DOCSLIB.ORG

The End of the World As They Knew It: Architectural History and Modern Japan DON CHOI, California Polytechnic State University

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The End of the World As They Knew It: Architectural History and Modern Japan DON CHOI, California Polytechnic State University View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DigitalCommons@CalPoly The End of Architectural History and Reports of Its Demise Topic Chair WAYNE MICHAEL CHARNEY, Kansas State University The End of the World as They Knew It: Architectural History and Modern Japan DON CHOI, California Polytechnic State University Piranesi’s Rejection of the Critical History of Architecture GREGOR KALAS, University of Tennessee-Knoxville Fix the Car, Save the City: An Alternative Approach to Architectural History MARK KESSLER, University of California, Davis A Way Through History With Frank Lloyd Wright SIDNEY K. ROBINSON, Frank Lloyd Wright School of Architecture 736 SEEKING THE CITY The End of the World as They Knew It: Architectural History And Modern Japan DON CHOI California Polytechnic State University “So how does all of this have anything to do with tory. The fi rst shift occurred in the middle of the the world ending?” An innocent question. nineteenth century with the aggressive adaptation “Accurately speaking, it isn’t this world. It’s the of Western concepts of architecture and history. world in your mind that’s going to end.” The second began at the end of WWII with the de­ “You’ve lost me,” I said. struction of cities and the discrediting of imperial ideology and continues to shape contemporary vi­ Haruki Murakami, sions of history. Sandwiched between these two Hard-Boiled Wonderland and the End of the World watersheds was the development of architectural Contemporary architectural visions of Japan stray history as a fi eld, as well as the maturation of the between antipodes of stasis and ephemerality. At modern fi eld of architecture in Japan. one pole are depictions of the post-millennial city without history, for instance the dystopias of an­ In Japan, the fi eld of architectural history devel­ ime fi lms such as Ôtomo Katsuhiro’s Akira or the oped in tandem with concepts of modern archi­ transient images that fl ash across Tokyo’s giant tecture on one hand and historical preservation video screens. Murakami Haruki, Japan’s most on the other. Through the mid-nineteenth cen­ renowned contemporary writer, creates realms tury, there was no fi eld of architectural history in separate from history and conventional time, such the European sense; only during the Meiji period as the world within the mind of the protagonist (1868-1912), when Japan attempted large-scale in Hard-Boiled Wonderland and the End of the modernization and Westernization, did European World. modes of architectural history take root. However, in Japan architectural history stemmed from a At the other pole are stereotypes of traditional unique set of motives and precedents. To exam­ Japanese buildings and gardens, which are often ine the development of architectural history dur­ seen as products of an ancient and timeless cul­ ing the Meiji period fi rst requires a glance at Japa­ ture. In either vision, time and history in Japan nese perceptions of historical architecture during appear to differ from American and Western Euro­ the mid-nineteenth century. pean norms. Both tableaus suggest a lack of the teleological narrative that has formed the basis THE END OF HISTORY CIRCA 1868 of the typical architectural history survey in the United States. To examine the question of the The Meiji Restoration of 1868 marked the political “end of architectural history” in Japan is thus to transition from the early modern period (ca. 1600­ step outside the Western tradition to see how one 1868) to modern Japan. In the following years, infl uential architectural culture has imagined time the Meiji state emphasized the development of and history in the modern age. modern technical, social, and political institu­ tions. Although the state had little explicit interest Between 1850 and 1950, Japan experienced two in historical architecture, its early policies show endings to architectural history. These endings carryovers of earlier perspectives on the role of were seen both as ends to a historical period and historical architecture. Through the 1860s, there as ends to a particular mode of architectural his­ was little interest in buildings as physical objects ARCHITECTURAL HISTORY AND MODERN JAPAN 737 to be preserved. For instance, the fi rst preserva­ only a minor place in the world of offi cial institu­ tion regulations in Japan, the 1871 Koki kyûbutsu tional architecture. Moreover, the indigenous un­ hozonhô (Ancient objects and articles preservation derstandings of the buildings of the past also would law), targeted thirty-one categories of objects at come to an end as Western-infl uenced theories of Shinto shrines and Buddhist temples but did not architecture became dominant. In these ways the include buildings themselves. Three years later, Meiji Restoration of 1868 marked the beginning of the government stopped funding Buddhist tem­ the end for traditional