PDF Download Making Shoji Ebook
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
Tracing Japan's Traditional Design In
THINKING INSIDE THE BOX: TRACING JAPAN’S TRADITIONAL DESIGN IN MODERN JAPANESE ARCHITECTURE A DARCH PROJECT SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF ARCHITECTURE DECEMBER 2016 By Matthew T. Kubota DArch Committee: Pu Miao, Chairperson William Chapman Elaine Wong Keywords: Modernism, Japan, Nature, Space, Materiality Dedications This dissertation is dedicated to my family for believing in me since day one. Through all the ups and downs, I cannot express in words how much it means to me for supporting me and being there when I needed help the most. Mom, Dad and Timmy, this is for you. i Acknowledgements I would like to thank my entire committee for their help along my academic journey through the D Arch program. Pu Miao, thank you for aiding me in my final semester of graduate school as well as serving as my chair. Professor William Chapman, thank you for believing in me since I first had you as a professor for an American Studies class; the help and support that you’ve given me has helped me grow as a student as well as learned more about myself along my academic journey. Elaine Wong, thank you for aiding me along the professional world as well as taking time out of your busy schedule to help me. Lastly, Clark Llewellyn, thank you for believing me and helping me accomplish so much during my time with you. Your help and guidance from the start served as an incredible foundation for which I built my work and research upon. -
America and Japan: Influences and Impacts of Westernization on Japanese
America and Japan: Influences and Impacts of Westernization on Japanese Architecture An Honors Thesis (HONRS 499) by Mark Figgins Thesis Advisor Michele Chiuini Ball State University Muncie, Indiana May 2011 Expected Date of Graduation May 2011 Abstract Traditional Japanese architecture is among the finest in the world. Japan's isolation allowed its traditions and customs to be refined over centuries, whereas the origins of American architecture reside in European styling. When Commodore Matthew Perry sailed into Tokyo Bay in 1853, he opened Japan up to an influx of Western culture that transformed it into a modern nation. Japan's struggle to find a modern identity and to reconcile Western and traditional architecture is examined from 1853 to the present. Acknowledgments I would like to thank Professor Michele Chiuini for advising me. His knowledge and patience have helped me immensely throughout this project. Table of Contents Influences on Traditional Japanese Architecture 1 The Japanese Honle 5 Early American Architecture 9 Conlmodore Perry's Opening of Japan 16 Japanese Architecture: Meiji Period 21 Frank Lloyd Wright 23 Japanese Architecture: Meiji to World War II 25 Kenzo Tange and Modernism 27 1 Japan has a rich history of tradition and culture. It is highly modernized, yet throughout its landscape, glimpses of a time centuries ago can still be seen. Its traditional architecture, simple, but with great attention to detail and beauty, is among the most fascinating in the world. When American Commodore Perry opened up Japan to an influx of Western culture, it sparked a desire to industrialize and use Western technology to further its goals. -
Roof Typology and Composition in Traditional Japanese Architecture
Roof Typology and Composition in Traditional Japanese Architecture I Introduction…………………………………………………………………...1 II Basic Roof Forms, Structures and Materials………………………………….3 II.1 Basic Roof Forms II.1.1 Kirizuma, Yosemune and Irimoya II.1.2 Combined Roofs II.1.3 Gable Entered (tsuma-iri) and Side Entered (hira-iri) II.2 Roof Trusses II.2.1 Sasu-gumi II.2.2 Wagoya II.2.3 Shintsuka-gumi II.2.4 Noboribari-gumi II.2.5 Combined Systems II.3 Roofing Materials II.3.1 Tile II.3.2 Thatch II.3.3 Wood: Planks, Shingle and Bark III Traditional Japanese Architecture III.1 Prehistoric and Antique Architecture………..………………………………11 III.1.1 Tateana Jukyo III.1.2 Takayuka Jukyo III.1.3 Nara Period Residences III.1.4 Menkiho III.2 Shinto Shrines……………………………………………………………….18 III.2.1 Shimei, Taisha and Sumiyoshi Styles III.2.2 Nagare and Kasuga Styles III.2.3 Later Styles III.3 Aristocrats’ Houses………………………………………………………….25 III.3.1 Shinden Style III.3.2 Shoin Style III.4 Common People Houses: Minka…………………………………………….29 III.4.1 Structure III.4.2 Type of Spaces III.4.3 Plan Evolution III.4.4 Building Restrictions III.4.5 Diversity of Styles III.4.5.1.1 City Dwellings, machiya III.4.5.1.2 Farmers’ Single Ridge Style Houses III.4.5.1.3 Farmers’ Bunto Style Houses III.4.5.1.4 Farmers’ Multiple Ridges Style Houses IV Relation Between Different Functional Spaces and the Roof Form………….48 IV.1 Type 1 ……………………………………………………………………..50 IV.2 Type 2 ……………………………………………………………………..67 IV.3 Type 3 ……………………………………………………………………..80 V The Hierarchy Between Functionally Different Spaces Expressed Trough the Roof Design………………………………………………………………….109 VI Conclusion……………………………………………………………..…….119 I- Introduction The purpose of this study is to analyze the typology and the composition of the roofs in Japanese traditional architecture. -
