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Architecture The Simplicity, Spirituality and Comfort of Japanese Architectural Design: From the Edo period until today Vasco Vieira da Fonseca de Lima Mayer Thesis to obtain the Master of Science Degree in Architecture Supervisor: Professor Ana Cristina dos Santos Tostões Examination Committee Chairperson: Teresa Frederica Tojal de Valsassina Heitor Supervisor: Professor Ana Cristina dos Santos Tostões Members of the Committee: Professor Irène Elizabeth Vogel Chevroulet October 2015 ii Notes: 1. All translations were done by the author. 2. All unreferenced photographs were taken by the author. 3. The bibliographic references use the Harvard referencing system. iii iv AcknowledgementsAcknowledgements This dissertation is dedicated to my parents, who provided me a privileged education, always showing their exceptional support in my journey to become an architectural designer. I would like to express my deepest gratitude to: Professor Ana Tostões for leading me in the discovery of the Japanese architecture, for showing enthu- siasm and support in the theme I proposed, for the knowledge that helped me to “push up the bar,” and finally for introducing me to professor Irène Vogel Chevroulet. Professor Irène Vogel Chevroulet, for accepting the challenge of coordinating me during this disserta- tion, together with Professora Ana Tostões. For giving me a privileged insight of the Japanese architec- ture history, for providing me with the material for my study, and for introducing me to Professor Yasushi Zenno. For the kindness and sympathy, and finally for the availability and advice, even at distance. Kengo Kuma for the interview in his office that provided very useful information. For introducing me to Teppei Iizuka, his associate, who showed me the office with sympathy. Sou Fujimoto for the interview and for receiving me so well in his office, offering crucial material for the development of this dissertation and to Nikki Minemura for the support given. Professor Yasushi Zenno for spending an afternoon with me in Tokyo, for sharing his knowledge during the architecture tour from Ginza to Marunouchi. Designer Keiji Ashizawa for the helpful conversation in his studio, for showing me his exhibition room with his products, and for introducing me to his international interns with whom I spent my last days in Tokyo. José Mateus for his sympathy and availability. For the mentorship and friendship for the last five years, and for the early conversation in his studio, when I was still deciding the main objective of my study. Professor Teresa Heitor for her kindness and enormous support in my academic education. All my professors and employers for the guidance and all my wonderful colleagues with whom I devel- oped valuable friendships. Nuno, Naim, Rodrigo, Zé, Patrícia, Chico, Isabel, Madalena, Marta, Meira, Nanas, Sara, Rita, Matilde, Ana, Maria, Chica e Vitória. My brothers and nephews for the constant support through my life, especially during the last months. Luísa, for the unconditional patience, support and for giving endless motivation. For her important help editing the video about the journey in Japan. My group of friends who follow me since childhood and who are indispensable for the good and bad times. For the love and companionship. v vi Abstract Abstract During the last two centuries the field of Architectural design in Japan has been fascinating worldwide architects, designers and students. Aesthetic elegance, functional pragmatism, technological sophis- tication or precision in craft, are just some of the concepts that describe the notable work realized in this country. Between 1603 and 1868, Japan suffered an isolation period, imposed by the Tokugawa shogunate, for almost two hundred years. During this time Japan was closed to trade which meant that its architecture did not have any influence from abroad. The first foreign architects that arrived to Japan in the end of the isolation period, late 19th century, got lost with its unique architectural design quality. In fact, the unawareness of the outside world resulted in a self-directed architecture, with a special char- acter, eventually influencing the Japanese architecture that we know today. The study starts with a brief overview of Japan’s history and a contextualization of its architecture. In order to understand the Japanese architectural design, we study the life and work of three renown ar- chitects born in the second half of the 19th century, Josiah Conder, Bruno Taut and Frank Lloyd Wright, who either had an impact on Japanese architecture, or were influenced by it. The cultural values in Japan are also studied in the first part of the dissertation which represent a fundament for the interpre- tations and conclusions. In addition, the trip to Japan, for approximately one month, and the interviews made to Kengo Kuma and Sou Fujimoto, frequently referenced through the study, allow a closer look of the present situation of Japan’s architectural design. Furthermore, the life and work of four leading Japanese architecture practices of today (Tadao Ando, SANAA, Kengo Kuma