Ntroduction US-JAPAN Parallel the Post War World Was Formed by US
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Hopeful Future for Japan
As of December 20, 2017 Hopeful future for Japan Nippon Healthcare Investment Corporation Presentation Material for The 7th Fiscal Period Ended October 2017 Securities code ： 3308 Contents Disclaimer Continuous Evaluation of Operators and Monitoring System 19 Highlights of 7th Fiscal Period (Ended October 2017) 3 Implementation of Monitoring and Section 1 Relationships with Operators 20 Operating Results for 7th Fiscal Period Introduction of Operators 21 Operator Initiatives (AI and System Introduction) 22 Operating Results for 7th Fiscal Period 5 Forecast of Operating Results for 8th Fiscal Period Section 4 and 9th Fiscal Period 6 Financial Status Distribution per Unit 7 Status of Interest-Bearing Liabilities Section 2 (as of October 31, 2017)・・・・・・・・・・・・・・・・・・・・ 24 External Growth Policy on Distributions in Excess of Earnings/Index including NHI 25 Change in Asset Size 9 Overview of the Unitholder Benefits Program・・・・・・・・・・・・・ 26 Sourcing Route 10 ・・・・・・・・・・・・・・ Section 3 Section 5 Portfolio Analysis Environment Surrounding Healthcare Industry Portfolio List (as of October, 2017) 12 Surrounding Status of Healthcare Facilities : Status of Portfolio: Change in Occupancy Rates 13 Progress of aging society 29 Remaining Lease Contract Period of Each Property 14 Market Size by Segment( as of June 2016) 30 Status of Portfolio: Fee Systems of Facilities 15 History of Revisions to Nursing Care Fees 31 Status of Portfolio (as of October 31, 2017) 16 Portfolio Resident Attributes (as of October 31, 2017) 17 Appendix Properties Renovated in the 7th Fiscal Period 18 This document is not material disclosed in compliance with the Financial Instruments and Exchange Act or any regulation of similar nature, nor is it intended for the purposes of solicitation. -
The Architecture of Metabolism. Inventing a Culture of Resilience
Arts 2014, 3, 279-297; doi:10.3390/arts3020279 OPEN ACCESS arts ISSN 2076-0752 www.mdpi.com/journal/arts Article The Architecture of Metabolism. Inventing a Culture of Resilience Meike Schalk Meike Schalk, Assistant Professor, KTH Royal Institute of Technology, School of Architecture and the Built Environment, Östermalmsgatan 26, 100 44 Stockholm, Sweden; E-Mail: [email protected]; Tel.: +46-73-6000906 Received: 10 May 2014; in revised form: 6 June 2014 / Accepted: 10 June 2014 / Published: 13 June 2014 Abstract: The Metabolist movement, with its radical and visionary urban and architectural schemes, drew the attention of an international architecture community to Japan in the 1960s and 1970s. Seen from a contemporary perspective, the movement’s foremost concern was cultural resilience as a notion of national identity. Metabolism responded to the human and environmental catastrophe that followed the atomic bombing of Japan and vulnerability to natural disasters such as earthquakes, with architecture envisioning the complete transformation of Japan as a system of political, social, and physical structures into resilient spatial and organizational patterns adaptable to change. Projecting a utopia of resilience, Metabolism employed biological metaphors and recalled technoscientific images which, together with the vernacular, evoked the notion of a genetic architecture able to be recreated again and again. A specific concern was to mediate between an urbanism of large, technical and institutional infrastructures and the freedom of the individual. My aim is to critically examine the notion of sustainable architecture by rereading Metabolist theories and products, such as terms, models, projects, and buildings. For a better understanding of the present discourse, this text searches for a possible history of sustainable architecture, a subject mostly presented ahistorically. -
Subject Index
