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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. -
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. -
(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. -
L E C Orbusier, N a Tional Museum of W Es Tern Art, Tok Yo , Japan , 1959
Le Corbusier, National Museum of Western Art, Tokyo, Japan, 1959. © NMWA, 2007. ESSAYS National Museum of Western Art as Important Cultural Property of Japan: its Evolution and Historical Value BY YOSHIYUKI YAMANA AND KYO FUKUDA Starting with the conception of the World Museum as part of the 1929 Mundaneum project, Le Corbusier continued to develop and refine that concept. The main building of the National Museum of Western Art completed in 1959, was also designed as a Museum of Unlimited Expansion prototype. NMWA has un- dergone conservation work and seismic base isolation work a number of times, and is therefore in generally good condition. The principal conservation works to the main building since its completion is summarized in this essay, along with other construction, extension and maintenance work carried out on the grounds. The National Museum of Western Art (NMWa), in Tokyo, because of this, the museum site were officially listed as a was constructed in April 1959 in order to house and Registered Monument/Place of Scenic Beauty on July 23, display the Matsukata Collection, after its repatriation to 2009. 53 – 2015/2 Japan as a gift of the French government. The main building of the NMWa is a realization of such The Matsukata Collection originated as a collection elements of Le Corbusier’s Five Points of a New Architecture as of works of European painting and sculpture, assembled the use of pilotis, a roof garden, and a free plan. Employing and purchased between 1916 and 1923 by MaTSUKaTa Le Corbusier’s signature Modulor approach to proportions docomomo Kojiro, first president of the Kawasaki Dockyard Compa- throughout its design, the building is also one of only three ny, using his private fortune. -
English English
TheThe Nineteenth Nineteenth Century Century Hall Hall TheThe Second Second Floor Floor Exhibition Exhibition Room Room Le Corbusier himself named this hall located at the center of the building and intended to be the This exhibition room is arranged around the Le Corbusier himself named this hall located at the center of the building and intended to be the This exhibition room is arranged around the heart of the museum. Its open space rising freely up into places on the mezzanine and second floor Nineteenth Century Hall, and the high and low heart of the museum. Its open space rising freely up into places on the mezzanine and second floor Nineteenth Century Hall, and the high and low allows visitors to appreciate the complex spatial composition. ceilings and walls with openings allow visitors allows visitors to appreciate the complex spatial composition. ceilings and walls with openings allow visitors to appreciate the transition between open and to appreciate the transition between open and compressed spaces. TriangularTriangular Skylight Skylight compressed spaces. On a clear day, sunlight fills the hall with natural light On a clear day, sunlight fills the hall with natural light from the north-facing triangular window. from the north-facing triangular window. BalconiesBalconies The two balconies overlooking the Nineteenth The two balconies overlooking the Nineteenth Supporting Columns and Beams Century Hall allow visitors to appreciate the complex Supporting Columns and Beams Century Hall allow visitors to appreciate the complex Concrete columns and beams are poured in filled spatial composition of the building by providing a Concrete columns and beams are poured in filled spatial composition of the building by providing a Japanese pine frames so the texture of the wood view down onto the hall below and into the exhibition Japanese pine frames so the texture of the wood view down onto the hall below and into the exhibition grain is beautifully visible. -
The Great Living Creative Spirit
