The Great Living Creative Spirit
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List of Certified Facilities （Cooking）
List of certified facilities （Cooking） Prefectures Name of Facility Category Municipalities name Location name Kasumigaseki restaurant Tokyo Chiyoda-ku Second floor,Tokyo-club Building,3-2-6,Kasumigaseki,Chiyoda-ku Second floor,Sakura terrace,Iidabashi Grand Bloom,2-10- ALOHA TABLE iidabashi restaurant Tokyo Chiyoda-ku 2,Fujimi,Chiyoda-ku The Peninsula Tokyo hotel Tokyo Chiyoda-ku 1-8-1 Yurakucho, Chiyoda-ku banquet kitchen The Peninsula Tokyo hotel Tokyo Chiyoda-ku 24th floor, The Peninsula Tokyo,1-8-1 Yurakucho, Chiyoda-ku Peter The Peninsula Tokyo hotel Tokyo Chiyoda-ku Boutique & Café First basement, The Peninsula Tokyo,1-8-1 Yurakucho, Chiyoda-ku The Peninsula Tokyo hotel Tokyo Chiyoda-ku Second floor, The Peninsula Tokyo,1-8-1 Yurakucho, Chiyoda-ku Hei Fung Terrace The Peninsula Tokyo hotel Tokyo Chiyoda-ku First floor, The Peninsula Tokyo,1-8-1 Yurakucho, Chiyoda-ku The Lobby 1-1-1,Uchisaiwai-cho,Chiyoda-ku TORAYA Imperial Hotel Store restaurant Tokyo Chiyoda-ku (Imperial Hotel of Tokyo,Main Building,Basement floor) mihashi First basement, First Avenu Tokyo Station,1-9-1 marunouchi, restaurant Tokyo Chiyoda-ku （First Avenu Tokyo Station Store） Chiyoda-ku PALACE HOTEL TOKYO(Hot hotel Tokyo Chiyoda-ku 1-1-1 Marunouchi, Chiyoda-ku Kitchen,Cold Kitchen) PALACE HOTEL TOKYO(Preparation) hotel Tokyo Chiyoda-ku 1-1-1 Marunouchi, Chiyoda-ku LE PORC DE VERSAILLES restaurant Tokyo Chiyoda-ku First～3rd floor, Florence Kudan, 1-2-7, Kudankita, Chiyoda-ku Kudanshita ８th floor, Yodobashi Akiba Building, 1-1, Kanda-hanaoka-cho, Grand Breton Café -
Renzo Piano Designs a Reverent Addition to Louis Kahn's Kimbell
SEEMING INEVITABILITY: renzo piano designs a reverent addition to louis kahn’s kimbell 6 spring INEVITABILITY: Lef: Aerial view from northwest. Above: Piano Pavilion from east, 2014. Photos: Michel Denancé. by ronnie self Louis Kahn’s and Renzo Piano’s buildings for the Kimbell Art Museum in Fort Worth are mature projects realized by septuagenarian architects. They show a certain wis- dom that may come with age. As a practitioner, Louis Kahn is generally considered a late bloomer. His most respected works came relative- ly late in his career, and the Kimbell, which opened a year and a half before his death, is among his very best. Many of Kahn’s insights came through reflection in parallel to practice, and his pursuits to reconcile modern architec- ture with traditions of the past were realized within his own, individual designs. spring 7 Piano (along with Richard Rogers and Gianfranco Franchini) won the competition for the Centre Pompidou in Paris as a young architect piano’s main task was to respond appropriately only in his mid-30s. Piano sees himself as a “builder” and his insights come largely through experience. Aside from the more famboyant Cen- to kahn’s building, which he achieved through tre in the French capital, Piano was entrusted relatively early in his career with highly sensitive projects in such places as Malta, Rhodes, alignments in plan and elevation ... and Pompeii. He made studies for interventions to Palladio’s basilica in Vicenza. More recently he has been called upon to design additions to modern architectural monuments such as Marcel Breuer’s Whitney Mu- seum of American Art in New York and Le Corbusier’s chapel of Notre Dame du Haut in Ronchamp. -
Mcmorrough John Cv Expanded Format
John McMorrough CV (September 2013) - 1/5 John McMorrough Associate Professor of Architecture University of Michigan / Taubman College of Architecture and Urban Planning 2000 Bonisteel Boulevard, Ann Arbor, MI 48109-2069 Education Doctor of Philosophy in Architecture, Landscape Architecture, and Urban Planning 2007, June Harvard University Dissertation: Signifying Practices: The Pre-Texts of Post-Modern Architecture (Advisors: M. Hays, S. Whiting, R. Somol) Master of Architecture (with Distinction) 1998, June Harvard University, Graduate School of Design Thesis: “Shopping and as the City”, Harvard Project on the City: Shopping (Advisor: R. Koolhaas) Bachelor of Architecture 1992, June