Subject Index Aalto, Alvar, 22 Art Shed Southbank Architectural Com- bearing, solar angle diagrams, 334 Ackerman Student Union, University of petition, 2006, 383 Berkeley Art Museum and Pacific Film California at Los Angeles, Cali- Asia Society, Hong Kong Center, China, Archive, Berkeley, California, fornia, 250 410, 411 197 Adelaide University, South Australia, assembly drawing, linear perspective Bernal Heights residence, San Fran- School of Architecture, Land- drawing, 311 cisco, California, 262 scape Architecture and Urban Atocha Station, Madrid, Spain, 75 B FIVE STUDIO, 550 Design, 499 audience, portfolio, 463–64 Bilbao Effect, 120 Adelman/Liano residence, Santa Moni- August Wilson Center for African Ameri- BIM (building information modeling), ca, California, 207 can Culture, Pittsburgh, Penn- capabilities of, 93–94 Adobe Photoshop, 63 sylvania, 284 bird’s eye perspective African American Museum of Slavery, Aulenti, Gaetana, 22 linear perspective drawing, 246–47, Rockville, Maryland, 429 automobile 298–301 Aga Han Museum, Toronto, Canada, conceptual sketching, 73 one-point perspective from above, 242 representational drawing, 26–29 linear perspective drawing, Alaska, University of, Fairbanks, 198 auxiliary views, multiview-drawings, 177 248–49 alternatives, conceptual diagramming axes addition, orthographic and paraline underside perspective with, linear and sketches, 40, 44–45 drawing, 195 perspective drawing, 303 altitude, solar angle diagrams, 334 axial lines, orthographic and paraline Birkerts, Gunnar, 42, 69, 150 American Museum -
Guia2-Oriente.Pdf
Facultad de Arquitectura UDELAR Montevideo | Uruguay GRUPO DE VIAJE 2013 ARQUITECTURA RIFA G06 EQUIPO DOCENTE Adriana Barreiro Jorge Casaravilla Gustavo Hiriart Pablo Kelbauskas Bernardo Martín Ximena Rodríguez Soledad Patiño Ernesto Spósito MÓDULO 02 ORIENTE DOCENTES MÓDULO 02 Adriana Barreiro Ernesto Spósito Ximena Rodríguez Nota importante: Las Guías de los Grupos de Viaje de la Facultad de Arquitectura de la Universidad de la República son el resultado del trabajo de sucesivos Equipos Docentes Directores y generaciones de estudiantes. En particular, el material contenido en las presentes Guías fue compilado por el Grupo de Viaje Generación 2005 y su Equipo Docente Director del Taller Danza, quienes realizaron su viaje de estudios en el año 2012. Este material ha sido editado y adaptado al proyecto académico del Grupo de Viaje Generación 2006, cuyo viaje de estudios se realizará en el año 2013. Facultad de Arquitectura UDELAR GRUPO DE VIAJE 2012 ARQUITECTURA RIFA G05 EQUIPO DOCENTE Taller Danza Marcelo Danza Lucía Bogliaccini Luis Bogliaccini Diego Capandeguy Marcos Castaings Martín Delgado Andrés Gobba Lucas Mateo Nicolás Newton Natalia Olivera Felipe Reyno Thomas Sprechmann Marcelo Staricco MÓDULO 02 ORIENTE DOCENTES MÓDULO 02 Tomás Sprechman Diego Capandeguy Nicolás Newton GRUPO DE TRABAJO Natalie Cordero Mariana García Etcheverry Bruno La Buonora Magdalena Ponce de León Katia Sei Fong Santiago Serrano Sofía Damiani Mariano García Patricia Izaurralde JAPÓN DatoS GENERALES: Superficie: 37.800 km2. (Con menos del 7% del suelo urbanizable) Población: 128 .100.000 (2010). (Es la décima más grande del mundo) Densidad de Población: 3.336 habitantes por km2 Territorio: Archipiélago, con cuatro islas principales que forman el 97% de la superficie total del país, y con 6.848 islas menores adyacentes. -
Introducing Tokyo Page 10 Panorama Views
Introducing Tokyo page 10 Panorama views: Tokyo from above 10 A Wonderful Catastrophe Ulf Meyer 34 The Informational World City Botond Bognar 42 Bunkyo-ku page 50 001 Saint Mary's Cathedral Kenzo Tange 002 Memorial Park for the Tokyo War Dead Takefumi Aida 003 Century Tower Norman Foster 004 Tokyo Dome Nikken Sekkei/Takenaka Corporation 005 Headquarters Building of the University of Tokyo Kenzo Tange 006 Technica House Takenaka Corporation 007 Tokyo Dome Hotel Kenzo Tange Chiyoda-ku page 56 008 DN Tower 21 Kevin Roche/John Dinkebo 009 Grand Prince Hotel Akasaka Kenzo Tange 010 Metro Tour/Edoken Office Building Atsushi Kitagawara 011 Athénée Français Takamasa Yoshizaka 012 National Theatre Hiroyuki Iwamoto 