DOCSLIB.ORG

Strategies of Negation in Reflective Design As an Alternative to Critical Regionalism: a Study of Contemporary Architecture in China and Japan Since 1990

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Strategies of Negation in Reflective Design As an Alternative to Critical Regionalism: a Study of Contemporary Architecture in China and Japan Since 1990 Strategies of Negation in Reflective Design as an Alternative to Critical Regionalism: A Study of Contemporary Architecture in China and Japan since 1990 By Lu ZHANG Submitted in total fulfilment of the requirements of the degree of: Doctor of Philosophy June 2019 Faculty of Architecture, Building, and Planning The University of Melbourne ORCID: https://orcid.org/0000-0003-3265-7130 Abstract After a long period of westernisation and modernisation, East Asian countries had begun a common effort in regenerating indigenous cultural resources to shape their own versions of modernity in response to a globalising homogenisation in architecture. It firstly emerged in Japan with a rise of Metabolist movement since the 1960s. Benefited from the Chinese market economy and opening-up policy, it happened in China only from the 1990s, amongst some most reflective architects with independent thinking. This situation puts China and Japan into parallel and even comparable positions to examine East Asian approaches to respond the universalizing forces of globalisation. This is often viewed as attempts in ‘critical regionalism’, a concept developed in European and North American academic context using mainly western cases and concepts. This raises an issue as to if this western category is applicable to the cases in East Asia. However, there is no research done that addresses this issue using cases from China and Japan in a regional framework and adopting indigenous aesthetic categories in response to formulations from the west. To fill up this gap, this research conducts a region-based comparative study on the most recent reflective design practices in China and Japan. It explores the use of traditional aesthetic ideas and strategies that – already different in the past – may depart from western categories for contemporary practice. It aims to discover new expressions and new uses of traditional aesthetic categories – conscious or unconscious – in contemporary design practices in China and Japan that may indicate an alternative path to those proposed in the Euro-American context. This thesis tries to position critical regionalism within a larger historic and geographic context. It is neither to critique the details of the former argument, nor to debate the value and significance of this concept in any abstract sense. Rather, it is to seek for an alternative to critical regionalism in the current East Asian circumstances. It aims to test and to find out an alternative approach – discovered as a strategy of negation – to critical regionalism, an approach rooted in the local cultural and aesthetic traditions. i Declaration This is to certify that the thesis comprises only my original work except where indicated in the preface; due acknowledgement has been made in the text to all other material used; the thesis is approximately 80,000 words in length, inclusive of endnotes, but exclusive of tables, maps, appendices, and bibliography. Lu ZHANG June 2019 ii Acknowledgements This thesis was carried out during the years 2014-2019 at Faculty of Architecture, Building and Planning, Melbourne University. I would like to express my sincere appreciation to all those who have given me the possibility in the completion of this thesis. First and foremost, I owe my heartfelt thankfulness to Faculty of Architecture, Building and Planning, Melbourne University for offering me the Melbourne Research Scholarship, to make my studies possible. My deepest gratitude goes to my thesis supervisor Associate Prof. Dr. Jianfei Zhu who encouraged and directed me. Without his illuminating instruction, enlightening guidance and continuous inspiration, this thesis would hardly have been completed. Besides, I am profoundly grateful to Dr. Marcus White who had been my