Privatization, Commodification and Transformation in Japanese
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The Lesson of the Japanese House
Structural Studies, Repairs and Maintenance of Heritage Architecture XV 275 LEARNING FROM THE PAST: THE LESSON OF THE JAPANESE HOUSE EMILIA GARDA, MARIKA MANGOSIO & LUIGI PASTORE Politecnico di Torino, Italy ABSTRACT Thanks to the great spiritual value linked to it, the Japanese house is one of the oldest and most fascinating architectural constructs of the eastern world. The religion and the environment of this region have had a central role in the evolution of the domestic spaces and in the choice of materials used. The eastern architects have kept some canons of construction that modern designers still use. These models have been source of inspiration of the greatest minds of the architectural landscape of the 20th century. The following analysis tries to understand how such cultural bases have defined construction choices, carefully describing all the spaces that characterize the domestic environment. The Japanese culture concerning daily life at home is very different from ours in the west; there is a different collocation of the spiritual value assigned to some rooms in the hierarchy of project prioritization: within the eastern mindset one should guarantee the harmony of spaces that are able to satisfy the spiritual needs of everyone that lives in that house. The Japanese house is a new world: every space is evolving thanks to its versatility. Lights and shadows coexist as they mingle with nature, another factor in understanding the ideology of Japanese architects. In the following research, besides a detailed description of the central elements, incorporates where necessary a comparison with the western world of thought. All the influences will be analysed, with a particular view to the architectural features that have influenced the Modern Movement. -
(PANDEMIC ISSUE) EDITOR in CHIEF Arch
ISSN 2611-3872 N.4 DEC 2020 (PANDEMIC ISSUE) EDITOR IN CHIEF Arch. Maria Maddalena Margaria SCIENTIFIC COMMITTEE: Prof. Valeria Minucciani - POLYTECHNIC OF TURIN Dr. Katelijn Quartier - UNIVERSITY OF HASSELT Prof. Francesca Murialdo - MIDDLESEX UNIVERSITY Prof. Penny Sparke - KINGSTON UNIVERSITY Prof. Elena Dellapiana - POLITECNICO DI TORINO Prof. Ricardo Guasch Ceballos - ELISAVA Prof. Graeme Brooker - RCA LONDON Prof. Els de Vos - ANTWERPEN UNIVERSITY WWW.INNEMAGAZINE.ORG COVER AND DESIGN: DARIOBOVERO.IT LIVING IN A PANDEMIC STATE: HOW INTERIORS FACE TO ISOLATION (PANDEMIC ISSUE) Index 6 HOME OR ‘PANOPTIC’ SPACE OF WORK WRITTEN BY Pierluigi Panza, Faculty Design Sciences, University Antwerp 14 UTILIZING DESIGN CREATIVITY TO PROTECT AND CONNECT IN PANDEMIC TIMES WRITTEN BY Ashlyn Powers Assoc. AIA, Assoc. IIDA Pipa Bradbury ASID, NCIDQ, Illinois Registered Interior Designer #161.003564 20 PANDEMIC AND POST PANDEMIC. THE ANNUS HORRIBILIS AND THE DISCIPLINARY RE-CONSTITUTION WRITTEN BY Pier Federico Caliari 31 POST PANDEMIC INTERIORS - THE DESIGN INTERNS’ VISTA WRITTEN BY Mani Makhija Student of IV year of Architecture of School of Planning and Architecture, Bhopal, India 38 SPECTRUM OF SPATIAL MANIFESTATIONS IN HOMES, DURING A PANDEMIC AUTHOR: Deepiga Kameswaran Associate Professor, Faculty of Architecture, Dr.MGR Educational & Research Institute Chennai. CO AUTHOR: Anil Ravindranathan Professor, Faculty of Architecture, Dr. MGR Educational & Research Institute Chennai. 50 HEALTHIER LIVING SPACES ARCHITECTURAL DESIGN AND SCIENTIFIC-TECHNOLOGICAL INNOVATION WRITTEN BY Clelia Maria Bonardi Dott.ssa in Architecture 58 THE CHANGE IN INTERIOR SPACE AND THE CONCEPT OF WELL-BEING IN RELATION TO THE NEW CORONAVIRUS WRITTEN BY Nilufer Saglar Onay HOME OR ‘PANOPTIC’ SPACE OF WORK WRITTEN BY Pierluigi Panza Faculty Design Sciences, University Antwerp Michel Foucault (1926 – 1984) Abstract he timing of the renewal of labour strategies in the global market is too rapid for private housing, if it has a future, to adapt to it T every time. -
10 Ways to Create Your Own Zen House Search Magazines and Websites Dedicated to Modern Decor, and Pictures of Japanese Style Interiors Are Easily Found