013 Imperial Theatre Yoshiro Taniguchi/Mitsubishi Architectural Office 014 National Showa Memorial Museum/Showa-kan Kiyonori Kikutake 015 Tokyo Marine and Fire Insurance Company Building Kunio Maekawa 016 Wacoal Building Kisho Kurokawa 017 Pacific Century Place Nikken Sekkei 018 National Museum for Modern Art Yoshiro Taniguchi 019 National Diet Library and Annex Kunio Maekawa 020 Mizuho Corporate Bank Building Togo Murano 021 AKS Building Takenaka Corporation 022 Nippon Budokan Mamoru Yamada 023 Nikken Sekkei Tokyo Building Nikken Sekkei 024 Koizumi Building Peter Eisenman/Kojiro Kitayama 025 Supreme Court Shinichi Okada 026 Iidabashi Subway Station Makoto Sei Watanabe 027 Mizuho Bank Head Office Building Yoshinobu Ashihara 028 Tokyo Sankei Building Takenaka Corporation 029 Palace Side Building Nikken Sekkei 030 Nissei Theatre and Administration Building for the Nihon Seimei-Insurance Co. Murano & Mori 031 55 Building, Hosei University Hiroshi Oe 032 Kasumigaseki Building Yamashita Sekkei 033 Mitsui Marine and Fire Insurance Building Nikken Sekkei 034 Tajima Building Michael Graves Bibliografische Informationen digitalisiert durch http://d-nb.info/1010431374 Chuo-ku page 74 035 Louis Vuitton Ginza Namiki Store Jun Aoki 036 Gucci Ginza James Carpenter 037 Daigaku Megane Building Atsushi Kitagawara 038 Yaesu Bookshop Kajima Design 039 The Japan P.E.N. -
Akaa2007 Final 01-65:Akdn 2007
AKAA2007_FINAL_130-192:AKDN 2007 24/7/07 16:02 Page 181 180 AKAA2007_FINAL_130-192:AKDN 2007 24/7/07 16:02 Page 182 Aga Khan Award for Architecture Aga Khan Award for Architecture Retrospective 1977 – 2007 Over the past 30 years, the Aga Khan Award has recognised outstanding architectural achievements in some 32 countries. It has held seminars, conferences and exhibitions to explore and discuss the crucial issues of the built environment, and published the proceedings to bring these subjects to a wider audience. It has brought together the architectural community and policy-makers to celebrate the prize-winning projects of 10 award cycles in important historical and architectural settings, and has invited the leading thinkers and practitioners of the day to frame the discourse 10 th on architectural excellence within the context of successive master juries and steering committees. Cycle 1st Cycle 6th Cycle Award Award Ceremony Ceremony Pakistan 1980 Indonesia 1995 2nd Cycle 7th Cycle Award Award Ceremony Ceremony Turkey 1983 Spain 1998 3rd Cycle 8th Cycle Award Award Ceremony Ceremony Morocco 1986 Syria 2001 4th Cycle 9th Cycle Award Award Ceremony Ceremony Egypt 1989 India 2004 Building for Change With an introduction by Homi K. Bhabha 5th Cycle Samir Kassir Square Beirut Lebanon 10th Cycle Award Rehabilitation of the City of Shibam Yemen Award Ceremony Central Market Koudougou Burkina Faso Ceremony 182 183 Uzbekistan 1992 University of Technology Petronas Bandar Seri Iskandar Malaysia Malaysia 2007 Restoration of the Amiriya Complex -
Xx January 2017
The Japanese House Architecture and Life after 1945 Barbican Art Gallery, Barbican Centre 23 March – 25 June 2017 Media View, Wednesday 22 March, 10am –1pm #thejapanesehouse The exhibition is co-organised and co-produced by the Japan Foundation Sponsored by Kajima, Japan Centre, Shiseido and Natrium Capital With additional support from Japan Airlines, The Great Britain Sasakawa Foundation and The Daiwa Anglo-Japanese Foundation Media Partner: Elle Decoration The Japanese House: Architecture and Life after 1945 is the first major UK exhibition to focus on Japanese domestic architecture from the end of the Second World War to now, a field which has consistently produced some of the most influential and extraordinary examples of modern and contemporary design. The exhibition features over 40 architects, ranging from renowned 20th century masters and internationally celebrated contemporary architects such as Tadao Ando, Toyo Ito, Kazuyo Sejima (SANAA) and Kenzo Tange; to exciting figures little known outside of Japan including Osamu