and Sou Fujimoto) are studied, with the objective of finding a relation between the traditional and contemporary architecture and reflect upon the path of future generations. This work results, therefore, in a reflection about the past, present and future of architectural design in Japan. Although it has changed a lot during the last centuries, there are three essential concepts that have persisted through time: Simplicity, Spirituality and Comfort. Keywords: Japanese architecture, Japan, Kengo Kuma, Sou Fujimoto. vii viii Resumo Resumo Nos últimos dois séculos, a arquitetura Japonesa tem fascinado arquitetos designers e estudantes de todo o mundo. Elegância, funcionalismo, sofisticação tecnológica e rigor artesanal são apenas algumas qualidades do trabalho notável realizado neste país. Durante a dinastia Tokugawa que durou desde 1603 até 1868, o Japão viveu um período de isolamento de quase duzentos anos. Durante este período, o país fechou as suas portas ao estrangeiro, o que significou que sua arquitetura não teve qualquer influência vinda do exterior. Os primeiros arquitetos estrangeiros que chegaram ao Japão no fim deste período, final do século XIX, ficaram fascinados com a qualidade da sua arquitetura. Na verdade, a ignorância do que se passava no estrangeiro possibilitou uma arquitetura autodidata, com um caracter único, que influenciou, por sua vez, a arquitetura Japonesa que conhecemos hoje. O estudo começa com uma breve história do Japão e uma contextualização da sua arquitetura. Es- tudamos de seguida a vida e obra de três importantes arquitetos nascidos na segunda metade do século XIX, Josiah Conder, Bruno Taut e Frank Lloyd Wright que, ou foram influenciados pela arquitetu- ra Japonesa, ou tiveram impacto nela. Posteriormente são estudados os valores culturais Japone- ses que fundamentam as interpretações e as conclusões posteriores. Significativas foram também a viagem ao Japão, durante aproximadamente um mês, e as entrevistas aos arquitetos Kengo Kuma e Sou Fujimoto, frequentemente citados no estudo, permitindo uma análise mais atenta da situação atual da arquitetura Japonesa. Além disso, a vida e obra de quatro conhecidos ateliers da atualidade (Tadao Ando, SANAA, Kengo Kuma e Sou Fujimoto) são estudados, com o objetivo de encontrar uma relação entre a arquitetura tradicional e contemporânea no Japão e refletir sobre o caminho que as novas gerações tomarão. Este trabalho resulta, portanto, num estudo sobre o passado, presente e futuro da arquitetura Japone- sa. Embora esta tenha evoluído muito durante os últimos séculos, há três conceitos essenciais que têm perdurado ao longo do tempo: Simplicidade, Espiritualidade e Conforto. Palavras chave: Arquitetura Japonesa, Japão, Kengo Kuma, Sou Fujimoto. ix x Table of contents Table of Contents Acknowledgements v Abstract vii Resumo ix Table of Contents xi List of Abbreviations xiii List of Graphical Elements xv Introduction 1 Motivation 3 Objectives 6 Methodology and Process 6 The Structure 8 State of the Art 9 01 Context of Japanese architecture 11 01.1 Introduction 13 01.2 Overview 17 01.3 Design and cultural values of Japan 23 01.4 Relevance of Japanese architecture 33 01.4.1 Josiah Conder (1852-1920) 35 01.5 Fundamentals in Japanese architecture through the eyes of Bruno Taut 41 01.5.1 Bruno Taut (1880-1938) 42 01.6 The 20th Century 49 01.6.1 Modern movement 50 01.6.2 Impact of Japanese architectural design in the Western world 56 01.6.3 The trends of the 20th century 60 02 New Generations 67 02.1 Introduction 69 02.2 Importance of Japanese way of living 73 02.3 Contemporaneity 81 02.3.1 Tadao Ando (1941) 81 02.3.2 Kazuyo Sejima (1956) and Ryue Nishizawa (1966) 84 02.3.3 Kengo Kuma (1954) 86 02.3.4 Sou Fujimoto (1971) 90 03 Excellence in Japanese architectural design 93 03.1 Introduction 95 03.2 Simplicity 97 xi 03.3 Spirituality 101 03.4 Comfort 103 Conclusion 105 Bibliography 109 Books 111 Magazines 113 Websites 113 Blogs 115 Movies 115 Interviews 115 Attachments 117 Japanese architecture history timeline 118 Japan rail trip 122 Interview to Kengo Kuma 124 Interview to Sou Fujimoto 127 Closed Country Edict 1635 130 xii List of Abbreviations AD − Anno Domini BC − Before Christ BCE − Before the Common / Current / Christian Era CE − Common / Current / Christian Era CIAM − Congrès International d’Architecture Moderne List of Abbreviations DOCOMOMO − Documentation and Conservation of buildings, sites and neighbourhoods of the Modern Movement EPFL − École polytechnique fédérale de Lausanne GDP − Gross Domestic Product iOS − Apple Operating System IST − Instituto Superior Técnico MIT − Massachusetts Institute of Technology RIBA − Royal Institute of British Architects SANAA − Sejima and Nishizawa WWII − World War II xiii xiv List of Graphical Elements List of Graphical Elements 01 Villa Mairea’s living room (1940) by Alvar Aalto. 13 Source: http://ideasgn.com/architecture/villa-mairea-alvar-aalto/attachment/villa-mairea-by-alvar-aalto-025/ 02 Frank Lloyd Wright (1959). 13 Source: https://commons.wikimedia.org/wiki/File:Frank_Lloyd_Wright_NYWTS_3.jpg 03 Bruno Taut (1924).
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