understandings of historical ples and began to allocate to Shinto shrines mon­ buildings, and thus the end of one kind of archi­ ies for construction, maintenance and other ex­ tectural history. penses. However, as the historian Nishimura Yukio has noted, the basic aim of these policies was to MODERN ARCHITECTURE AND HISTORY guarantee the health of the shrines as institutions rather than to preserve buildings per se.1 In other In 1877, the Japanese government hired Josiah words, buildings continued to be seen as settings Conder, a young English architect, to teach ar­ for institutions and objects rather than as histori­ chitecture at the Imperial College of Engineering cal objects themselves. (ICE). This university, the fi rst modern technical college in Japan, was founded in 1873 to educate This perspective was rooted in the historical rela­ Japanese engineers, scientists and architects. Al­ tionships among painting, architecture and sculp­ though the ICE emphasized pragmatic subjects, ture. In contrast to post-Renaissance Europe, in Conder taught architecture through architectural Japan buildings were seen as qualitatively differ­ history. Like other British architects of the day, he ent from objects such as paintings, sculptures, believed that historical precedents served as the ceramics and other objects produced by skilled basis for modern design. To teach architecture, craftsmen and artists. With a few exceptions, then, meant to inculcate the history of architec­ buildings were generally designed and constructed ture into the Japanese students. In other words, by master builders who had little connection with architectural history entered Japan as part of the painters, potters, and other artists. Thus although desire to modernize. Because architectural history Japan boasted a long history of connoisseurship was tied to European architecture, and because in the arts, architecture itself was not part of the European architecture was seen as the modern same discourses of collection, interpretation and model to emulate, the future of Japanese architec­ evaluation. Moreover, since monumental buildings ture was tied to the European past. The buildings in Japan were constructed from wood, no build­ of the Western past became an integral compo­ ing of great age retained all of its original materi­ nent of the architecture of the Japanese future. al—the periodic replacement of tiles, timbers and other damaged elements ensured that buildings Because of his belief in history as the basis of ar­ were continually modifi ed. For this reason, build­ chitecture, Conder hoped that the history of Japan ings tended to be seen as objects of the present also would be incorporated into modern architec­ as well as creations of the past. ture in Japan. In describing the architecture course at ICE, he wrote, “great notice will be taken of the After 1868, though, these perspectives on histori­ principles and beauties of the Architecture of the cal architecture would change as the government Country, with a view to encourage the retention of pursued modern Western engineering and archi­ the best characteristics of the National Architec­ tecture. For example, in the fourth of fi ve articles in ture in future building, so far as is consistent with the 1868 Charter Oath, the Meiji emperor pledged, stability and security of construction, and with all “evil practices of the past shall be abandoned, and modern requirements.”2 However, both the meth­ actions shall be based on international usage.” Al­ odology and specifi c buildings of the architectural though the state and emperor took relatively little history familiar to Conder were derived from the interest in the buildings of the past, their sponsor­ nineteenth-century European context and thus had ship of modern technology led to new paradigms little to do with the buildings of Japan. For instance, of architecture based indeed on modern Europe James Fergusson’s A History of Architecture and rather than on historical Japan. For the next two Alfred Rosengarten’s A Handbook of Architectural decades, traditional Japanese buildings would take Styles, the two textbooks used by the Japanese 738 SEEKING THE CITY students, included no buildings from Japan. More­ most renowned fi gures were Okakura Kakuzô, over, although Fergusson included examples from later famous outside Japan as an exponent of the China, these buildings were placed outside the ma­ Japanese tea ceremony, and the American Er­ jor narrative of his architectural history. nest Fenollosa. In 1888, the Imperial Household Ministry (Kunaishô) established the Rinji zenkoku Nonetheless, many of the students attempted to hômotsu torishirabekyoku (Extraordinary depart­ address the question of historical Japanese build­ ment for the national investigation of treasures). ings. These students, the fi rst of whom graduated This action was the culmination of efforts by in 1879, were the fi rst Japanese trained in Western Okakura and others to create a comprehensive modes of architecture and became the most influ­ national inventory, and over the next decade this ential architects in late-nineteenth century Japan. agency catalogued over 215,000 items.