Ishiyama, Kazunari Sakamoto and Kazuo Shinohara, and young rising stars such as Hideyuki Nakayama and Chie Konno. The Japanese House presents some of the most ground- breaking architectural projects of the last 70 years, many of which have never before been exhibited in the UK. The exhibition also incorporates film and photography in order to cast a new light on the role of the house in Japanese culture. The Japanese House: Architecture and Life after 1945 opens at Barbican Art Gallery on 23 March 2017. Jane Alison, Head of Visual Arts said “I couldn’t be more delighted that we are able to now stage this pioneering, timely exhibition that forefronts some of the most astounding work by Japanese architects in the post-war period. -
Watanabe, Tokyo, E
Edition Axel Menges GmbH Esslinger Straße 24 D-70736 Stuttgart-Fellbach tel. +49-711-574759 fax +49-711-574784 Hiroshi Watanabe The Architecture of Tokyo 348 pp. with 330 ill., 161,5 x 222 mm, soft-cover, English ISBN 3-930698-93-5 Euro 36.00, sfr 62.00, £ 24.00, US $ 42.00, $A 68.00 The Tokyo region is the most populous metropolitan area in the world and a place of extraordinary vitality. The political, economic and cultural centre of Japan, Tokyo also exerts an enormous inter- national influence. In fact the region has been pivotal to the nation’s affairs for centuries. Its sheer size, its concentration of resources and institutions and its long history have produced buildings of many different types from many different eras. Distributors This is the first guide to introduce in one volume the architec- ture of the Tokyo region, encompassing Tokyo proper and adja- Brockhaus Commission cent prefectures, in all its remarkable variety. The buildings are pre- Kreidlerstraße 9 sented chronologically and grouped into six periods: the medieval D-70806 Kornwestheim period (1185–1600), the Edo period (1600–1868), the Meiji period Germany (1868–1912), the Taisho and early Showa period (1912–1945), the tel. +49-7154-1327-33 postwar reconstruction period (1945–1970) and the contemporary fax +49-7154-1327-13 period (1970 until today). This comprehensive coverage permits [email protected] those interested in Japanese architecture or culture to focus on a particular era or to examine buildings within a larger temporal Buchzentrum AG framework. A concise discussion of the history of the region and Industriestraße Ost 10 the architecture of Japan develops a context within which the indi- CH-4614 Hägendorf vidual works may be viewed. -
1 Japanese Architecture in Hebrew the Influence of Japanese
Japanese Architecture in Hebrew The influence of Japanese Architecture on Israeli Architecture Arie Kutz Architect and urban planner. Graduated from the Tokyo Institute of Technology. He is currently a lecturer at the East Asian Studies department of Tel Aviv University. [email protected] “The International Style,” so coined for its worldwide quick and deep spread in the post-world war II years, has its origins in the European modernism and the vocabulary further developed by the Swiss-French architect Le Corbusier. Its influence reached Israel and Japan simultaneously during its forming years from the late1920’s to its pick influence after World War II. Architects from both countries were deeply influenced by the "international style," both directly through the European sources, and through their contemporaries. It is important to note that both postwar Japan and Israel after its Independence war (1948) went through decades of very fast building. After the first wave of building, which was preoccupied with residential architecture, there came in both countries a second important wave , of public buildings – city halls, museums, concert halls, and universities. It is important to understand that in the 1960’s, the projects of Le Corbusier ( 1887 – 1965) were the main source of inspiration, not to say – of copying. But his projects, being too few, were not enough, so the attention went to his followers and pupils. Among his direct disciples one can count two prominent Japanese architects: Kunio Maekawa (1905 - 1986) and Junzo Sakakura (1901—1969). Both worked for Le Corbusier in the late 1920’s and early 1930’s, went back to Japan, and played a very central role in the Japanese architectural scene in the postwar years. -