Traditional Japanese Homes—Past and Present
NCTA ‐ Columbus Spring 2011 Sharon Drummond Traditional Japanese Homes—Past and Present Objective: Students will learn about traditional Japanese homes as described in Japanese literature and as seen in the present through print and online resources. We will use Murasaki Shikibu’s The Diary of Lady Murasaki to look at detailed descriptions of living quarters during the Heian period, read and discuss the Old Japan chapters on homes, and then compare those homes with ones shown on the Kids Web Japan website and in the book, Japan Style. Students will also learn about Japanese traditions and rituals associated with the home and its furnishings. Standards addressed: People in Societies Standard‐‐Cultures 5‐7 Benchmark A: Compare cultural practices, products, and perspectives of past civilizations in order to understand commonality and diversity of cultures. Indicator 6.1 Compare the cultural practices and products of the societies studied, including a. class structure, b. gender roles, c. beliefs, d. customs and traditions. Geography Standard—Human Environment Interaction 6‐8 Benchmark C: Explain how the environment influences the way people live in different places and the consequences of modifying the environment. Indicator 6.5 Describe ways human settlements and activities are influenced by environmental factors and processes in different places and regions including a. bodies of water; b. landforms; c. climates; d. vegetation; e. weathering; f. seismic activity. Lesson requirements: Time: one to two days; three with an extension and/or project. Materials: The Diary of Lady Murasaki, Old Japan‐Make it Work!, computer access. Optional craft materials for the extension project Lesson Plan: 1) Introduction: Read excerpts from The Diary of Lady Murasaki and ask students to list items found in the home that is described. -
The Garden Path
The Garden Path Behind the Shoji July/August 2018 TABLE OF CONTENTS OF TABLE HAIKU 3 Letter from the CEO Steve Bloom Round and round koi in the quiet pool below the falls 4 Events Calendar July – August –Peter Kendall 5 Member News 6 Garden News Summer of Serenity SENIOR STAFF CHIEF EXECUTIVE OFFICER Steve Bloom DEPUTY DIRECTOR Cynthia Johnson Haruyama 10 Art in the Garden THE ARLENE SCHNITZER CURATOR Celebrating 10 Years of OF CULTURE, ART, AND EDUCATION Art in the Garden Diane Durston GARDEN CURATOR Sadafumi Uchiyama 12 Retail News CHIEF OPERATIONS OFFICER Cheryl Ching Behind the Shoji: Kyoto Marketplace DIRECTOR OF FINANCE Diane Freeman DIRECTOR OF MARKETING & COMMUNICATIONS Lisa Christy 14 Golden Crane Society CHIEF DEVELOPMENT OFFICER Tom Cirillo EXECUTIVE ASSISTANT Sarah MacDonald DIRECTOR OF RETAIL Ashley McQuade DIRECTOR OF FACILITIES Mike Rego 16 Global Ambassadors & Tribute Gifts BOARD OF TRUSTEES PRESIDENT Dorie Vollum 17 Golden Crane Legacy Society & PRESIDENT-ELECT Robert Zagunis Annual Fund Donations VICE PRESIDENTS Ann Carter, Katherine Frandsen, Carol L. Otis M.D., Dr. Calvin Tanabe TREASURER Drake Snodgrass 18 Photo Gallery Honoring the 55th Anniversary SECRETARY Dede DeJager MEMBERS Suzanne Storms Berselli, Gwyneth Gamble Booth, Jimmy Crumpacker, Dean M. Dordevic, 20 Did You Know? Michael Ellena, Bruce Guenther, Bill Hughes, Kyoto in World War II Janelle Jimerson, Gail Jubitz, John Kodachi, Martin Lotti, Douglas Lovett, CPA, Lindley Morton, Darren Nakata, Piper A. Park, Cathy Rudd, Paul Schommer, Frances von Schlegell, Susan Winkler FOUNDATION BOARD CHAIR Greg Fitz-Gerald PRESIDENT Steve Bloom VICE PRESIDENT Carmen Wong SECRETARY/TREASURER Diane Freeman MEMBERS Trish Adams, Jimmy Crumpacker, Dede DeJager, Joshua Husbands, Douglas Lovett, CPA, James D. -
Japanese Exhibition House, the Museum of Modern Art, Summer, 1954. Designed by Junzo Yoshimura. Sponsored by the America-Japan S