University of Kansas, School of Architecture and Urban Design Exchange Student in Architecture: Universität Dortmund, Germany 9/88-6/89 Donald P. Ewart Memorial Traveling Scholarship 1988 Academic University of Michigan Associate Professor of Architecture, with tenure 9/2010 -... Chair, Architecture Program 2010-2013 Director, PhD in Architecture Degree 2010-2012 413: History of Architecture and Urbanism ("A Disciplinary Genealogy from 5,000 BC to 2010") (x3) 2011-2013 503: Special Topics in Architectural History ("Possible Worlds") 2013 506: Special Topics In Design Fundamentals ("Color Theory") 2013 322: Architectural Design II ("For Architecture, Five Projects" - Coordinator) 2011 University of Illinois at Chicago Greenwall Visiting Critic (Lectures, "Critical Figures: Reading Architecture Criticism") 2012 University of Applied Arts, Vienna Critic, Urban Strategies Post-Graduate Program (x4) 2008 - 2011 (08: Networks, 09: Game Space, 10: Brain City, 11: Porosity) Ohio State University Head, Architecture Section 2009 - 2010 Chair, Graduate Studies in Architecture 2008 - 2009 Associate Professor of Architecture, with tenure 2009 - 2010 Assistant Professor of Architecture 2005 - 2009 Charles E. -
Contemporary Itinerary
contemporary itinerary Japan edited by Sara Dello Scarparo, Andrea Ferraro 16:0916:096:09 contemporary itinerary: Japan 04 1 3 2 5 4 6 03 A gojo dori 1 Kyoto 4 Awaji nishi-gojo dori 01. Kyoto station, Hirishi Hara 32. Yumebutai, Tadao Ando 02. Villa Katsura 33. Water temple, Tadao Ando 03. Bamboo Forest 34. House on Awaji island, Izue san-in road 02 04. Kinkaku-Ji temple Architects 05. Higashi Honganji reception hall, kujo dori Shin Takamatsu 5 Naoshima 06. Grand Blue Saniyo Yanaginobanba, Skin Takamatsu 35. Naoshima boat terminal, SANAA 07. Bake Cheese Tart Store, Yusuke Seki 36. Naoshima bath, Shinro Ohtake 08. Today‘s Special, Schemata 37. Naoshima pavillion, Sou Fujimot 1 Architects 38. Chi-chu art museum, Tadao Ando 09. Times Building, Tadao Ando 39. Lee Ufan museum, Tadao Ando 10. Garden of Fine Art, Tadao Ando 40. Benesse house, Tadao Ando 3 11. Kyoto Concert Hall, Arata Isozaki 41. Benesse hotel, Tadao Ando 12. National Museum of Modern Art, 42. Minamidera house, Tadao Ando Fumihiko Maki 43. Naoshima hall, Sambuichi 13. Fujimi Inary Architects 44. Kadoya house, Tadashi Yamamoto 2 Osaka 6 Teshima 14. Rolex Nakatsu Building, Fumihiko Maki 45. Teshima Yokoo house, Yuko 15. Expo Tower, Kiyonori Kikutake Nagayama 16. Sun Tower, Taro Okamoto 46. Restaurant on the sea, Koichi 17. Light Church, Tadao Ando Futatsumata 18. Umeda Sky Building, Hiroshi Hara 47. Shima kitche, Atelier Ryo Abe 19. Tomishima house, Tadao Ando 48. Teshima art museum, SANAA 20. TS Building, Tadao Ando 21. Akka gallery, Tadao Ando 22. Osaka dome, Nikken Sekkei 23. -
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. -
Ando's Modern : Reflections on Architectural Translation
24 J p i > n g [ioI 2 u InI i I C i I e 17 Nolurol light floods a concrete gallery bay in the Fort Worth Museum of Modern Art, by Tadao Anda and Associates wilh Kendall/Heaton Associates (2002). Floor sculpture: Slil by Carl Andre. Ando's Modern : Reflections on Architectural Translation Tadao Ando designed a sublime building for the Modern Art Museum of Fort Worth. As built, it's merely great. BY RICHARD R. BRETTELL Cite 5 7 2 o o 11 5 p r i n g 25 Tadoo Ando's (ompelilion mode! showed eight lucite lozenges floating on o blue reflective surface. Ando's competition rendering revealed a light filtering roof, intended lo be realized in glass and steel. The Competition and Ando's Ando's competition model was a Winning Entry series of eight gorgeous lucite lozenges In 1996, the architectural review commit- (lour ol which were connected longitudi- I tee lor the Modern chose sis architects to nally in pairs to form six bays), floating I compete: two Japanese ("Fadao Ando and on a blue reflective surface. Its shimmer- J Arata Iso/aki), one Mexican (Ricardo ing ambiguities ol surface combined with I 1 cgoretta), and three Americans (Richard us lucid geometry to be utterly com- Gluclctnan, Carlos Jimenez, and David pelling, and most viewers of the model Schwarz). Why llns bouquet? File most attempted to "visualize" it as an actual unusual aspect of the selection was how building with little success. Ando's basic relatively non-trendy ir was — no fashion idea was a museum of parallel two-story r;_ —_ v—I- • able Europeans, DO chic Americans, no concrete galleries. -