ZenVita Original Japanese Home Designs 10 Ways to Create Your Own Zen House Search magazines and websites dedicated to modern decor, and pictures of Japanese style interiors are easily found. Whether it be a small pot, a Zen garden or a modern reworking of a traditional Japanese room, architects and decorators turn to the east for inspiration. Behind these simple interior designs lies a very particular and distinct way of life. Zen philosophy and its teachings are studied and incorporated widely in modern Japanese architecture, enriching our understanding of what good design is all about. That being said, it is easily understood that Japanese design is not a trend. It will never be out of fashion, and it will never get old, because it forms part of a particular approach of life, a simpler one, without pretense, riches and unnecessary stylistic exaggerations. Above all it reflects the long history of Japan, and the evolution of its philosophy and architecture. The moment you decide to add Japanese style to your house, you have chosen an aesthetic principle. It is not about what kind of painting you will put on the walls anymore, but rather it goes deeper, into what kind of life you want to live. So how can we add a truly Japanese touch to our home? The first step is knowledge, and with this we can help you. Adding a little Japanese style can be easy and inexpensive with the right know-how, style tips and advice. If you are thinking of designing a Japanese style home, then these are our ten top recommendations. -
Beyond Japanese Minimalistic Versatility Abstract
Beyond Japanese minimalistic versatility Abstract Due to advances in industrial development, we are now living in an extremely consumeristic world. Every day, large volumes of products are purchased while others are thrown away. At the same time, consumers expect products to add value to their lives beyond mere aesthetics and basic functionality. In particular, the market for mass-produced furniture has grown oversaturated in recent decades. Thus, it is very difficult for designers to make a product that is sufficiently different from what already exists. However, regardless of this state of excess, superficial novelty designs are cast into the limelight every year in Milan and throughout the world. Whenever I visit design fairs I have to question whether people truly need new chairs that appear only nominally different from what already exists. Are these products really improving the quality of our lives and do we still need new chair designs? This Master’s thesis approaches this question by studying the context rather than only looking at the problem from an aesthetic angle, applying the minimalistic thinking of Japanese product design. The methodology investigates the shared values in Japanese and Finnish culture in order to create a new seating product that is both relevant and meaningful in the context of contemporary furniture design. The thesis first delves into the changing lifestyle in Japan over time and how this affected the development of modern furniture. In many cases, the Japanese brand of minimalistic design thinking is an effective method of finding solutions, because simplification is one way to improve user experience. This thesis aims to discover ways that neutrality in design can be utilised to create new value within product design in general and chair typologies in particular. -
Comparison of the “Oki-Gotatsu” in the Traditional Japanese House and the “Kürsü” in the Traditional Harput House
Intercultural Understanding, 2019, volume 9, pages 15-19 Comparison of the “Oki-gotatsu” in the Traditional Japanese House and the “Kürsü” in the Traditional Harput House ølknur Yüksel Schwamborn1 1 Architect, østanbul, Turkey Corresponding author: ølknur Yüksel Schwamborn, Architect, østanbul, Turkey, E-mail: [email protected] Keywords: Japan, kotatsu, oki-gotatsu, Turkey, Anatolia, Harput, kürsü, table, heater Abstract: The use of the wooden low table “kotatsu” in the center of the traditional Japanese house in the seventeenth century (Edo (Tokugava) period), the oki-gotatsu, is similar to the use of the wooden low table in the traditional Harput house, the “kürsü”. The “kotatsu” and the “kürsü” used in winter in both places with similar climate characteristics are the table usage, which is collected around the place and where the warm-up needs are met. The origins of these similar uses in the traditional Japanese house and the traditional Harput house, located in different and distant geographies, can be traced back to Central Asia. In this study, the shape and use characteristics of “oki-gotatsu”, a form of traditional Japanese house in the past, and the shape and use characteristics of the “kürsü” in the traditional Harput house are compared. 