Kiyonori Kikutake, Marine City, Floating Platform, Megastructure, Growth
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Novais, Inês Valente De Abreu, 1988- O Metabolismo Japonês : a Cidade Como Processo De Transformação E Metamorfose
Universidades Lusíada Novais, Inês Valente de Abreu, 1988- O Metabolismo japonês : a cidade como processo de transformação e metamorfose http://hdl.handle.net/11067/160 Metadados Data de Publicação 2012 Resumo Esta dissertação pretende reflectir sobre o primeiro movimento "avant- garde" não ocidental, que revolucionou o pensamento urbanístico e arquitectónico dos anos 60: o Movimento Metabolista. Num clima de optimismo e prosperidade que envolveu toda a nação, o grupo Metabolista uniu-se pelo objectivo comum de restaurar a imagem do seu país e encontrar um futuro para as cidades japonesas, após a devastação incontornável na sequência da Segunda Guerra Mundial. Como resposta à ineficácia dos métodos de ... Palavras Chave Metabolismo na arquitectura (Movimento), Planeamento urbano - História - Japão - Século 20, Arquitectura - História - Japão - Século 20 Tipo masterThesis Revisão de Pares Não Coleções [ULL-FAA] Dissertações Esta página foi gerada automaticamente em 2021-09-25T19:56:33Z com informação proveniente do Repositório http://repositorio.ulusiada.pt U NIVE RSID ADE LUSÍ ADA DE L ISBO A Fac uldad e de Arquitectura e A rtes Mestrado integ rado em Arquitectura O Metabolismo japonês: a cidade como processo de transformação e metamorfose Realizado por: Inês Valente de Abreu Novais Orientado por: Prof. Doutor Arqt. Joaquim José Ferrãão de Oliveira Braizinha Constituição do Júri: Presidente: Prof. Doutor Horácio Manuel Pereira Boniffácio Orientador: Prof. Doutor Arqt. Joaquim José Ferrão de Oliveira Braizinha Assistente de orientação: -
Ritual Machine Vs. Technocratic Rationalism at Expo
Incongruity, Bizarreness, and Transcendence: The Cultural/ Ritual Machine vs. Technocratic Rationalism at Expo ‘70 Scholarship on the Japanese Metabolist Movement generally points to the1970 World Exposition in Osaka as the climax of a nationally concerted effort to revi- talize Japan post-World War II.1 It has also been referred to the “grand swan- song of Metabolism, the final phase of the modern movement in Japan.”2 Ten years after a group of young Japanese architects and designers with ties to the architect/educator Kenzo Tange burst onto the international design scene with a hastily produced manifesto espousing a techno-organic approach to Japan’s urban density problems, Expo ’70 opened to 64 million visitors from across the globe.3 At the time Japan was a still-rising industrial hothouse, and an eco- nomic “miracle” second only to the United States in GNP. To the Japanese designers involved in its conception and realization, Expo ’70 was an opportunity MARCUS SHAFFER to return Japan to prominence on the world stage after defeat in World War II. Pennsylvania State University It was also an opportunity for Japanese culture-makers to differentiate Japanese modernization, contemporary values, and the Japanese way of life post-occupa- tion, from those of other nations that had fallen under western influence. They did this consciously through referencing Japanese aesthetic traditions and atti- tudes in their contemporized works, and through a unique form of assimilation that adopted foreign ideas or things (such as European Modernist architecture) and created suitably “Japanified” simulacrum. The Japanese were determined to show their pride in rebuilding after the firebombings, Hiroshima, and Nagasaki, through means that were culturally Japanese. -
Nakagin Capsule Tower and the Metabolist Movement Revisited
514 RE.Building Nakagin Capsule Tower and the Metabolist Movement Revisited ZHONGJIE LIN University of North Carolina at Charlotte INTRODUCTION In April 2007, a brief report on Architectural Re- cord’s online journal drew worldwide attention back to a building in Tokyo: Kisho Kurokawa’s Nakagin Capsule Tower will be demolished.1 This news as- tonished many readers because Nakagin building is not only an iconic work of Kurokawa and one of the masterpieces of postwar modern architec- ture in Japan, but more significantly, it represents a rare and arguably the finest built work resulting from the historic Metabolist movement. Completed in 1972, the building consists of two towers at elev- en and thirteen stories respectively