and the museum represent a direct contrast to the traditional landscape evoked by the square roofs sitting atop the museum.
Mausoleum, Historical Landmark
Naha, Okinawa
Tamaudum, a relic of the Ryukyu Kingdom, is a limestone mausoleum built in 1501. It marks the final resting place of the royal family of the Second Shō Dynasty. The facade features aged, blackened limestone walls with moss and plants crawling out of them. The facade also contains an invisible rupture; Tamaudun was almost completely destroyed in WWII, and the building as it stands now was largely rebuilt.
Graphite and oil pastel drawing by Daisy Fallon
The restoration used local materials and was conducted over a three year period ending in 1977. Original stones at the building’s base are marked by moss, while the newer stones are just beginning to gain their full color. In my drawing, I wanted to capture this rupture in the facade and the texture of the aging limestone. I found it interesting how quickly the newer stones have aged. In certain areas, the 50-year-old stone and the 500-year-old stone blend seamlessly.
Nago City Hall
Nago, Okinawa
Nago City Hall, designed by Atelier Zō and completed in 1981, is the city’s primary municipal government office. The building’s design was inspired by traditional Okinawan architecture, particularly the asagi: a traditional, open-air ritual hut. The building features abundant outdoor space and terraces that are sheltered by concrete overhangs. My drawing aims to capture the texture of the facade.
Watercolor translation by Daisy Fallon
I was struck by how distinct elements of the facade– particularly the hana block, the texture of the walls, and the design of the concrete overhangs– seemed to blend together from a distance. They form a jagged, intensely textured facade. I was also interested in the building’s color. The original color of the concrete– bright pink and white– can be observed in recent repairs to the building. The original, now weather-worn concrete is much more dull and blackened at certain parts. In my drawing, I also wanted to capture the varying degrees of wear visible on the facade.
Sakima Art Museum
Ginowan, Okinawa
The Sakima Art Museum, designed by Yoshikazu Makishi and opened in 1994, honors and shares the experiences of Okinawan victims of World War II. The museum’s centerpiece is “The Battle of Okinawa” by Maruki Toshi and Iri Maruki, a series of large paintings detailing the horrors of the war. The museum also has a memorial on the roof. It includes a series of 6 steps followed by another 23 steps, marking the date of the end of the Battle of Okinawa: June 23rd, 1945.
Oil pastel translation by Daisy Fallon
At the top of the stairs, a square cutout in a concrete wall marks where the sun sets on June 23rd every year. This design feature creates a powerful moment for the Okinawan people. My drawing focuses on the reflective quality of the steps. The roof is above the treeline, completely unshaded, and brightly colored. As a result, it is tremendously reflective. From the base of the stairs, each step is illuminated, and this light seems to urge visitors to climb them.
Tsuboya Pottery Street
壺屋やちむん通り
Naha, Okinawa
My drawing focuses on the circular patterns repeatedly found in the pottery of Tsuboya Pottery Street. While walking through the district, I noticed how bowls, plates, and vessels shared similar curved forms and surface markings created during the throwing process. Rather than documenting a specific object, I chose to study these traces as a visual language that connects individual pieces to the larger culture of pottery making. The concentric lines in the center of the drawing reference the rotational movement of the potter’s wheel.
Graphite drawing by Kristin Ke
The surrounding curved forms echo the arrangement of ceramic vessels displayed throughout the street. Together, they transform a material observation into an abstract record of making. The drawing is not about the finished object, but about the process embedded within it. This observation reflects a larger idea about craft: materials often preserve evidence of human action. The marks left in clay become a record of touch, repetition, and labor. While the relationship between material and maker can be understood across cultures, the specific history and identity of Okinawan pottery remain rooted in Tsuboya and should not be separated from its local context.
Traditional Bashofu at Bashofu Center
芭蕉布
Nago, Okinawa
My drawing focuses on the cross-sectional structure of the basho plant after it has been harvested and split for fiber extraction. During our visit to the Bashofu Center, I observed piles of peeled stalks scattered across the ground after processing. Rather than drawing the finished textile, I became interested in the internal structure hidden within the plant itself. The drawing examines the relationship between the dense outer layers and the radiating fibers at the center. These structural qualities make Bashofu possible.
Graphite drawing by Kristin Ke
This observation highlights a larger idea about craft: the final object often conceals the material transformations required to create it. The knowledge of harvesting, splitting, sorting, and preparing fibers is just as important as weaving itself. While sustainable use of plant-based materials can inspire practices elsewhere, Bashofu should not be reduced to a generic natural fiber. Its techniques, cultural significance, and ecological knowledge are deeply connected to Okinawa.
ASUMI Yanbaru
やんばる
Nago, Okinawa
During the hike through ASMUI Yanbaru, I was struck by the unusual limestone formations that emerged from the dense forest. Rather than drawing the landscape as a whole, I focused on the fractured surfaces, cavities, and layered edges of the rock. My drawing translates these geological textures into an abstract composition of lines, voids, and watercolor washes.