Load more

Recommended publications
  • Katsura Imperial Villa: the Photographs of Ishimoto Yasuhiro
    Art in the Garden Katsura Imperial Villa: The Photographs of Ishimoto Yasuhiro Winter 2011 Katsura Imperial Villa: The Photographs of Ishimoto Yasuhiro This exhibition celebrates one of the most exquisite Harry Callahan and Aaron Siskind. He received the magnum opus 1955 exhibition titled The Family of THE MA OF MODERNISM: THE BOX architectural and garden treasures of Japan— Moholy-Nagy Prize awarded to top students of the Man at the Museum of Modern Art, New York. CONSTRUCTIONS OF DANIEL FAGERENG Katsura Imperial Villa in Kyoto—and one of its finest Institute for two consecutive years in 1951 and 1952. The box constructions of Daniel Fagereng were on living photographers, Ishimoto Yasuhiro, whose In 1966, Ishimoto returned again to Japan, where he view in conjunction with the Katsura photography 1953 images of Katsura introduced this unrivalled In 1953, Ishimoto returned to Japan to photograph became a professor at the Tokyo University of Art exhibition. The artist reinterprets the elements and masterpiece to the world. Katsura Detached Palace, and published the and Design. In 1969, he became a Japanese citizen. book, Katsura: Tradition and Creation in Japanese He visited Kyoto again in 1982, re-photographing components of traditional Japanese architecture in Born in San Francisco in 1921, and raised in Japan, Architecture, in 1960 with text by Walter Gropius Katsura in color to capture his own personal these mixed media constructions using light, line, Ishimoto returned to the U.S. at the age of 17 to and Tange Kenzo, two of the greatest architects of the vision of the richer, more complex character of and shadow as compositional elements.
    [Show full text]
  • Dept of History Draft Syllabus (Cbcs)
    RAJA NARENDRALAL KHAN WOMEN’S COLLEGE (AUTONOMOUS) DEPT OF HISTORY DRAFT SYLLABUS (CBCS) I SEMESTER Course Course Title Credit Marks Total Th IM AM CC1T Greek and Roman Historians 6 60 10 5 75 CC2T Early Historic India 6 60 10 5 75 GE1T History of India From the earliest 6 60 10 5 75 times to C 300 BCE DSC History of India-I (Ancient India) 6 60 10 5 75 CC-1: Greek and Roman Historians C1T: Greek and Roman Historians Unit-I Module I New form of inquiry (historia) in Greece in the sixth century BCE 1.1 Logographers in ancient Greece. 1.2 Hecataeus of Miletus, the most important predecessor of Heredotus 1.3 Charon of Lampsacus 1.4 Xanthus of Lydia Module II Herodotus and his Histories 2.1 A traveller’s romance? 2.2 Herodotus’ method of history writing – his catholic inclusiveness 2.3 Herodotus’ originality as a historian – focus on the struggle between the East and the West Module III Thucydides: the founder of scientific history writing 3.1 A historiography on Thucydides 3.2 History of the Peloponnesian War - a product of rigorous inquiry and examination 3.3 Thucydides’ interpretive ability – his ideas of morality, Athenian imperialism, culture and democratic institutions 3.4 Description of plague in a symbolic way – assessment of the demagogues 3.5 A comparative study of the two greatest Greek historians Module IV Next generation of Greek historians 4.1 Xenophon and his History of Greece (Hellenica) 4.2 a description of events 410 BCE – 362 BCE 4.3 writing in the style of a high-class journalist – lack of analytical skill 4.5 Polybius and the “pragmatic” history 4.3 Diodorus Siculus and his Library of History – the Stoic doctrine of the brotherhood of man Unit II Roman Historiography Module I Development of Roman historiographical tradition 1.1 Quintus Fabius Pictor of late third century BCE and the “Graeci annals” – Rome’s early history in Greek.
    [Show full text]
  • The Technological Imaginary of Imperial Japan, 1931-1945
    THE TECHNOLOGICAL IMAGINARY OF IMPERIAL JAPAN, 1931-1945 A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Aaron Stephen Moore August 2006 © 2006 Aaron Stephen Moore THE TECHNOLOGICAL IMAGINARY OF IMPERIAL JAPAN, 1931-1945 Aaron Stephen Moore, Ph.D. Cornell University 2006 “Technology” has often served as a signifier of development, progress, and innovation in the narrative of Japan’s transformation into an economic superpower. Few histories, however, treat technology as a system of power and mobilization. This dissertation examines an important shift in the discourse of technology in wartime Japan (1931-1945), a period usually viewed as anti-modern and anachronistic. I analyze how technology meant more than advanced machinery and infrastructure but included a subjective, ethical, and visionary element as well. For many elites, technology embodied certain ways of creative thinking, acting or being, as well as values of rationality, cooperation, and efficiency or visions of a society without ethnic or class conflict. By examining the thought and activities of the bureaucrat, Môri Hideoto, and the critic, Aikawa Haruki, I demonstrate that technology signified a wider system of social, cultural, and political mechanisms that incorporated the practical-political energies of the people for the construction of a “New Order in East Asia.” Therefore, my dissertation is more broadly about how power operated ideologically under Japanese fascism in ways other than outright violence and repression that resonate with post-war “democratic” Japan and many modern capitalist societies as well. This more subjective, immaterial sense of technology revealed a fundamental ambiguity at the heart of technology.