The Great Living Creative Spirit Frank LLoyd Wright s legacy in japan Soib ' SS NoV. ii– . Join the Frank Lloyd Wright Building Conservancy for a specially curated tour highlighting modern and contemporary architecture FRANK LLOYD WRIGHT by Wright, Arata Endo, Antonin Raymond, Le Corbusier, Tadao BUILDING CONSERVANCY Ando, Kenzo Tange, Toyo Ito, Kengo Kuma and many more. Day one Sunday, Nov. 11 Arrive in Tokyo and check in at the Imperial Hotel (flights and hotel transfer not included). In the early evening, meet the rest of the group (limited to 27) for a welcome dinner at the historic For- MORI eign Correspondents‘ Club of Japan and a viewing of the Rafael Viñoly-designed Tokyo International Forum. Later, take an optional OICHI evening walking tour of Ginza, the famous upscale shopping and © K entertainment district where the traditional and modern meet. HOTO Overnight: Imperial Hotel, Tokyo / Meals: Dinner P Day TWO Monday, Nov. 12 The first full day begins with a tour of the 1970 Imperial Hotel, which includes the Old Imperial Bar, outfitted with relics of Wright’s demolished Imperial Hotel (1923-67). Then journey to Meguro St. Anselm’s Church, designed by Antonin Raymond, and have lunch at Meguro Gajoen, a lavish design furnished with artwork from its 1928 origins. Continue with a special visit to the private home Japanese modernist Kunio Maekawa built for himself in 1974, then a walking tour of Omotesando (a broad avenue lined with flagship designs by the likes of SANAA, Toyo Ito, Herzog & de Meuron, Kengo Kuma, Tadao Ando and Kenzo Tange). After a visit to the 21_21 Design Sight museum and gallery, designed by Tadao Ando, we finish the day with a view from the 52nd-floor observation deck at Mori Tower in Roppongi Hills, designed by Kohn Pedersen Fox. -
THE JAPANESE HOUSE Architecture & Life After 1945
THE JAPANESE HOUSE Architecture & Life after 1945 Tradition and innovation the interpretation of the house by over 50 Japanese architects capable of recounting an entire culture 9 November 2016 – 26 February 2017 www.fondazionemaxxi.it Rome 8 November 2016 . In the Japan devastated by the Second World War and economically incapable of planning large-scale public settlements, the cities slowly transformed into vital, apparently disordered and continually expanding entities in which small single-family dwellings were built, demolished and reconstructed without pause. From 9 November 2016 to 26 February 2017 with the exhibition The Japanese House. Architecture & Life after 1945 co-produced with the Japan Foundation, the Barbican Centre and the Tokyo Museum of Modern Art, MAXXI will be presenting the centrality of the theme of domestic architecture in Japanese society through the work of archistars such as Kenzo Tange, Toyo Ito, Kazuyo Sejima and Shigeru Ban , that of a number of their masters, hitherto less well known in the West, such as Seike Shirai, Kazuo Shinohara and Kazunari Sakamoto as well as a group of extraordinarily promising young designers. The exhibition was born out of an idea by Kenjiro Hosaka and Yoshiharu Tsukamoto and is curated by Pippo Ciorra , Senior Curator at MAXXI Archittetura directed by Margherita Guccione, in collaboration with Kenjiro Hosaka (National Museum of Modern Art, Tokyo) and Florence Ostende (Barbican Centre, London) with consultancy from Yoshiharu Tsukamoto (Atelier Bow-Wow / Tokyo Institute of Technology). This is the first exhibition in Italy dedicated to a theme that has produced some of the most influential and extraordinary examples of modern and contemporary architecture. -
EXCHANGE REPORT – FALL 2016 Student ID 381622