Kenzo Tange, Tokyo Bay Project (1960)
Kenzo Tange, Tokyo Bay Project (1960). Kenzo Tange, Tokyo Bay Project (1960) Top: Design for Caen-Herouville by Shadrach Woods of Team X, published in Urbanism Is Everybody's Business (Stuttgart: Karl Krämer, 1968) Bottom: A new urban structure imposed upon an older fabric. Based on a drawing by Yona Friedman in L'Architecture Mobile (Tournai, Belgium: Casterman, 1970.) 1 Kenzo Tange, Tokyo Bay Project (1960); transit network and housing quarters The 1933 rendering of Plan Obus for Algiers demonstrates Le Corbusier's superimposition of modern forms: the long arching roadway that includes housing- his viaduct city- connecting central Algiers to its suburbs and the curvilinear complex of housing in the heights that accesses the waterfront business district via an elevated highway bypassing the Casbah. http://www.bidoun. com/issues/issue_ 6/05_all.html Paul Rudolph, Lower Manhattan Expressway project, 1970, and Hans Hollein (Austrian), Aircraft Carrier (original title is “Flugzeugträger,” 1964) 2 The Nimitz-class nuclear-powered aircraft carrier “Ronald Reagan” is 1,092 feet long, towering 20 stories above the waterline, home to 6,000 sailors, carrying more than 80 aircraft, with a 4.5 acre flight deck and a cruising speed in excess of 30 knots (34.5 mph). Archigram, Project for “A Walking City,” 1964 . 3 Peter Cook in 2004, with “Plug-In City” project and issue #4, “Archigram 4” . Archigram, “The Cushicle,” an portable, inflatable environment, 1965 4 Kisho Kurokawa, Nakagin Capsule Tower, 1972: 140 detachable spatial units joined to a central core for services and circulation Peter Cook, Museum of Contemporary Art, Graz, Austria, 2003 . -
Download Article
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. -
(Reference 2) About the National Museum of Western Art, Tokyo 1
(Reference 2) About the National Museum of Western Art, Tokyo 1. Overview The National Museum of Western Art is the only Le Corbusier–designed architecture in Japan. The museum was built to house artworks (paintings, sculptures and etc.) that had been collected by a businessman Kojiro Matsukata and stored in Paris, then had belonged to the French government at the end of World War II. Most of the collection was returned to the Japanese government in 1953 under the condition that a new art museum be constructed for academically conveying the history of Western art to the Japanese people. The Japanese government built the National Museum of Western Art in Tokyo’s Ueno Park to fulfil this condition. Le Corbusier was selected to design the museum, with his former apprentices Kunio Maekawa, Junzo Sakakura and Takamasa Yoshizaka and the Engineering Division, Educational Facilities Construction Department, Ministry of Education, Science and Culture (then) providing design assistance and construction supervision. Construction began in March 1958 and was completed in March 1959. The Main Building of the museum is known for embodying the architect’s idea of a “museum of unlimited growth (Musée à croissance illimitée)” in the flat roof, the shapes of square, the spiraling corridors and the floor plan that allowed expansion of the museum’s holdings by spiraling out. The museum is valuable because it clearly demonstrates Le Corbusier’s design concepts such as pilotis (the first-floor support columns with no walls that connect the space underneath to the surrounding environment), the rooftop garden, ramps, lighting design that uses natural light, the Modulor (Le Corbusier’s system of measurements based on human proportions and the golden ratio), reflecting the overall outstanding universal value of the work of the world-renowned architect, Le Corbusier, who represents architects of the twentieth century.