    [Show full text]
  • Sartorius Thesis.Pdf (5.388Mb)
    Material Memoir Master’s In Fine Arts Thesis Document Andrew Sartorius SUNY New Paltz Spring 2019 Material Memoir: Artist Statement My family owns a fifty acre plot of rolling red clay hills in West Virginia. When I return home, I dig clay, a pilgrimage to harvest from the strata of memory. This body of work explores the potential of wild West Virginia clay through the wood firing process. The kiln creates a dramatic range of effects as varying amounts of ash and heat amalgamate and give vitality to the wild clays I use. The kiln is my collaborator, a trusted but pleasantly unpredictable partner lending its voice to mine to create something made from a life of memory and memorial. Abstract Almost every Sunday of my childhood, my family gathered here for Sunday dinner. My family would meet on a rolling red clay hill topped with pin oak and pine forests, gentle fields, and barns that lean and sag with the weathering of time. My great grandmother lived on one side of the hill, and my grandparents on the other. My great grandmother’s parents started the tradition, and it followed the generations down to my grandmother and grandfather, Alice and Bernard Bosley, who took up the mantle during my childhood. In 2010, I moved to Japan to teach English at a rural high school in Kochi Prefecture. I returned to America in 2014 as a potter’s apprentice studying the traditional Japanese wood-fired ceramics with the ceramic artist Jeff Shapiro in Accord, New York. Since then, my grandparents have passed, but I find that they are more present in my thoughts than ever before.
    [Show full text]
  • Okakura Kakuzō's Art History: Cross-Cultural Encounters
    Asian Review of World Histories 2:1 (January 2014), 17-45 © 2014 The Asian Association of World Historians doi: http://dx.doi.org/10.12773/arwh.2014.2.1.017 Okakura Kakuzō’s Art History: Cross-Cultural Encounters, Hegelian Dialectics and Darwinian Evolution Masako N. RACEL Kennesaw State University Kennesaw, United States [email protected] Abstract Okakura Kakuzō (1863-1913), the founder of the Japan Art Institute, is best known for his proclamation, “Asia is One.” This phrase in his book, The Ideals of the East, and his connections to Bengali revolutionaries resulted in Okakura being remembered as one of Japan’s foremost Pan-Asianists. He did not, how- ever, write The Ideals of the East as political propaganda to justify Japanese aggression; he wrote it for Westerners as an exposition of Japan’s aesthetic heritage. In fact, he devoted much of his life to the preservation and promotion of Japan’s artistic heritage, giving lectures to both Japanese and Western audi- ences. This did not necessarily mean that he rejected Western philosophy and theories. A close examination of his views of both Eastern and Western art and history reveals that he was greatly influenced by Hegel’s notion of dialectics and the evolutionary theories proposed by Darwin and Spencer. Okakura viewed cross-cultural encounters to be a catalyst for change and saw his own time as a critical point where Eastern and Western history was colliding, caus- ing the evolution of both artistic cultures. Key words Okakura Kakuzō, Okakura Tenshin, Hegel, Darwin, cross-cultural encounters, Meiji Downloaded from Brill.com10/02/2021 09:32:22PM via free access 18 | ASIAN REVIEW OF WORLD HISTORIES 2:1 (JANUARY 2014) In 1902, a man dressed in an exotic cloak and hood was seen travel- ing in India.