Watercolor and ink drawing by Kristin Ke
The limestone formations were created over millions of years through processes of uplift, erosion, rainfall, and biological growth. What appears solid and permanent is actually the result of continuous transformation. Beyond its geological qualities, ASMUI is also a sacred place within Ryukyuan cultural history. Walking through the site created a sense of respect and humility. The rock formations felt less like objects and more like records of deep time.
Okinawa Churaumi Aquarium
沖縄美ら海水族館
Nago, Okinawa
My drawing focuses on two visual patterns I observed at the Okinawa Churaumi Aquarium: the shifting network of light projected through water and the spotted surface of the whale shark. Rather than depicting the animal or the aquarium itself, I became interested in the relationship between these overlapping patterns and how they shape our perception of marine life. The large aquarium tank creates an environment where light, water, and movement constantly interact.
Watercolor and ink drawing by Kristin Ke
As sunlight passes through the water, it produces changing networks of reflections across surfaces. At the same time, the whale shark’s skin is covered with distinctive white spots that function as a biological pattern. In my drawing, these two systems merge together. The branching forms reference the movement of light across water, while the circular marks recall the whale shark’s surface texture. This observation suggests a larger idea about how organisms and environments are interconnected.
National Theatre Okinawa
国立劇場おきなわ
Urasoe, Okinawa
National Theatre Okinawa demonstrates how architecture can respond to the environmental challenges of Okinawa’s subtropical climate while maintaining a strong cultural identity. One of the most distinctive features of the building is its curved exterior walls. Rather than being made from rigid elements alone, the wall system incorporates flexible bonding materials that allow for slight movement and adjustment. In Okinawa’s humid, salt-rich, and constantly changing environment, this flexibility helps improve durability and stability over time.
Pencil and marker drawing by Amanda Zheng
Another interesting feature is the internal structural system. The exterior wall pieces are connected through an internal cable-like system that ties the components together. The theatre also draws inspiration from traditional Okinawan motifs, particularly diamond and cross-shaped patterns. These elements create a recognizable local identity while contributing to the building’s aesthetic character. The project suggests that climate-responsive design does not need to sacrifice cultural expression. One lesson that may be translated to other humid regions is the use of flexible materials and adaptable construction systems that can better accommodate environmental change while maintaining long-term performance.
Shuri Castle
首里城
Naha, Okinawa
Shuri Castle is one of the most important symbols of the former Ryukyu Kingdom, representing centuries of Okinawan culture, history, politics, and spiritual beliefs. One detail that stood out to me was the castle’s sophisticated drainage system. Despite Okinawa’s frequent heavy rainfall and typhoons, the site was carefully designed to direct water away from important structures, helping prevent flooding and erosion. This demonstrates how environmental conditions were considered as part of the castle’s overall design. The castle also reflects the connection between architecture and belief. Near the entrance are sacred spaces where the king would pray for protection and a safe journey before leaving the castle grounds.
Pencil and marker drawing by Amanda Zheng
Visually, the palace is immediately recognizable because of its bright red color and elaborate ornamentation. However, the use of timber construction also made the buildings vulnerable to fire. The 2019 fire, assumed to be caused by an electrical malfunction, destroyed much of the main hall and highlighted the challenges of preserving wooden architecture in a hot and humid climate. Interestingly, some ceramic dragon ornaments and portions of the stone structure survived the fire, demonstrating the durability of certain materials under extreme conditions. Today, Shuri Castle continues to raise important questions about preservation and reconstruction. As the castle is rebuilt, it remains a powerful symbol of Okinawan identity. At the same time, its history suggests that future restoration projects may need to balance historical authenticity with contemporary strategies for fire protection, climate resilience, and long-term conservation.
Former Kijoka School
旧喜如嘉小学校
Ogimi Village, Okinawa
Former Kijoka School is an example of adaptive reuse in response to social and demographic change in Okinawa. Originally, the building served as a local elementary school, providing education for children in the surrounding community. However, as birth rates declined and the local population decreased, the school eventually closed and was left without its original function.
Pencil drawing by Amanda Zheng
Rather than allowing the building to remain abandoned, the community transformed it into a shared space for new activities and businesses. Today, former classrooms have been repurposed into offices, souvenir shops, cafés, research spaces, and other small enterprises. While the function of the building has changed, many traces of the original school remain visible, allowing visitors to recognize its history while experiencing its new role. This transformation demonstrates how existing buildings can be adapted to meet changing social needs instead of being demolished and rebuilt.
Tamaudun
玉陵
Naha, Okinawa
Tamaudun is the royal mausoleum of the Ryukyu Kingdom and serves as a powerful representation of Okinawan beliefs, culture, and memory. Unlike many tombs that focus solely on burial, Tamaudun reflects the Ryukyuan understanding of the afterlife. Inside the mausoleum are numerous small stone and ceramic compartments used to store the remains of members of the royal family. This arrangement reflects the belief that life continues after death and that the spiritual world remains closely connected to the living. One of the most interesting aspects of Tamaudun is its stone construction. Rather than relying heavily on mortar or adhesives, the structure is built from large stones carefully fitted together, with smaller stones inserted into gaps to improve stability.