1. Introduction area is exposed to northern and southern air currents and dominated by a cold climate, which makes life conditions In this study the traditional Japanese house wooden low table difficult. (Kahraman, 2010) Continental, polar-like air masses "kotatsu" is compared with the traditional Harput house "kürsü" originating from the inner parts of Asia move southwest before known from Turkey. -
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Advances in Social Science, Education and Humanities Research, volume 171 International Conference on Art Studies: Science, Experience, Education (ICASSEE 2017) The Culture of Japan: Pushing the Limits of Duality Nina Konovalova Scientific Research Institute of the Theory and History of Architecture and Urban Planning Central Scientific-Research and Project Institute of the Construction Ministry of the Russian Federation Moscow, Russia [email protected] Abstract—The article expresses the hypothesis that the dual existence of a central link and its dominant role in the artistic scheme is not applicable for describing a particular area of culture, architecture, and Japanese worldview. Japanese culture. The author proposes to introduce a third (central) link to the structure of dual representation. The resulting triad describes the specificities of the Japanese II. THE CATEGORY OF “BETWEENNESS” IN worldview more accurately, as the central link performs the ARCHITECTURE role of the intermediate zone, which demarcates but at the The “betweenness” principle in architecture was not only same time absorbs, the polar categories. In the view of widespread but is endowed with great significance. The Japanese, this is not merely important, but fundamental for blending with the natural environment that creates an effect understanding any phenomenon. To justify the existence of a of openness of edifices is one of the most significant features central link and its dominant role in the culture of Japan, of Japanese architecture. Although the Japanese house is examples are given from the fields of art culture, architecture, open to nature, it is absolutely closed to outsiders. Lush and, of course, the Japanese worldview. -
Modern Living in Southeast Asia
Appreciating Asian modern : mASEANa Project 2015-2020 mASEANa Project 2017 modern living in Southeast Asia The Report of mASEANa Project 2017 4th & 5th International Conference 2015 - 2020 The Report of mASEANa project 2017 : 4th & 5th International Conference modern living in Southeast Asia Introduction Why Are We So Interested in modern architecture in Asia? -The Story behind mASEANa Project 2015-20 and a Report on its Fiscal 2017 Activities- Shin Muramatsu 09 The Housing Question Ana Tostões 11 CONTENTS Part1: modern living in Southeast Asia Part2: Inventory of modern Buildings modern living in Southeast Asia - Inventory of modern Buildings in Yangon - Setiadi Sopandi, Kengo Hayashi 16 History of modern architecture in Yangon Friedrich Silaban Inventory & Research, 2006-2018 Win Thant Win Shwin, Su Su 65 Setiadi Sopandi 18 Inventory of modern Buildings in Yangon 67 - 1. Sports and Modern Urbanisim - - Inventory of modern Buildings in Jakarta - The Role of Sports Facilities in Metro Manila’s Urban Living from the 1930s to 1970s History of modern architecture in Jakarta Gabriel Victor Caballero 22 Setiadi Sopandi, Nadia Purwestri 77 The Shape of Sports Diplomacy: Inventory of modern Buildings in Jakarta 79 Gelora Bung Karno, Jakarta, and the Fourth Asian Games Robin Hartanto 26 Modern Architecture Literacy Development: The mASEANa Project in 2017 Kengo Hayashi 88 PHNOM PENH 1964: Architecture and Urbanism of GANEFO Masaaki Iwamoto 30 Transformation of modern Living in Japan after WWII: Washington Heights, Tokyo Olympic and Yoyogi Sports Complex Saikaku Toyokawa 34 Acknowledgment 92 - 2. Modern Projects, Changing Lifestyles, Resilience - Living in KTTs – the Formation of Modern Community in Vietnam Pham Thuy Loan, Truong Ngoc Lan, Nguyen Manh Tri 36 Pulomas: A Social Housing Project which Never Was Mohammad Nanda Widyarta 40 Modernization of Tatami, Shoji, & En Yasuko Kamei 44 Collective Housing in Japan Toshio Otsuki 48 - 3. -