as well as 144 capsules. Each capsule, in the size and shape of a shipping container, houses a residential unit that is clipped on the towers with flexible joints, showcas- ing the essential Metabolist idea of adaptability and replaceability. [Fig. 1] Fig. 1 Nakagin Capsule Tower, K. Kurokawa, 1972 Nakagin Capsule Tower has been listed as an ar- chitectural heritage by DoCoMoMo since 2006. Due to the lack of maintenance, however, the interior is at risk of being erased reminds architects and of the building is falling into disrepair. There is historians that it is an important part of the history also growing concerns among residents about the of modern architecture, and evokes appreciation of healthy issue of asbestos used on the capsules as its futuristic design concept and dynamic form. The well as the building’s ability to withstand earth- Metabolists’ work, as well as megastructural proj- quake. -
Fe U Ille in Te Rn a Tio Na Le D
n° 3 / 2012 € 5,00 e r During the late 1980s and most parts of the 1990s when the economy, along with urban developments in the country were Many new educational facilities, including Riken Yamamoto's impressive Saitama Prefectural University of Nursing and Welfare The novel use of a broader range of often-ordinary materials, as well as a growing number of new ones, has also been part of the recently This change has been coupled with his increased interest in green design, as shown u speeding in overdrive mode, Japanese architecture flourished. There was investment in just about any construction and exceedingly in Koshigaya (1999) near Tokyo, are built to train professionals who would care for the growing number of the elderly (fig.4). unfolding ecological architecture. Shigeru Ban has made his name known first by applying cardboard tubes in his buildings, which comprise both in the Island City Central Park--Grin Grin project (2006) in Fukuoka, and even more so in t c much was built, including numerous mega-projects. Although the majority of the output was explicitly the result of a runaway With the reduced birthrate and the departure of the younger generation to larger urban centers, many rural towns and temporary and permanent structures within his overall work. He designed such “paper architecture” also for disaster-relief facilities providing the revolutionary Taichung Opera House project, now under construction in Taiwan (fig.18). u e t consumerism and so, much image-driven, enlightened investment in building and construction also yielded innumerable inventive, villages have to consolidate their properties while attracting local residents. -
Architecture
The Simplicity, Spirituality and Comfort of Japanese Architectural Design: From the Edo period until today Vasco Vieira da Fonseca de Lima Mayer Thesis to obtain the Master of Science Degree in Architecture Supervisor: Professor Ana Cristina dos Santos Tostões Examination Committee Chairperson: Teresa Frederica Tojal de Valsassina Heitor Supervisor: Professor Ana Cristina dos Santos Tostões Members of the Committee: Professor Irène Elizabeth Vogel Chevroulet October 2015 ii Notes: 1. All translations were done by the author. 2. All unreferenced photographs were taken by the author. 3. The bibliographic references use the Harvard referencing system. iii iv AcknowledgementsAcknowledgements This dissertation is dedicated to my parents, who provided me a privileged education, always showing their exceptional support in my journey to become an architectural designer. I would like to express my deepest gratitude to: Professor Ana Tostões for leading me in the discovery of the Japanese architecture, for showing enthu- siasm and support in the theme I proposed, for the knowledge that helped me to “push up the bar,” and finally for introducing me to professor Irène Vogel Chevroulet. Professor Irène Vogel Chevroulet, for accepting the challenge of coordinating me during this disserta- tion, together with Professora Ana Tostões. For giving me a privileged insight of the Japanese architec- ture history, for providing me with the material for my study, and for introducing me to Professor Yasushi Zenno. For the kindness and sympathy, and finally for the availability and advice, even at distance. Kengo Kuma for the interview in his office that provided very useful information. For introducing me to Teppei Iizuka, his associate, who showed me the office with sympathy.