A Shift from “Habitat Pour Le Plus Grand Nombre” to “Habitat Évolutif” in Post
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Men and Masculinities in the Changing Japanese Family
Thesis for Doctor of Philosophy in Asian & Middle Eastern Studies Men and Masculinities in the Changing Japanese Family by Hiroko Umegaki Lucy Cavendish College Submitted November 2017 This dissertation is submitted for the degree of Doctor of Philosophy in Asian & Middle Eastern Studies provided by Apollo View metadata, citation and similar papers at core.ac.uk CORE brought to you by 1 Preface This dissertation is the result of my own work and includes nothing which is the outcome of work done in collaboration except as declared in the Preface and specified in the text. It is not substantially the same as any that I have submitted, or, is being concurrently submitted for a degree or diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text. I further state that no substantial part of my dissertation has already been submitted, or, is being concurrently submitted for any such degree, diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text. It does not exceed the prescribed word limit of the relevant Degree Committee. 2 Acknowledgments Without her ever knowing, my grandmother provided the initial inspiration for my research: this thesis is dedicated to her. Little did I appreciate at the time where this line of enquiry would lead me, and I would not have stayed on this path were it not for my family, my husband, children, parents and extended family: thank you. -
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. -
Block 9 Collection Schedule Calendar
Fujisawa-shiFujisawa-shi KKankyo-Jigyo-Centerankyo-Jigyo-Center (Environmental(Environmental MManagementanagement CCenter)enter) For Your Records Fiscal 2020 From April 2020 to March 2021 TELTEL 04660466-8787-39123912 FFAXAXAX 04660466-8787-97799779 BlockBlock 9 CCollectionollection SSchedulechedule CCalendaralendar The City of Fujisawa *This undertaking will be put in place after the decision on the budget for fiscal 2020. Address List *(Part ⑧) … Refer to block 8 of the calendar. List of Jichikai, Chonaikai 516~654・656~700 Ishikawa 18 (juhachi) gaiku-nagomikai Shiei-takinosawa Pastral Hasegawa 3 Chome 32 ban 2~13・15~20 33・35・36 ban Estrella Shonan Charmant Corpo Shonan Lite Town Hatori-honson Inari 1190-5 Ooba 5042 kyojusha-kumiai Shonan Espace Hatori-maruyama Omotego Shonan-koito dai-2 Jutaku Hatori-mukai Endo 621~789・810~954 Orido Shonan-shiroyama Hanezawa Ooba 592~6797 Kitanoya Shonan Sky Heights Hanezawa dai-1 All Area(with the exception of the QAS Fujisawa Shonan-seibu Hanezawa dai-2 Jonan 1~5 Chome 4 chome 10 ban 30-38 of the Clio Tsujido-nibankan Shonan Lite Town E-Block Hanezawa dai-3 Hikiji neighborhood association) Clio Fujisawa-gobankan Shonan Lite Town B-Chiku Fujisawa Hanezawa-higashi-danchi Green Blue Tsujido- 2 ban 20・21・32~35 3 ban Shiroyama Famile Fujisawa-jonan 2 Chome Gracia Shonan Lite Town Shiroyama dai-2 Fujikai kandai 4 ban 26・41・42 5~13 ban Grace Hatori Sotetsu-Oobajutaku-juminkumiai Fujisawa F 2 ban4~39・40・45 3 ban7(Part⑧)・8~41 Koito Dia Palace Shonan Lite Town Fujisawa-seibu-danchi 3 gaiku-kyodojutaku 1 Chome -
(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 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. -
Houses to Live and Work in Tokyo
HOUSES TO LIVE AND WORK IN TOKYO CONTEMPORARY SINGLE-FAMILY HOUSING IN URBAN CONTEXT EXTENDED ABSTRACT Luís Filipe Alves dos Santos Baptista Machado October 2010 1. INTRODUCTION THE STUDY OBJECTIVES The theme focuses on the relationship between spatial organization of the Japanese house, with a workspace in order to explore the complexity and diversity of different modes of experience and ownership of space, embedded in a very rich and characteristic cultural context. The study of the historic, social, economic evolution and architectural examples of contemporary Japanese is done in order to decode some patterns that exist in Japanese architecture, and be able to introduce them in other future projects. The work focused on the study of contemporary Japanese residential buildings, which are associated to workspaces. The main goals of this study are: - Study of articulation and configuration of built spaces, that link the two uses (housing and work) and that enhance this relationship as an important issue to be worked. - A study of the batch insertion in the urban mesh and locations. - Study of the types of relationship between outer space and the sets of housing and work spaces, and its classification according to some parameters. - A study of four pre-defined typologies and their classification according to parameters previously established. - Identification and systematization of the data investigated in the search for typology solutions, in project phase that relate to housing and work space. THEMATIC FRAMEWORK This work is aligned with an increasingly common topic these days, the theme proposed is related to the theme of entrepreneurship. Since immemorial times, man needed to work to get basic needs (food and housing), quite common in the everyday activities of any person, regardless of their culture. -