School of Architecture and Planning
SA+P | School of Architecture and Planning Spring 2019 | 4.154 | Architecture Design Option Studio | THRESHOLDS: West | East Credits: 0-10-11 G | Prerequisite: 4.153 | Schedule: TH/TH* 1-6pm | Instructor: J. Yolande Daniels <[email protected]>; TA: Christopher A. Weaver <[email protected]> STUDIO DESCRIPTION The studio will explore "thresholds” and a range of threshold conditions found in architecture and daily life. Students will develop a series of interrelated architectural design projects for spaces to tease out the thresholds of daily life to design for the rituals—both sacred and profane--that demarcate change through the stages of a life. The programs will range in intimacy and publicness. A threshold is on the verge of, the opening to, the locus of, and, point of departure, it is also multi-scalar, spatial and manifested materially. The Threshold is a “point of entry” – a line and a “tread.” It is a literal material element that demarcates the approach to and crossing of a boundary. The Threshold is the pause that allows for recognition of the magnitude or intensity of a phenomenon or condition, and, the limit beyond which something changes unalterably—it is the space before crisis is intelligible and the moment of crisis that ushers in change. There are ritual thresholds of experiences such as: Birth, Aging, Marriage, Divorce, Passing away. The studio approaches the threshold as an open ended spatial moment of varying depths, material relations. Moving from instances of the threshold without a building, we will shift to explore buildings as threshold conditions. The Threshold is a space of transition that demarcates a shift in the built environment and psyche—a gate, street, porch, vestibule, lobby, a wall or roof, etc. -
Mindfulness Activities, Traditional Cuisine (Shojin), Tea Ceremony
unique differentiation attributes chisoku theme - a Zen concept which means 'to know the feeling of being fulfilled with the now’ experience - carefully selected experiences which enrich the lives of our guests which leads guests feel the concept of chisoku modern ryokan - a unique mix of old and new. Designed by the architect Ryohei Tanaka (former member of Kengo Kuma & Associates) and the landscape architect Akihiko Ono art, design, craft - all things and experiences are carefully produced by kishi-ke’s art division for guests to help them find fine the best things in one place Kamakura’s gems and people - kishi-ke collaborates with people and places located in Kamakura to introduce guests to things, experience and people which can only be experienced here concept 01Feel the chisoku In everyday life, it is hard to focus on yourself, on your life, on the present. By changing the environment, you are able to focus on the now and notice new things about yourself. Chisoku is not only about the satisfaction itself but also it is about realization and accepting where you are in your life- explains Shoshun Takai (the former head of the oldest Zen training monastery in Japan). Chisoku is a Zen concept which means 'to know the feeling of being fulfilled with the now'. From the Buddhism shojin cuisine breakfast to various cultural workshops and experiences everything in modern ryokan kishi-ke is there to bring the guests closer to the feeling of chisoku. Focus on now. Feel the seasons, the people, the change. Learn how to find chisoku in your daily life in kishi-ke. -
Wall Street Journal