    [Show full text]
  • Representations of Pleasure and Worship in Sankei Mandara Talia J
    Mapping Sacred Spaces: Representations of Pleasure and Worship in Sankei mandara Talia J. Andrei Submitted in partial fulfillment of the Requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences Columbia University 2016 © 2016 Talia J.Andrei All rights reserved Abstract Mapping Sacred Spaces: Representations of Pleasure and Worship in Sankei Mandara Talia J. Andrei This dissertation examines the historical and artistic circumstances behind the emergence in late medieval Japan of a short-lived genre of painting referred to as sankei mandara (pilgrimage mandalas). The paintings are large-scale topographical depictions of sacred sites and served as promotional material for temples and shrines in need of financial support to encourage pilgrimage, offering travelers worldly and spiritual benefits while inspiring them to donate liberally. Itinerant monks and nuns used the mandara in recitation performances (etoki) to lead audiences on virtual pilgrimages, decoding the pictorial clues and touting the benefits of the site shown. Addressing themselves to the newly risen commoner class following the collapse of the aristocratic order, sankei mandara depict commoners in the role of patron and pilgrim, the first instance of them being portrayed this way, alongside warriors and aristocrats as they make their way to the sites, enjoying the local delights, and worship on the sacred grounds. Together with the novel subject material, a new artistic language was created— schematic, colorful and bold. We begin by locating sankei mandara’s artistic roots and influences and then proceed to investigate the individual mandara devoted to three sacred sites: Mt. Fuji, Kiyomizudera and Ise Shrine (a sacred mountain, temple and shrine, respectively).
    [Show full text]
  • The Architecture of the Italian Renaissance
    •••••••• ••• •• • .. • ••••---• • • - • • ••••••• •• ••••••••• • •• ••• ••• •• • •••• .... ••• .. .. • .. •• • • .. ••••••••••••••• .. eo__,_.. _ ••,., .... • • •••••• ..... •••••• .. ••••• •-.• . PETER MlJRRAY . 0 • •-•• • • • •• • • • • • •• 0 ., • • • ...... ... • • , .,.._, • • , - _,._•- •• • •OH • • • u • o H ·o ,o ,.,,,. • . , ........,__ I- .,- --, - Bo&ton Public ~ BoeMft; MA 02111 The Architecture of the Italian Renaissance ... ... .. \ .- "' ~ - .· .., , #!ft . l . ,."- , .• ~ I' .; ... ..__ \ ... : ,. , ' l '~,, , . \ f I • ' L , , I ,, ~ ', • • L • '. • , I - I 11 •. -... \' I • ' j I • , • t l ' ·n I ' ' . • • \• \\i• _I >-. ' • - - . -, - •• ·- .J .. '- - ... ¥4 "- '"' I Pcrc1·'· , . The co11I 1~, bv, Glacou10 t l t.:• lla l'on.1 ,111d 1 ll01nc\ S t 1, XX \)O l)on1c111c. o Ponrnna. • The Architecture of the Italian Renaissance New Revised Edition Peter Murray 202 illustrations Schocken Books · New York • For M.D. H~ Teacher and Prie11d For the seamd edillo11 .I ltrwe f(!U,riucu cerurir, passtJgts-,wwbly thOS<' on St Ptter's awl 011 Pnlladfo~ clmrdses---mul I lr,rvl' takeu rhe t>pportrmil)' to itJcorporate m'1U)1 corrt·ctfons suggeSLed to nu.• byfriet1ds mu! re11iewers. T'he publishers lwvc allowed mr to ddd several nt•w illusrra,fons, and I slumld like 10 rltank .1\ Ir A,firlwd I Vlu,.e/trJOr h,'s /Jelp wft/J rhe~e. 711f 1,pporrrm,ty /t,,s 11/so bee,r ft1ke,; Jo rrv,se rhe Biblfogmpl,y. Fc>r t/Jis third edUfor, many r,l(lre s1m1II cluu~J!eS lwvi: been m"de a,,_d the Biblio,~raphy has (IJICt more hN!tl extet1si11ely revised dtul brought up to date berause there has l,een mt e,wrmc>uJ incretlJl' ;,, i111eres1 in lt.1lim, ,1rrhi1ea1JrP sittr<• 1963,. wlte-,r 11,is book was firs, publi$hed. It sh<>uld be 110/NI that I haw consistc11tl)' used t/1cj<>rm, 1./251JO and 1./25-30 to 111e,w,.firs1, 'at some poiHI betwt.·en 1-125 nnd 1430', .md, .stamd, 'begi,miug ilJ 1425 and rnding in 14.10'.