Pencil and marker drawing by Amanda Zheng
This method allows damaged stones to be individually replaced over time, creating a system that is both durable and adaptable. The monument therefore demonstrates not only structural strength but also a long-term strategy for maintenance and preservation. The spatial organization of the site also reflects Ryukyuan spiritual beliefs. The two gates of the mausoleum are intentionally positioned on a diagonal axis rather than a straight line. According to local belief, evil spirits travel in straight paths, and this arrangement helps prevent them from entering the sacred burial grounds. Through its construction techniques, spatial planning, and symbolic meaning, Tamaudun reveals how architecture can embody both practical knowledge and cultural belief. More than a royal tomb, it is a physical record of how the Ryukyu Kingdom understood ancestry, memory, and the relationship between the living and the dead.
Nakamura Family Residence
中村家住宅
Nago, Okinawa
The Nakamura House is one of Okinawa's most important surviving examples of traditional Ryukyuan domestic architecture, demonstrating how climate, culture, and construction are inseparable. Designed to respond to Okinawa's hot, humid, and typhoon-prone environment, the house relies on passive environmental strategies rather than mechanical systems. Large openings on opposing sides promote continuous cross ventilation, allowing prevailing breezes to cool the interior and reduce humidity.
Pencil drawing by Menma Okereke
Deep ashagi overhangs shade walls and openings from the intense subtropical sun while creating sheltered outdoor living spaces that blur the boundary between inside and outside. The distinctive curved ceramic roof tiles improve durability during heavy rainfall and strong winds while providing thermal mass that moderates heat gain. Roof vents allow rising hot air to escape naturally, encouraging airflow through the building and preventing heat from accumulating beneath the roof. Together, these integrated strategies create a resilient, comfortable dwelling uniquely adapted to Okinawa's demanding climate.
Tsuboya Yachimun Street
壺屋やちむん通り
Naha, Okinawa
Tsuboya Yachimun Street embodies Okinawa’s commitment to its ceramic heritage while demonstrating how traditional craft can shape contemporary urban design. Once the center of the Ryukyu Kingdom’s pottery production, the street continues to support working kilns, galleries, and family-run workshops where techniques are passed between generations. The district integrates pottery into the public realm through architectural details such as roof tile walls, ceramic-embedded pavements, and gabion walls filled with discarded pottery fragments.
Pattern Study by Menma Okereke
These interventions transform craft into building material, allowing even broken ceramics to contribute to the identity of the streetscape. The result is an environment where architecture becomes a continuation of local craftsmanship rather than a backdrop for it. Tsuboya demonstrates that heritage is not preserved through nostalgia alone, but through its continual adaptation, proving that traditional materials and making practices can remain relevant within contemporary architectural and urban design.
Kenchikuishi
建築意思
Naha, Okinawa
Kenchikuishi is an architecture and construction practice founded by Hiroyuki Yamaguchi in 2007 in Okinawa, Japan. Unlike many architecture firms, Kenchikuishi is a design build practice, giving the office a close relationship to construction, materials, and craft. The work is strongly influenced by Okinawa’s subtropical climate, which is characterized by intense sun, high humidity, and frequent typhoons.
Experience Drawing by Menma Okereke
As a result, many projects incorporate deep overhangs, outdoor rooms, natural ventilation, and strong connections to the surrounding landscape. Okinawa’s distinct cultural history also shapes the practice. Rather than treating buildings as isolated objects, Kenchikuishi often works with existing trees, rocks, and topography, creating architecture that feels embedded within its environment. The office’s work demonstrates how local climate, culture, and construction methods can become active drivers of architectural design.
Nago City Hall
名護市役所
Nago, Okinawa
Nago City Hall is a civic building designed by Atelier Zo and completed in 1981, the project responds directly to the island’s climate, culture, and patterns of everyday life rather than importing a conventional government building typology. The building incorporates local architectural traditions through its deep roof overhangs (amahaji), stepped terraces that encourage natural ventilation, and a façade of repetitive concrete columns inspired by Okinawan stone construction. I especially like that the vegetation grows and covers the structure simultaneously beautifying the building and reducing its direct heat gains.
Roof Configuration by Menma Okere
A defining feature of Nago City Hall is the Ashagi Terrace, named after the traditional Okinawan ashagi. This is a detached pavilion or shaded gathering space for visitors. Rather than separating citizens from government, the terraces create a sequence of informal public spaces where people meet, rest, garden, and circulate naturally. This blurring of public and institutional space makes the city hall feel approachable rather than bureaucratic. Nago City Hall demonstrates a form of regionalist architecture based on environmental adaptation and cultural practices. The city is considering renovation or relocation but the building remains a powerful example of architecture that translates Okinawan climate, materials, and social life into a modern civic institution.