P2JW307000-0-M00300-1--------CR THE WALL STREET JOURNAL. Friday, November 3, 2017 | M3 SKI & MOUNTAIN HOMES INSIDE STORY A Home With a Hint of Monastery A Colorado couple with a passion for Japan and climbing builds a quiet home BY CANDACE JACKSON NORIE KIZAKI AND DAVID WOLF knew just what they wanted for the house they were building in Colorado: a home that reflected Ms. Kizaki’s childhood in a Bud- dhist monastery in rural Japan, where her father was a monk. But they also wanted a light touch: a relatively modest size and an exterior that wouldn’t stand out too much in their Boulder neigh- borhood, with its mix of 1950s-era ranch houses and colonial bunga- lows. “We wanted to incorporate the stuff we liked about Japanese houses, but we didn’t want people to say, ‘turn left at the Japanese house,’ ” says Mr. Wolf. The result is a 1,800-square- foot, two-story, three-bedroom, 2½-bathroom modern minimalist home. It has a typical gable roof but with an enameled-steel wrap- per that folds onto the flat top surface. A contemporary porch swing sits out front. “I think porch swings feel really neighborly,” says Mr. Wolf. The Japanese element is visible, but subtle. The front door and part CARMEL ZUCKER FOR THE WALL STREET JOURNAL (5) of the facade is shou-sugi-ban cy- press, a Japanese charred-wood To fit three bedrooms and two SUBTLE Norie Kizaki and David Wolf, technique that preserves the wood. bathrooms into the 700-square- inset, built a home with subtle Japa The home was completed in 2015 foot upper level, Mr. -
Wabi Sabi: Japanese Wisdom for a Perfectly Imperfect Life
Also by Beth Kempton FREEDOM SEEKER: Live more. Worry less. Do what you love. Copyright Published by Piatkus ISBN: 978-0-349-42099-8 Copyright © 2018 Beth Kempton The moral right of the author has been asserted. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of the publisher. The publisher is not responsible for websites (or their content) that are not owned by the publisher. Piatkus Little, Brown Book Group Carmelite House 50 Victoria Embankment London EC4Y 0DZ www.littlebrown.co.uk www.hachette.co.uk To my family. I love you just the way you are. A note on the use of Japanese in this book Japanese personal names have been written in standard English name order for ease of reference (first name followed by surname), except for historical figures most commonly known by the traditional Japanese name order (family name first), such as Matsuo Bashō (family name of Matsuo). The modified Hepburn system has been used to romanise the Japanese language. Macrons have been used to indicate long vowels; for example, ū for an extended ‘uu’. This includes place names, even if they are familiarly known without the macrons, such as Tōkyō and Kyōtō. When referencing people, the suffix -san is sometimes used. This is a polite way to say ‘Mr’, ‘Mrs’ or ‘Ms’. When the suffix -sensei is used, this refers to a teacher or professor. CONTENTS Also by Beth Kempton Title Page Copyright Dedication A note on the use of Japanese -
Roof Typology and Composition in Traditional Japanese Architecture
Roof Typology and Composition in Traditional Japanese Architecture I Introduction…………………………………………………………………...1 II Basic Roof Forms, Structures and Materials………………………………….3 II.1 Basic Roof Forms II.1.1 Kirizuma, Yosemune and Irimoya II.1.2 Combined Roofs II.1.3 Gable Entered (tsuma-iri) and Side Entered (hira-iri) II.2 Roof Trusses II.2.1 Sasu-gumi II.2.2 Wagoya II.2.3 Shintsuka-gumi II.2.4 Noboribari-gumi II.2.5 Combined Systems II.3 Roofing Materials II.3.1 Tile II.3.2 Thatch II.3.3 Wood: Planks, Shingle and Bark III Traditional Japanese Architecture III.1 Prehistoric and Antique Architecture………..………………………………11 III.1.1 Tateana Jukyo III.1.2 Takayuka Jukyo III.1.3 Nara Period Residences III.1.4 Menkiho III.2 Shinto Shrines……………………………………………………………….18 III.2.1 Shimei, Taisha and Sumiyoshi Styles III.2.2 Nagare and Kasuga Styles III.2.3 Later Styles III.3 Aristocrats’ Houses………………………………………………………….25 III.3.1 Shinden Style III.3.2 Shoin Style III.4 Common People Houses: Minka…………………………………………….29 III.4.1 Structure III.4.2 Type of Spaces III.4.3 Plan Evolution III.4.4 Building Restrictions III.4.5 Diversity of Styles III.4.5.1.1 City Dwellings, machiya III.4.5.1.2 Farmers’ Single Ridge Style Houses III.4.5.1.3 Farmers’ Bunto Style Houses III.4.5.1.4 Farmers’ Multiple Ridges Style Houses IV Relation Between Different Functional Spaces and the Roof Form………….48 IV.1 Type 1 ……………………………………………………………………..50 IV.2 Type 2 ……………………………………………………………………..67 IV.3 Type 3 ……………………………………………………………………..80 V The Hierarchy Between Functionally Different Spaces Expressed Trough the Roof Design………………………………………………………………….109 VI Conclusion……………………………………………………………..…….119 I- Introduction The purpose of this study is to analyze the typology and the composition of the roofs in Japanese traditional architecture.