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. -
Redalyc.Reiko Hayama, Between the Acts: Legacies from Le Corbusier and Kunio Maekawa
DEARQ - Revista de Arquitectura / Journal of Architecture ISSN: 2011-3188 [email protected] Universidad de Los Andes Colombia Vogel Chevroulet, Irène; Zenno, Yasushi Reiko Hayama, Between the Acts: Legacies from Le Corbusier and Kunio Maekawa DEARQ - Revista de Arquitectura / Journal of Architecture, núm. 15, diciembre, 2014, pp. 60-81 Universidad de Los Andes Bogotá, Colombia Available in: http://www.redalyc.org/articulo.oa?id=341638957006 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Reiko Hayama, Between the Acts: Legacies from Le Corbusier and Kunio Maekawa Reiko Hayama, entre los actos: el legado de Le Corbusier y Kunio Maekawa Recibido: 2 de octubre de 2013. Aprobado: 21 de marzo de 2014. Modificado: 25 de abril de 2014 Irène Vogel Chevroulet Abstract [email protected] Filiation, or the sharing of a creative legacy from one generation to another, is Dr., Scientific Collaborator, and more obvious when considering principles specific to architecture. This paper Lecturer at the Swiss Federal Institute examines how Le Corbusier’s legacy was passed down to Reiko Hayama, a of Technology Architecture School, pioneering Japanese woman architect who started her career working in Tokyo Lausanne from 1959 until 1965 for Kunio Maekawa, one of “the Master’s” previous col- laborators at Rue de Sèvres 35. She then moved to Paris to work for Charlotte Yasushi Zenno Perriand and Jean Prouvé before establishing her own atelier from 1976 until [email protected] 2013. -
JUN 2 0 1997 Readers
THE CONSTRUCTION OF A WAR-TIME NATIONAL IDENTITY: the Japanese Pavilion at New York World's Fair 1939/40 by Akiko Takenaka Bachelor of Engineering in Architecture and Building Engineering Tokyo Institute of Technology Tokyo, Japan March 1990 Submitted to the Department of Architecture in Partial Fulfillment of the Requirements for the Degree Master of Science in Architecture Studies at the Massachusetts Institute of Technology June 1997 @ Akiko Takenaka 1997. All rights reserved. The author hereby grants to M.I.T. permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part. Signature of Author Akiko'takenaka, Department of Architecture May 9, 1997 Certified by Mark Jarzombek Associate Professor of the History of Architecture Thesis Supervisor Accepted by Roy Strickland Chairman, Departmental Committee on Graduate Students OF -11''4,!'TECH!G .1 JUN 2 0 1997 Readers Sibel Bozdogan Associate Professor of Architecture Department of Architecture Massachusetts Institute of Technology Leila W. Kinney Assistant Professor of the History of Art Department of Architecture Massachusetts Institute of Technology Cherie Wendelken Assistant Professor of Fine Arts, Japanese Department of Fine Arts Harvard University THE CONSTRUCTION OF A WAR-TIME NATIONAL IDENTITY: the Japanese Pavilion at New York World's Fair 1939/40 by Akiko Takenaka Submitted to the Department of Architecture on May 9, 1997 in Partial Fulfillment of the Requirements for the Degree of Master of Science in Architecture Studies Abstract The period between the mid-nineteenth century and World War II was the age of international expositions for the countries of the European and American continents. -
Otteita Kirjasta Tuokiokuvia Tokiosta
ESIPUHE Yhteinen kiertomatkamme Japanin kolmeen tärkeimpään kaupunkiin on nyt koossa. Juhanilla on takana viisitoista matkaa nousevan auringon maahan, Annelle vuosien 2011-2013 neljä matkaa ovat olleet ensimmäisiä. Huhtikuussa 2011 matkustimme Kiotoon Annen syntymäpäivän kunniaksi. Alun perin meidän piti käydä myös Tokiossa, mutta lykkäsimme matkan syksyyn maaliskuisen Tohokun maanjäristystä seuranneen tsunamin ja Fukushiman ydinvoimalaonnettomuuden vuoksi. Osakassa kä- vimme lokakuussa 2012. Kirjoitimme näistä matkoista kirjat: ”Kiireetöntä kirsikankukkien aikaa Kiotossa 1.-16.4.2011” ja ”Osaka-Story 2012”. Lokakuussa 2013 matkustimme toisen kerran Tokioon. Tuokiokuvia Tokiosta -kirjaan on koottu kummankin matkan kokemukset. Kioto- ja Osaka –kirjoissa noudatimme päiväkirjamaista esitystapaa, mutta kahden samaan kaupunkiin suuntautuneen matkan kuvauksessa muutimme kerrontatapaa. Elävyyden säilyttämiseksi kertomuksemme heijastaa tapahtuneita kulkemisen käänteitä, mutta toiston välttämi- Kustantaja: ARKKITEHTITOIMISTO JUHANI KATAINEN seksi olemme yhdistäneet useammin käytyjen kohteiden kokemukset. Vuoden 2011 matka Tokioon keskittyi enimmäkseen arkkitehtuurikoh- Teksti ja kuvat: Anne Jarva ja Juhani Katainen teisiin. Mieliinpainuvia kokemuksia olivat muun muassa Toyo Iton Tama-kirjasto ja Kengo Kuman Nezu-museo. Myös käynnit keinotekoisella Taitto, kuvien käsittely: Anne Jarva Valmistaja: Oy Nord Print Ab saarella Tokion lahdella sekä lounas Jokohaman kiinalaiskortteleissa jäivät erityisesti mieleen. Syksyn 2013 vierailu vei meidät jo tutuksi