The Police Box at Chofu Station, completed between 1993 and 1995, is a small yet significant project by Kazuyo Sejima. Known for her minimalist approach, Sejima’s design philosophy often emphasizes simplicity, transparency, and the interplay of light and space. The Chofu Station Police Box is a compelling example of how these ideas can be applied to a public building, providing a unique solution to the practical needs of urban life while contributing to the architectural landscape of Tokyo.
Police Box at Chofu Station Technical Information
- Architects1-4: Kazuyo Sejima | SANAA
- Location: Chofu Station, Tokyo, Japan
- Topics: Transparency, Minimalism
- Site Area: 50 m2 | 538 sq. ft.
- Building Area: 20 m2 | 215 sq. ft.
- Project Year: 1993-1995
- Photographs: See caption details
I think architecture has to be adapted to the environment. The environment is always changing, so the architecture should be flexible. It should be able to respond to different situations.
– Kazujo Sejima 5
Police Box at Chofu Station Photographs
Police Box at Chofu Station Urban Context
Located in a densely populated area near Chofu Station in Tokyo, the Police Box occupies a small plot typical of urban Japan. The building’s function is straightforward: it serves as a point of contact between the police and the public, a space for law enforcement to operate within the community. In this context, the challenges were clear—how to create a structure that is both functional and approachable within the site’s tight spatial constraints.
Sejima addressed these challenges by focusing on simplicity and transparency. The building’s compact size is not a limitation but an opportunity to refine the design to its most essential elements. The result is a structure that feels open and accessible despite its small footprint.
Architectural Design Analysis
Sejima’s conceptual approach to the Police Box is rooted in her belief that architecture should serve practical and aesthetic purposes. The building is a simple, rectangular volume, with large windows dominating its facade. This openness is not merely an aesthetic choice but a functional one, allowing for maximum visibility both into and out of the building. The structure’s transparency ensures that it is inviting to the public, reinforcing the idea that the police are approachable and integrated into the community.
The use of materials in the Police Box is characteristic of Sejima’s work. The structure is primarily made of durable and lightweight glass and steel. The glass walls create a sense of continuity between the interior and exterior spaces, blurring the boundaries and making the building feel larger than it is. The steel frame, painted white, is unobtrusive and reinforces the building’s minimalist aesthetic.
Inside, the layout is straightforward, with a small reception area and workspaces for the officers. The interior is designed to be functional, with every element serving a specific purpose. There are no unnecessary decorations or embellishments, which aligns with Sejima’s minimalist approach. The design of the Police Box emphasizes efficiency and clarity, ensuring that the space is easy to navigate and use.
Spatial Experience
The spatial experience of the Police Box is defined by its transparency and simplicity. From the outside, the building appears almost like a lantern, glowing softly at night and offering a welcoming presence during the day. The large windows allow passersby to see inside, creating a sense of openness and trust. This transparency is key to the building’s role in the community, as it demystifies the police and makes the institution more approachable.
Inside, the space is compact but well-organized. The layout is logical, with a clear separation between the public and private areas. The design prioritizes functionality, ensuring that the officers can perform their duties efficiently while remaining accessible to the public. Despite its small size, the Police Box does not feel cramped; instead, it feels open and airy, thanks to the thoughtful use of space and light.
Integration with Sejima’s Broader Work
The Police Box at Chofu Station can be seen as part of a broader narrative in Sejima’s work. Her projects often explore the relationship between interior and exterior spaces, the use of light, and the idea of creating functional and beautiful architecture. In this sense, the Police Box shares similarities with other projects like the House in a Plum Grove or the Rolex Learning Center, where simplicity and clarity are key design elements.
However, the Police Box also represents a particular moment in Sejima’s career, where she began refining her ideas about minimalism and public architecture. This project can be seen as a precursor to her later works, where these ideas are developed further and applied on a larger scale.
Critical Reception and Legacy
When it was completed, the Police Box at Chofu Station was met with interest from the architectural community. It was seen as a bold experiment in minimalist design, particularly in the context of a public building. The project challenged traditional notions of what a police station could be, offering a new model that was more open, transparent, and integrated into the urban fabric.
In the years since its completion, the Police Box has impacted public architecture in Japan and beyond. It has inspired other architects to explore the possibilities of minimalist design in public buildings, showing that even the most utilitarian structures can be elevated through thoughtful design. The project also contributed to the ongoing discourse on the role of architecture in society, particularly in how it can shape public perceptions of institutions like the police.
Police Box at Chofu Station Plans
Police Box at Chofu Station Image Gallery
About Kazuyo Sejima
Kazuyo Sejima is a Japanese architect known for her minimalist and innovative designs emphasizing simplicity, transparency, and the interplay of light and space. She co-founded the architectural firm SANAA (Sejima and Nishizawa and Associates) with Ryue Nishizawa in 1995, and their work has gained international acclaim for projects like the New Museum in New York, the Rolex Learning Center in Switzerland, and the Louvre-Lens in France. Sejima’s approach often explores the relationship between interior and exterior spaces, creating functional and aesthetically refined environments. In 2010, she became the first woman to curate the Venice Architecture Biennale, and that same year, she, along with Nishizawa, was awarded the prestigious Pritzker Architecture Prize.
Notes & Additional Credits
- Structure: Steel Frame
- Exterior Materials: Glass, Steel
- Interior Materials: Plasterboard, Vinyl flooring
- Primary Function: Public safety, police administrative duties
- Ryue Nishizawa and Kazuyo Sejima. SANAA Works 1995-2005. Toto Publishing, 2006.
- Kazuyo Sejima + Ryue Nishizawa: SANAA by Yuko Hasegawa