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 -
Bringing the Vernacular Into Modernism
Scuola Italiana di Studi École Française BY CO-HOSTED sull’Asia Orientale d’Extrême-Orient ISEAS EFEO Friday, December 11th, 18:00h Yola Gloaguen SPEAKER Antonin Raymond’s career allows us to explore the dy- namics and implications of the development of European Bringing and American architectural modernism in a non-Western context. The Czech-born American architect arrived in Japan on the eve of 1920 to assist Frank Lloyd Wright with building the new Imperial Hotel in Tokyo. However, the Vernacular Raymond soon opened his own oce in the capital and became one of the pioneers of modern architecture in Japan. The human and technical challenges taken on by into Modernism Raymond included responding to an increasing demand for the design of villas suited to the Western and Japanese lifestyles of Tokyo’s international elites. This was reected in the spatial design and construction of these new types Architect of houses. The talk will highlight various examples of prewar and postwar residential works, with a focus on how Raymond and his team developed an approach to Antonin Raymond design based on the appropriation and adaptation of selected elements of the Japanese vernacular into the Western modernist idiom, which itself had to be reevalu- in Interwar Japan ated in the particular context of Japan. This approach to Raymond’s work provides a means to reassess the usual binaries of Western inuence and Japanese adaptation through the medium of architecture. Yola Gloaguen is a postdoctoral researcher at the Centre de recherche sur les civilisations de l’Asie orientale–CRCAO, Paris. After receiving her degree in architecture from Paris La Villette School of Architecture, she became a doctoral student at Kyoto University and studied modern architectural history in Japan. -
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. -
Maverick Impossible-James Rose and the Modern American Garden
Maverick Impossible-James Rose and the Modern American Garden. Dean Cardasis, Assistant Professor of Landscape Architecture, University of Massachusetts (Amherst) “To see the universe within a place is to see a garden; approach to American garden design. to see it so is to have a garden; Rose was a rugged individualist who explored the not to prevent its happening is to build a garden.” universal through the personal. Both his incisive James Rose, Modern American Gardens. writings and his exquisite gardens evidence the vitality of an approach to garden making (and life) as James Rose was one of the leaders of the modern an adventure within the great cosmic joke. He movement in American garden design. I write this disapproved of preconceiving design or employing advisedly because James “ the-maverick-impossible” any formulaic method, and favored direct Rose would be the first to disclaim it. “I’m no spontaneous improvisation with nature. Unlike fellow missionary,” he often exclaimed, “I do what pleases modern rebels and friends, Dan Kiley and Garrett me!”1 Nevertheless, Rose, through his experimental Eckbo, Rose devoted his life to exploring the private built works, his imaginative creative writing, and his garden as a place of self-discovery. Because of the generally subversive life-style provides perhaps the contemplative nature of his gardens, his work has clearest image of what may be termed a truly modern sometimes been mislabeled Japanesebut nothing made Rose madder than to suggest he did Japanese gardens. In fact, in response to a query from one prospective client as to whether he could do a Japanese garden for her, Rose replied, “Of course, whereabouts in Japan do you live?”2 This kind of response to what he would call his clients’ “mind fixes” was characteristic of James Rose. -
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.