Japanese exhibition house, the Museum of Modern Art, summer, 1954. Designed by Junzo Yoshimura. Sponsored by the America-Japan society (Tokyo) and private citizens in Japan and the United States, and the Museum of Modern Art Author Museum of Modern Art (New York, N.Y.) Date 1954 Publisher [publisher not identified] Exhibition URL www.moma.org/calendar/exhibitions/2711 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art ArcA/ViZ, 553 Japanese Exhibition House THE MUSEUM OF MODERN ART, SUMMER I954 Designed by Junzo Yoshimura Sponsored by the America-Japan Society (Tokyo) and private citizens in Japan and the United States, and The Museum of Modern Art, New York. The Museum has chosen a Japanese building for its third House in the Garden because of the unique relevance to modern Western architecture of traditional Japanese design. The characteristics which give Japanese architecture this interest are post and lintel skeleton frame construction; flexibility of plan; close relation of indoor and outdoor areas; and the ornamental quality of the structural system. Modern Western practice, with its general use of the steel skeleton frame, has developed many effects known to Japanese architecture since the eighth century. For example, walls which do not support a roof, but are instead hung like curtains on the structural framework, are today a com monplace of Western architecture. Before 1900 Frank Lloyd Wright made fundamental to his work the Japanese respect for the beauty of natural materials, as well as the massive, hovering, insistently horizontal roofs essential to the Japanese conception of a house. -
In Praise of Shadows Junichiro Tanizaki (Leete’S Island Books, 1977)
In Praise of Shadows Junichiro Tanizaki (Leete’s Island Books, 1977) What incredible pains the fancier of traditional architecture must take when he sets out to build a house in pure Japanese style, striving somehow to make electric wires, gas pipes, and water lines harmonize with the austerity of Japanese rooms—even someone who has never built a house for himself must sense this when he visits a teahouse, a restaurant, or an inn. For the solitary eccentric it is another matter, he can ignore the blessings of scientific civilization and retreat to some forsaken corner of the countryside; but a man who has a familiy and lives I the city cannot turn his back on the necessities of modern life—heating, electric lights, sanitary facilities— merely for the sake of doing things the Japanese way. The purist may rack his brain over the placement of a single telephone, hiding it behind the staircase or in a corner of the hallway, wherever he thinks it will least offend the eye. He may bury the wires rather than hang them in the garden, hide the switches in a closet or cupboard, run the cords behind a folding screen. Yet for all his ingenuity, his efforts often impress us as nervous, fussy, excessively contrived. For so accustomed are we to electric lights that the sight of a naked bulb beneath an ordinary mild glass shade seems simpler and more natural than any gratuitous attempt to hide it. Seen at dusk as one gazes out upon the countryside from the window of a train, the lonely light of a bulb under an old-fashioned shade, shining dimly from behind the white paper shoji of a thatch-roofed farmhouse, can seem positively elegant. -
Shinden Zukuri) Takes Its Name from the Shinden, the Central Structure in Such Complexes
THE SHINDEN STYLE Residences of the Heian Aristocracy The Shinden style (shinden zukuri) takes its name from the shinden, the central structure in such complexes. The word literally means "hall for sleeping." Thou gh every known Shinden-style complex had its own unique aspects, most faced sout h over a courtyard where ceremonies and entertainments were performed. South of the courtyard a pond was dug with a central island reached by bridges. At the po nd's periphery might be a hill, made from earth excavated to create the pond, wi th trees planted on it. Boating on the pond was a favorite form of relaxation fo r the fortunate residents of such mansions. Shinden buildings and Grounds The shinden hall was the residence of the master of the house and place where h e met guests and officiated at rites and festivities. Projecting from one or mor e sides of the shinden hall were hallways (watadono) leading to subsidiary space s called tainoya (literally meaning "opposed halls"), mostly allotted to family members and their servants. Corridors (rô) led from these tainoya to the pond, whe re they ended in small "finishing pavilions" (tsuridono) or "foutain pavilions" (izumidono). Midway along these southern corridors were "inner gates" (chumon) t hrough which one entered the complex, and the corridors were accordingly called "inner gate corridors" (chumonrô). These corridors were quite spacious and contain ed the offices of the household staff. Shinden residences were usually built on one-block lots (120 square meters), th ough some, like the Higashi Sanjo mansion of the Fujiwara, was two blocks north to south. -
A Study on Interior Light Environment in Japanese Teahouse and Its Relation with Tea Ceremony