    [Show full text]
  • Composition of Threshold in Japanese Contemporary Architecture Located
    計画系 696 号 【カテゴリーⅠ】 日本建築学会計画系論文集 第79巻 第696号，365-372，2014年 ₂ 月 J. Archit. Plann., AIJ, Vol. 79 No. 696, 365-372, Feb., 2014 COMPOSITION OF THRESHOLD IN JAPANESE CONTEMPORARY ARCHITECTURE LOCATED IN URBAN PARKS COMPOSITION都市公園に建つ現代日本の建築作品における閾の構成 OF THRESHOLD IN JAPANESE CONTEMPORARY ARCHITECTURE LOCATED IN URBAN PARKS Guillaume FAAS＊ and Yoshiharu TSUKAMOTO＊＊ 都市公園に建つ現代日本の建築作品における閾の構成 ファース ギョーム，塚 本 由 晴 Guillaume FAAS*, Yoshiharu TSUKAMOTO** ファース・ ギョーム， 塚本由晴 The aim of this study is to clarify the composition of threshold in Japanese contemporary architecture located in urban parks. “Threshold” is seen as a space which possesses the potential to provide people with a place to congregate, rest, and views to the vicinity. The principle of threshold is seen as the transitional space from the exterior to the interior in public architecture that can have different character by various arrangement of elements and open space according to the access circulation. First, the elements that compose the threshold are defined. Second, the arrangement of the threshold is examined. Third, the compositional diagrams of the threshold with the Volume are examined, and typologies of the threshold are established. From the comparison of these typologies four characteristics with tendencies are clarified: Isolating (the interior), Concentrating (the exterior, the interior, the exterior with depth), Dispersing (the interior, the interior with depth, the interior and of the exterior, the interior and the exterior with depth), Blurring (the interior and the exterior) Keywords: Japanese Contemporary architecture, Urban Park, Threshold, Composition, Arrangement, Typology. 現代日本建築作品， 都市公園， 閾，構成，配列，類型 1 Introduction of a door. The sill defines the limit between two distinct spaces, 1.1 Background and purpose which can be between an exterior and an interior, between two Public facilities do not only serve activities for people, but also exteriors or between two interiors.
    [Show full text]
  • Japanese Gardens at American World’S Fairs, 1876–1940 Anthony Alofsin: Frank Lloyd Wright and the Aesthetics of Japan
    A Publication of the Foundation for Landscape Studies A Journal of Place Volume ıv | Number ı | Fall 2008 Essays: The Long Life of the Japanese Garden 2 Paula Deitz: Plum Blossoms: The Third Friend of Winter Natsumi Nonaka: The Japanese Garden: The Art of Setting Stones Marc Peter Keane: Listening to Stones Elizabeth Barlow Rogers: Tea and Sympathy: A Zen Approach to Landscape Gardening Kendall H. Brown: Fair Japan: Japanese Gardens at American World’s Fairs, 1876–1940 Anthony Alofsin: Frank Lloyd Wright and the Aesthetics of Japan Book Reviews 18 Joseph Disponzio: The Sun King’s Garden: Louis XIV, André Le Nôtre and the Creation of the Garden of Versailles By Ian Thompson Elizabeth Barlow Rogers: Gardens: An Essay on the Human Condition By Robert Pogue Harrison Calendar 22 Tour 23 Contributors 23 Letter from the Editor times. Still observed is a Marc Peter Keane explains Japanese garden also became of interior and exterior. The deep-seated cultural tradi- how the Sakuteiki’s prescrip- an instrument of propagan- preeminent Wright scholar tion of plum-blossom view- tions regarding the setting of da in the hands of the coun- Anthony Alofsin maintains ing, which takes place at stones, together with the try’s imperial rulers at a in his essay that Wright was his issue of During the Heian period winter’s end. Paula Deitz Zen approach to garden succession of nineteenth- inspired as much by gardens Site/Lines focuses (794–1185), still inspired by writes about this third friend design absorbed during his and twentieth-century as by architecture during his on the aesthetics Chinese models, gardens of winter in her narrative of long residency in Japan, world’s fairs.