EXCHANGE REPORT – FALL 2016 Student ID 381622 Seoul National University at a Glance SNU is the top ranked university in South Korea. There are annually about 600 exchange students from all over the world. The main campus is located close to Gwanaksan mountain in the south part of Seoul. SNU is one of the three partner universities in South Korea for the Aalto students offering both undergraduate and graduate exchange. The home department for the exchange students will be the College of Business Administration (=CBA) which host about 80 – 150 exchange students in every semester. In this report, I will introduce you the SNU studies and preparations for the exchange but also my own experiences about living in Seoul during the fall semester 2016. 1. PREPARING FOR THE EXCHANGE After receiving information from home university that they have nominated you to Seoul National University you will soon receive an email from SNU Office of Int'l Relations or CBA’s coordinator. I received it this year March 22nd and it included the information how to proceed with application process. About SNU application process This process included handling many documents and application process will be finished by post- mailing documents to Korea. There is approximately one month time to finish online application and send documents (before end on April if your exchange semester is fall). To complete the first phase, online application, prepare the following documents and upload them (excluding recommendation letters) on online application page. All the instructions, links and forms are provided with the first email from SNU. The CBA Exchange Coordinator from SNU, Ms. -
An Integrated Approach to Mitigation Wetland Site Selection: a Case Study in Gwacheon, Korea
Sustainability 2015, 7, 3386-3413; doi:10.3390/su7033386 OPEN ACCESS sustainability ISSN 2071-1050 www.mdpi.com/journal/sustainability Article An Integrated Approach to Mitigation Wetland Site Selection: A Case Study in Gwacheon, Korea Junga Lee 1,2, Christopher D. Ellis 1, Yun Eui Choi 3, Soojin You 3, and Jinhyung Chon 4,* 1 Department of Plant Science and Landscape Architecture, University of Maryland, College Park, MD 20742-4452, USA; E-Mails: [email protected] (J.L.); [email protected] (C.D.E.) 2 Institute of Life Science and Natural Resources, College of Life Sciences and Biotechnology, Korea University, 145 Anamro, Seongbuk-gu, Seoul 136-713, Korea 3 Department of Environmental Science and Ecological Engineering, Graduate School, Korea University, 145 Anamro, Seongbuk-gu, Seoul 136-713, Korea; E-Mails: [email protected] (Y.E.C.); [email protected] (S.Y) 4 Division of Environmental Science and Ecological Engineering, College of Life Sciences and Biotechnology, Korea University, 145 Anamro, Seongbuk-gu, Seoul 136-713, Korea * Author to whom correspondence should be addressed; E-Mail: [email protected]; Tel.: +82-2-3290-3048; Fax: +82-2-3290-3624. Academic Editor: Yu-Pin Lin Received: 19 December 2014 / Accepted: 10 March 2015 / Published: 20 March 2015 Abstract: This paper presents an integrated approach to mitigation wetland site selection using functional landscape connectivity and landscape structure. This approach enables landscape designers to evaluate the relative priorities of mitigation wetland areas based on functional landscape connectivity and wildlife mobility, as well as landscape structure, composition, and configuration. The least-cost path method is used to evaluate candidate sites for mitigation wetlands with regard to wildlife movement. -
관악산 마애명문 Head to Gwacheon on Subway Line No
지하철 4호선 타고 과천으로 GO!GO! 관악산 주변 가볼만한 곳 관악산 마애명문 Head to Gwacheon on subway line No. 4! 관악산 등산로 남태령고개 Places worth visiting near Gwanaksan Mountain area Namtaeryeong Pass Gwanaksan Mountain Hiking Trail 사당방면 Maae Myeongmun of Gwanaksan Mountain In the direction of Sadang 인덕원역 Indeogwon Station 위험구간 417m Danger zone 자하동(紫霞洞)은 관악산에서 경치가 가장 아름다운 계곡으로, 계곡 서쪽 정부과천청사역 Government Complex Gwacheon Station 경기도지정 문화재 자료 제9호 암벽에 4기의 바위글씨가 새겨져 있다. 단하시경 (丹霞詩境), 자하동문(紫霞 연주암 등산코스 하남태령 Gyeonggi-do Cultural Material No. 9 Hanamtaeryeong 洞門), 백운산인 자하동천(白雲山人 紫霞洞天), 제가야산독서당(題伽倻山讀 Yeonjuam Hermitage Hiking Course 보광사(6번 출구) Bogwangsa Temple (Exit No. 6) 과천향교 書堂) 등은 자하 신위(紫霞 申緯, 1769~1847), 추사 김정희(秋史 金正喜, 별양동 중심상가단지(1번 출구) Byeoryang-dong Central Shopping Complex (Exit No. 1) Gwacheonhyanggyo 신라시대 의상대사가 창건한 것으로 알려진 기도사찰로 관악산 연주봉 남쪽에 있다. 1786~1856)와 관련된 바위글씨로 유명하다. 조선 후기 시서화 삼절(三絶)로 Jungang-dong Central Shopping Complex (Exit No. 11) Local Confucian School 제1코스 헬리포트기점 중앙동 중심상가단지(11번 출구) This prayer temple known to be built by Buddhist Monk Uisang of the Silla 과천향교 - 연주암 - 연주대 Heliport Starting Point 과천동주민센터 불리는 신위는 관악산 북쪽 북자하동에 살았다. 추사 김정희는 39세 때인 남태령 옛길 Gwacheon-dong CSC 관악산 등산로 입구에 위치한 조선시대 교육기관이다. Dynasty is located to the south of Yeonjubong peak of Gwanaksan Mountain. (3.2km / 소요시간 1시간 30분) 1824년 과천 주암동에 과지초당(瓜地草堂)을 지으면서 과천과 인연을 Old Namtaeryeong Trail 과천역 Gwacheon Station It is an educational institution of the Joseon era located at the entrance of Tip! 연주암에서는 사찰에 머물며 마음을 수련하고 사찰생활을 체험할수 있는 템플 삼거리 맺었다. -