A STUDY ON INTERIOR LIGHT ENVIRONMENT IN JAPANESE TEAHOUSE AND ITS RELATION WITH TEA CEREMONY U KEISEN1, HARUYUKI FUJII2 and YUKI KOBAYASHI3 1,2Tokyo Institute of Technology 1,2{yu.j.ag|fujii.h.aa}@m.titech.ac.jp 3Osaka City University [email protected] Abstract. The lighting of a traditional Japanese tea house mainly relies on natural light introduced through the windows. The light environment is designed very skillfully under influence of both functional consideration and tea ceremony ideology. In order to explore the relation between the lighting strategy and tea ceremony, the paper proposed and examined a new way to study the traditional tea house daylight environment by using CAD and daylight simulation tool. Through the investigation of the daylight environment in various tea houses, the study gained more understanding of how the light environment is composed under the influences of tea house designers and tea ceremony ritual. Keywords. Traditional; Cultural; Tea House; Daylight Study. 1. Introduction Japanese Tea House is a traditional form of architecture that is designed to hold a tea ceremony ritual. As a highly spiritual culture ritual, one of the most essential parts in tea ceremony is the tranquil atmosphere created in the tea house and the light environment has undoubtedly played a significant role in creating the desired atmosphere. Those skillfully designed lighting strategies are considered the factors that enhance the experience of the tea ceremony. Tea culture has also undergone transitions in history which have also significantly influenced the lighting design strategy (Pitelka, 2003). For instance, as one of the most influential tea master, Sen no Rikyu had a profound influence on the ideology of the tea ceremony and tea house design. -
Architecture's Ephemeral Practices
______________________________________________DELIBERATE DUSK_________289 Deliberate Dusk: Darkness and the Experience of Japanese Space VINAYAK BHARNE Woodbury University If Modern illumination could represent the bril- Traditional building materials and appliances liance of the Sun, then traditional Japanese were being replaced with glittering Western illumination could be said to abet the tranquil- inventions - gold-flecked lacquer-ware was ity of the moon. For part of the beauty of tra- being rendered garish by electric light, and ditional Japanese space lay in that soft, sub- flood-lamps had turned the Kabuki into a dued light that engulfed it in ambiguity; that “world of sham”. He poured his lamentation dim shadowy world that complimented the into an essay ‘In Praise of Shadows3’ which, textures of the ‘tatami’ and ‘shoji’1. The West had it been written later might well have flooded their spaces with light, but the Japa- blasted the glitz of Ginza along with his list of nese shrouded their spaces in dark. The West the moribund. reveled with the colors of the Sun, but Japan contemplated the monochromes of dusk. The DARKNESS West had known times without electricity, gas or petroleum, yet from candle to oil-lamp to From ancient Shinto mythology stemmed the gas-light, the quest for a brighter light never concept of ‘Yami’ (darkness), a peculiar notion ceased. But in Japan, if light was scarce, it implying a mysterious feeling of something was scarce – they simply embraced that sur- hidden in space. Darkness believed to be the real realm where darkness and light was mu- abode of the ‘kami’ (spirit) was revered as tually undistinguishable. -
The Institute of Emptiness and Ephemerality the Poetics Of
The institute of emptiness and ephemerality The poetics of Japanese sensibility Research paper | Explore Lab Claartje L’Herminez Technical University Delft Introduction o The illusion of progress and spiritual emptiness o Spirituality | Nature and Architecture o Japanese philosophy and architecture • Main research question • Sub-questions • Follow-up question Methods and Parameters Findings and Discussion| The essence of Japanese architectural space The relation between man (architecture) and nature • The Machiya | A traditional Japanese townhouse + En | The transitional space o Horizontal orientation o The roof o The column o The corridor and the patio o The veranda + Thresholds o The step o A Layered façade o The gate + Permeability + Referencing nature’s qualities o Transferring elements Simplicity | Poetics of the ordinary Ephemerality, Emptiness and Ambivalence Ephemerality | The impermanence of everything + Vitality | Adaptability to natural forces and the weather + Impermanence | Natural materials + Flexible space | Temporary space + Imperfection | Incompleteness Emptiness | The origin/ end of everything + The concept of space + The notion of Ma o Ma | The domain of objectivity o Ma | The domain of subjectivity o Ma | the domain of metaphysics Relativity | The ambivalent nature of everything + Ambivalence contributing to an atmosphere of sacredness o (Im)materiality o The Glimpse | perceiving part of a whole o Darkness o Limit/ boundlessness o Timelessness o Perspective illusions Sequential experience | a sensory experience of