Architects of Japan: Building the Future
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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. -
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. -
Canon Foundation in Europe Fellow Register
Canon Foundation in Europe Fellow Register NATIONALITY: Japan Dr. Yoshinori Masuo Fellowship year: 1990 Current organisation: Toho University Faculty: Faculty of Science Dept.: Dept. Biology Address: 2-2-1 Miyama Postcode: 274-8510 City: Funabashi Pref: Chiba Country Japan Email address: [email protected] Organisation at time of application: Tsukuba University Country: Japan Host organisation: Hôpital Sainte-Antoine Host department: U339 City: Paris Cedex 12 Country: France Host professor: Professor W. Rostène Research field: Neurosciences Summary of project: Personal achievements: Obtained doctoral degree in 1990 (Neuroscience, University of Paris 6) and doctoral degree in 1994 (Medicine, University of Tokyo) Publication with an Effects of Cerebral Lesions on Binding Sites for Calcitonin and Calcitonin acknowledgement to Gene-related Peptide in the Rat Nucleus Accumbens and Ventral the Canon Foundation: Tegmental Area Subtitle or journal: Journal of Chemical Neuroanatomy Title of series: Number in series: Volume: Vol. 4 Number: Publisher name: Place of publication: Copyright month/season Copyright year: 1991 Number of pages: pp. 249-257 Tuesday, May 12, 2020 Page 1 of 595 Canon Foundation in Europe Fellow Register Publication with an Les systèmes neurotensinergigues dans le striatum et la substance acknowledgement to noire chez le rat. the Canon Foundation: Subtitle or journal: Efficts de lésions cérébrales sur les taux endogènes et les récepteurs de la neurotensine. Title of series: Number in series: Volume: Number: Publisher name: Place of publication: Paris Copyright month/season Copyright year: 1990 Number of pages: 248 pages Publication with an Interaction between Neurotensin and Dopamine in the Brain acknowledgement to the Canon Foundation: Subtitle or journal: Neurobiology of Neurotensin Title of series: Number in series: Volume: Vol. -
The Vitality and Resilience of Inherited Japanese Houses -100 Years of Shimizu-Gumi Houses-
The Vitality and Resilience of Inherited Japanese Houses -100 Years of Shimizu-gumi Houses- Preface Since its foundation in 1804, residential architecture had been one of the primary business focuses for Shimizu-gumi, the present Shimizu Corporation. Many books have been published to showcase its works, such as Sekkei zushū, jūtaku no maki, ji 1907 nen shi 1923 nen (Drawing collection: house, from 1907 to 1923) and Sekkei zushū, shitsunai narabini kagu dentō no maki, ji 1909 nen shi 1913 nen (Drawing collection: interior, furniture and lighting, from 1909 to 1913). These books feature painted drawings of large houses, which could be considered mansions in the Western sense, designed and built by Shimizu-gumi, and include plans, elevations, development plans, and illustrations of furniture. The books enable the reader to visualize many aspects of mansions in the Meiji era (1868-1912) and Taisho era (1912-1926,) and to understand how these mansions were significant as elements of urban culture. Additionally, an academic work based on these earlier texts was published to commemorate the 60th anniversary of the Housing Research Foundation JUSOKEN: Meiji/Taisho no teitaku, Shimizu-gumi sakusei saishiki-zu no sekai (Mansions in Meiji and Taisho, the world of colored drawings created by Shimizu-gumi, Kashiwashobo, 2009, currently unavailable). This book is the product of joint research by “Shimizu Kensetsu Teitaku Shiryō Kenkyūkai” (Shimizu Corporation Mansion Document Study Group, 2004 to 2009) in the “Jūtaku Shiryō Iinkai” (Committee for historical materials about houses) of Jusoken. For the next phase of study, surveys and research on Jūtaku kenchiku zushū (Residential architecture catalog, 1st volume: 1935, 2nd volume: 1939) should be conducted. -
Post-Apocalyptic Symbolism in Terunobu Fujimori's Architecture
The Journal of Architecture ISSN: 1360-2365 (Print) 1466-4410 (Online) Journal homepage: https://www.tandfonline.com/loi/rjar20 The uncanny side of the fairy tale: post-apocalyptic symbolism in Terunobu Fujimori's architecture Hyon-Sob Kim To cite this article: Hyon-Sob Kim (2016) The uncanny side of the fairy tale: post-apocalyptic symbolism in Terunobu Fujimori's architecture, The Journal of Architecture, 21:1, 90-117, DOI: 10.1080/13602365.2016.1142464 To link to this article: https://doi.org/10.1080/13602365.2016.1142464 Published online: 18 Feb 2016. Submit your article to this journal Article views: 598 View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rjar20 90 The Journal of Architecture Volume 21 Number 1 The uncanny side of the fairy tale: post-apocalyptic symbolism in Terunobu Fujimori’s architecture Hyon-Sob Kim Department of Architecture, Korea University, Seoul, Republic of Korea (Author’s e-mail address: [email protected]) Having first established himself as an architectural historian, Terunobu Fujimori (b. 1946) is now more famous for his design work than for his academic publications. He has even been praised as ‘the most influential architect in Japan’ by the critic Kenjiro Okazaki (2006). Fujimori’s popularity is attributable in particular to the fairy tale-like image of his architecture, which tends to appear playful as well as natural and nostalgic. However, this research focuses on the other side of the ‘fairy tale’—specifically, the strangely unfamiliar, even unsettling, feeling that his architecture evokes. -
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. -
The Roof Garden in Japanese Modern Architecture