    [Show full text]
  • Shaping Tokyo: Land Development and Planning Practice in the Early Modern Japanese Metropolis Carola Hein Bryn Mawr College, [email protected]
    Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Growth and Structure of Cities Faculty Research Growth and Structure of Cities and Scholarship 2010 Shaping Tokyo: Land Development and Planning Practice in the Early Modern Japanese Metropolis Carola Hein Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/cities_pubs Part of the Architecture Commons, History of Art, Architecture, and Archaeology Commons, and the Urban Studies and Planning Commons Custom Citation Hein, Carola. "Shaping Tokyo: Land Development and Planning Practice in the Early Modern Japanese Metropolis." Journal of Urban History 36, no. 4 (2010): 447-484. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/cities_pubs/20 For more information, please contact [email protected]. Shaping Tokyo: Land Development and Planning Practice in the Early Modern Japanese Metropolis Carola Hein Manuscript submitted to the Journal of Urban History in August 2007, revised and resubmitted March 2008. When German architect Bruno Taut drove in 1936 along the major road linking Tokyo and Yokohama, he criticized the inadequacy and superficiality of the modernizing Japanese built landscape. He later wrote about his revulsion: "I in particular had heard so much about Tokyo that I had no desire to see the city on the spot. […] In passing through the Inland Sea we had absorbed scenery of such rare beauty, had found so little of vulgar trash 1 in such buildings as could be glimpsed, that we could hardly take in the crabbed pretentiousness, the ludicrous would-be modernity of the tin façades that confronted us, could not fathom the loud hideousness of this confusion of architectural styles.
    [Show full text]
  • Organic Architecture and Frank Lloyd Wright
    Elizabethtown College First Year Seminar FYS100 Section A ORGANIC ARCHITECTURE and FRANK LLOYD WRIGHT Fall 2021 Basic principles of architecture and urban design including sustainable design and mitigating environmental impacts. Major emphasis on Frank Lloyd Wright’s “Organic Architecture” and his life and selected works (from his ~500 built designs) in Wisconsin (mostly rural), Illinois (mostly Chicago), New York, Pennsylvania, California, Arizona, Japan (a major influence), and Italy (Tuscany). Born in 1867 soon after the Civil war, he lived through two World Wars and the Great Depression. He died in 1959 at the beginning of the Space Race. An Introduction to Site Analysis & Design, Landscape Architecture, Architecture Theory, Architectural Materials & Methods, and Passive Architectural Illumination, Solar, HVAC, and Acoustical Design. Joseph T Wunderlich PhD Mondays 11:00AM-12:20 in E273 Wednesdays 11:00AM at locations stated below Fridays 11:00AM-12:20 in E273 All lectures, readings, and videos may be tested; and many should be referenced in your semester paper. Some content may be duplicated for fault-tolerance, variable access (software & device), and availability to the public on My website and My YouTube channel. Assignments, readings, and announcements will be posted in Canvas. Pre-semester Orientation (8/20-8/22) ▪ Sat: “Roundtable #1: Electronic Resources” (with your peer mentors) – look for announcement from Peer-Mentor for location WEEK 1 (8/23-8/27) ▪ Mon: LECTURE: Course expectations Upcoming Wunderlich book on Frank Lloyd
    [Show full text]
  • MATERIAL and ORNAMENT in KATSURA and Nlkko DANABUNTROCK University of Illinois at Chicago
    I1996 ACSA European Conference Copenhagen MATERIAL AND ORNAMENT IN KATSURA AND NlKKO DANABUNTROCK University of Illinois at Chicago INTRODUCTION tea master. Robert Treat Paine and Alexander Soper dated it to the Momoyama period, which is generally agreed to have ended The Katsura Detached Palace and the Toshogu at around 1617, while others date the earliest construction to about Nikko could not be more different. Katsura, a retrear outside 1616, under the supervision ofprince Toshihito, with construc- Kyoto constructed in the early seventeenth century, was built for tion continuing through 1655, supervised by Prince Toshitada. Prince Hachijo Toshihito, the younger brother of Emperor The recent two-volume encyclopedia published by Kodansha Goyozei; built in the shoin and sukiya styles, materials are used dates the original Old Shoin and some small structures to plainly and left unpainted; ornament and color are kept to a between 1620 and 1625 and remainingconstruction to between minimum.' By contrast, the Toshogu, built between I616 and 1641 and 1662, again splitting credit for supervision between 1617 to enshrine Tokugawa Ieyasu and reconstructed between the two princes.Wther recent scholarship roughly shares this 1634 and 1636 by the third Shogun, Tokugawa Iemitsu, is an dating and sequence. ornamental orgy: there are a total of 5,173 distinct carvings and At Katsura, ornament is minimal and limited; instead, surfaces are a riot of color.' materials are used decoratively to achieve a rich effect. Although Yet these two buildings share a place in time and some the paulownia and the chrysanthemum, both signifying Prince of the best artisans ofthe day are known to have worked on both.
    [Show full text]