A Shift from “Habitat Pour Le Plus Grand Nombre” to “Habitat Évolutif” in Post
Architectural Institute of Japan Translated Paper A shift from “habitat pour le plus grand nombre” to “habitat evolutif” in post-war francophonie: A study on the history of international and regional exchange activity of ATBAT(Atelier des Batisseurs),^ part 2 Kosuke Matsubara Faculty of Engineering, Information and Systems, Division of Policy and Planning Sciences, University of Tsukuba, Tsukuba-shi, Ibaraki, Japan Correspondence Abstract Kosuke Matsubara, Faculty of Engineering, Information and Systems, Division of Policy and Planning Sciences, As a continuation of my previous paper “Part 1” which is titled “Formation and University of Tsukuba, 1-1-1, Tennodai, Tsukuba-shi, Ibar- change of an international exchange organization,” the scope of this paper aki 305-8577, Japan. encompasses the period of ATBAT (Atelier des Batisseurs^ )’s work in Morocco, via Email: [email protected] the manifestation at CIAM 9, up to the point of their separation. In this paper I Funding information also conduct certain planning studies for the purpose of examining how the “habitat pour le plus grand nombre (hereafter ‘housing for the greatest num- KAKENHI by the Ministry of Education, Culture, Sports, Science and Technology (MEXT) and the Japan Society for ber’)” movement led to the “Evolutif (evolutionary)” concept; finally to the plan- the Promotion of Science (JSPS) ning method known as “Habitat Evolutif (Evolutionary Housing)” is examined. The way in which this last method was concretized through the exchange of The Japanese version of this paper was published in ideas proposed by members particularly those proposed by Banshoya are elabo- Volume 84 Number 760, pages 1473-1483, https://dx.doi.org/10.3130/aija.84.1473 of the Journal of rately examined. -
Proceedings of the Society of Architectural Historians, Australia and New Zealand Vol
Proceedings of the Society of Architectural Historians, Australia and New Zealand Vol. 31 edited by Christoph Schnoor (Auckland, New Zealand SAHANZ and Unitec ePress; and Gold Coast, Queensland: SAHANZ, 2014). The bibliographic citation for this paper is: Ari Seligmann, ”Japonisation of Modern Architecture: Kikuji Ishimoto, Junzo Sakakura and other precursors,“ in Proceedings of the Society of Architectural Historians, Australia and New Zealand: 31, Translation, edited by Christoph Schnoor (Auckland, New Zealand: SAHANZ and Unitec ePress; and Gold Coast, Queensland: SAHANZ, 2014), 177–187. Published in Auckland, New Zealand: SAHANZ and Unitec ePress [ISBN - 978-1-927214-12-1]; and Gold Coast, Australia: SAHANZ [ISBN - 978-0-9876055-1-1] All efforts have been undertaken to ensure that authors have secured appropriate permissions to reproduce the images illustrating individual contributions. Interested parties may contact the editor. This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License. Ari Seligmann, Monash University Japonisation of Modern Architecture: Kikuji Ishimoto, Junzo Sakakura and Other Precursors This paper compares Kikuji Ishimoto and Junzo Sakakura’s diverse efforts to translate various European approaches in their attempts to construct a Japanese modern architecture. Ishimoto was a founding member of Japan’s first modern architecture movement the Bunri-ha Kenchiku Kai (Secessionist Architecture Group). He travelled through Europe and returned to propagate Japanese International Style architecture, upholding Hans Poelzig, Bruno Taut and Walter Gropius as role models. Ishimoto’s Asahi Newspaper (1927) and Shirokiya Department Store (1928–31) projects exemplified his ambitions. In contrast, Sakakura worked for Le Corbusier for seven years and then designed the award winning Japanese Pavilion for the 1937 Paris Expo as a new Japanese International Style architecture.