KEER2014, LINKÖPING | JUNE 11-13 2014 INTERNATIONAL CONFERENCE ON KANSEI ENGINEERING AND EMOTION RESEARCH The Roof Garden in Japanese Modern Architecture From the End of World War II until 1966 Michiya TSUKANO1, Shoichiro SENDAI2 1 Graduate School, Hiroshima Univ., Japan, [email protected] 2 Graduate School, Hiroshima Univ., Japan, [email protected] Abstract: The purpose of this paper is to clarify the architectural Kansei (sensibility) in Japan since World War II until 1966. Therefore, the authors discuss how the “roof garden,” which did not exist in Japan before then, was transplanted from European Modern to Japanese Modern architecture and how it was applied. In this paper, we adopt the following five indexes: “use,” “building type,” “material,” “structure,” and “location,” using several architectural journals. We have concentrated on the great change in roof gardens in Japanese Modern since 1954 due to the economic growth caused by exceptional procurement during the Korean War, We divided the 1945-1966 period into two parts and analyzed the change in roof gardens by comparing the gardens of each period. As a result, the transitions in the five indexes have become apparent. The roof garden after World War II has been expanding to a range from an international-style architecture seeking the universal rationality to architecture that exceeds rationality and the utilitarian. Moreover, diminishing of the “view,” which had been the subject of roof gardens in the pre-war period due to the high economic growth, has led to fumbling for new functions of the roof garden. In other words, a roof garden in Japan after World War II has been changing in various ways while being involved in the attenuation of architectural kansei (sensibility) of “view.” Keywords: Architectural Kansei, Japanese Modern Architecture, Roof Garden, Economic Growth. -
1.Buntrock Latest
Dana Buntrock Professor Department of Architecture [email protected] University of California, Berkeley Academic experience: The University of California at Berkeley, Department of Architecture. Assistant Professor (2000-2003), Associate Professor (2003-2011), Full Professor (2011-). Director, Center for Japanese Studies (2015-). The University of Illinois at Chicago, School of Architecture. Adjunct Assistant Professor (1994-1996), Assistant Professor (1996-2000). Visiting Positions / Fellowships Visiting Professor (“Invitational Program for Faculty from the World’s Top-Level Universities”), Tokyo Institute of Technology, Tokyo, Japan (2015 June). Abe Fellowship, Social Science Research Council (2013) / Visiting Professor, University of Tokyo, Tokyo, Japan (2014-5). The University of Louisville, Allen R. Hite Art Institute. Frederic Lindley Morgan Chair of Architectural Design (2010 Spring). Fulbright Fellow (Japan), Institute for Industrial Science (Fujimori Lab), University of Tokyo (2006 July - 2007 March). National Science Foundation/Japan Society for the Promotional of Science. University of Tokyo, Institute for Industrial Science (Fujimori Lab), One-year Post-doctoral Fellowship (1998). The University of Adelaide, Adelaide, South Australia. Visiting Academic (Spring 1994). Carnegie Mellon University, Department of Architecture, College of Fine Arts. Visiting Assistant Professor (1989 - 1991). Education: The University of Michigan, Ann Arbor, Michigan, M. Architecture, High Distinction (1988 May) & M. Urban Planning (1988 December). Tulane University, New Orleans, Louisiana, B. Architecture (1981 May). Professional experience: Architect, Alaska A7505 (1989-2009) / NCARB Certified, no. 37,154. Both allowed to lapse, December 2009. 第一工房 / Dai’ichi Kobo, 高橋 靗一 / Professor Tei’ichi Takahashi, principal. Tokyo, Japan (1992-1993). Minch Ritter Forrest Architects, Juneau, Alaska (1984-1986). Quadra Consultants, Juneau, Alaska (1982-1984). Books: Buntrock, Dana, ed. -
The Internation
Japanese Architecture in Hebrew The influence of Japanese Architecture on Israeli Architecture Arie Kutz “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. The Japanese architects, during the 1950’s and 60’s, turned very quickly from followers to leaders, as well recorded also by Reyner Banham in his Age of the Masters of 1976. -
Transnational Connections for Architectural Design Between Germany and Japan on the Eve of World War II
Transnational Connections for Architectural Design between Germany and Japan on the Eve of World War II Enrique Rojo The Second Asian Conference of Design History and Theory —Design Education beyond Boundaries— ACDHT 2017 TOKYO 1-2 September 2017 Tsuda University Transnational Connections for Architectural Design between Germany and Japan on the Eve of World War II Enrique Rojo ETSA University of Navarra [email protected] 19 Abstract Due to the image of efficiency and strength of modern Western architecture during the 20s and 30s, several Japanese architects adopted European rationalist architecture as a solution for their buildings, becoming the main promoters of what is known as the International Style in Japan. To comprehend modern architecture, they took several trips to Europe—mainly to German speaking countries—where they made connections with important figures like W. Gropious and L. Hilberseimer. Thus, their buildings are the result of European influences on Japanese architecture during the interwar period. This paper will analyse the cultural, social and political conditions both in Germany and Japan in order to understand the underlying principles that made it possible for Japanese archi- tects to approach new modernist theories and designs proposed in the West. The paper has the further aim of developing how this approach led to the introduction of modernism in Japan before the war ended, with the exchange of intellectual ideas between the two countries. Keywords: Bauhaus, CIAM, Teishinshō, Transnational, Interwar Transnational Connections for Architectural Design between Germany and Japan on the Eve of World War II 20 The ACDHT Journal, No.2, 2017 Introduction Japanese architecture was under debate between a national style—instigated by the Emperor and military powers—and a growing wave to revive and update traditional aesthetics.