co-supervisor. His encouragement, guidance and insightful comments have been essential during this work. Furthermore, I would like to thank my thesis committee members: Prof. Alan Pert, Dr. Amanda Achmadi and Dr. Hing-Wah Chau, for providing stimulating discussions, valuable advices and useful critiques on this research work. My sincere thanks must also go to Ms. Jane Trewin, research support officer of the faculty, for her kind help and assistance in keeping my progress on schedule. Finally and especially, I would like to dedicate my daughter Lydia Gao and to all family and friends for their invaluable help, unwavering support, thoughtful considerations and great confidence in me, whose continuing love has enabled me to complete this work. iii Table of Contents LIST OF FIGURES vi LIST OF CHARTS xii LIST OF TABLES xiii PART 1: INTRODUCTION Chapter 1: Introduction 1.1 The problem 1 1.2 Literature review 3 1.3 About this research 19 Chapter 2: Conceptual framework and Theoretical discussion 2.1 Discourse analysis on the theory of critical regionalism 30 2.2 East Asian traditional aesthetics employed by critical designs today 37 2.3 Further thoughts 44 2.4 Framework of this thesis 47 PART 2: CHINA (POST 1990): CASE STUDIES Chapter 3: Historical review 3.1 Historical background of Chinese modern architecture 57 3.2 Review of Chinese modern and contemporary architects 64 3.3 Key architects in contemporary China 72 Chapter 4: Case studies 4.1 Li Xiaodong 79 4.2 Wang Shu 90 Chapter 5: Analysis and Discussion 106 PART 3: JAPAN (POST 1990): CASE STUDIES Chapter 6: Historical review 6.1 Historical background of Japanese modern architecture 113 6.2 Review of Japanese modern and contemporary architects 119 6.3 Key architects in contemporary Japan 125 Chapter 7: Case studies 7.1 Kengo Kuma 134 7.2 Tadao Ando 150 Chapter 8: Analysis and Discussion 165 iv PART 4: REFLECTION AND CONCLUSION Chapter 9: Comparison 9.1 China and Japan: contrasted and compared 174 9.2 Common characteristics and tendencies 182 Chapter 10: Reflection and conclusion 10.1 Aesthetics and regionality: as critical categories in design thinking 191 10.2 Reflective design: outside the west, in China, Japan and East Asia 194 10.3 Conclusion 197 NOTES 50,109,168,200 BIBLIOGRAPHY 202 APPENDICES 213 v List of figures Figure 1.1 Four architects in four regions in this research. 24 Figure 1.2 Malcontenta and Garches, Analytical diagrams. 26 Figure 1.3 Garches, elevations. 26 Figure 1.4 Villa Stein, Garches. Le Corbusier, 1927. 27 Figure 1.5 Fernand Leger, Three Faces, 1926. 27 Figure 1.6 Bauhaus, Dessau. Walter Gropius, 1925-1926. 27 Figure 1.7 Picasso, L’Arlesienne, 1911-12. 27 Figure 1.8 Taiji-trigrammes and the concepts of ‘yin yang’. 44 Figure 1.9 Table number 12 否(pǐ) in 64 hexagrams. 44 Figure 1.10 Schematically illustrate feng shui. 44 Figure 1.11 Go (wei qi). 45 Figure 1.12 Schematic map of Neiankyo, which is an ancient city now known as 45 Kyoto. Figure 1.13 Map of Chang’an. 45 Figure 2.1 Five treaty ports in the First Opium War 1839-1842. 57 Figure 2.2 Commune of the Great Wall, 2002. 62 Figure 2.3 Sifang Parkland in Nanjing. 63 Figure 2.4 Continental Bank Building, Beijing, by Bei and Guan, 1924; Union 65 Building, Shanghai, by Palmer and Turner, 1916; Sassoon House, Shanghai, by Palmer and Turner, 1929; Metropole Hotel, Shangha, by Palmer and Turner in 1934; the Grand Theatre, Shanghai, by Laszlo Edward Hudec, 1933; Woo Residence, Shanghai, by Laszlo Edward Hudec, 1937. Figure 2.5 Building in Ginling College, Nanjing, by Hunry Killam Murphy, 66 1918-1923; Building in Yenching University, Beijing, by Hunry Killam Murphy, 1918-1927; Sun Yat-sen Mausoleum, Nanjing, by Lu Yanzhi, 1929; Shanghai City hall, by Dong Dayou, 1933; the College of Sciences in Zhongshan University, Guangzhou, by Lin Keming, 1933. Figure 2.6 Shenyang Railway Station, by Yang Tingbao, 1927. 67 Figure 2.7 Nanjing Central Hospital, by Yang Tingbao, 1933. 67 Figure 2.8 The Social Sciences Institute of the Academia Sinica, in Nanjing, by 67 Yang Tingbao, 1947. Figure 2.9 The former residence of Sun Ke, by Yang Tingbao, 1948. 67 Figure 2.10 Ten Great Buildings. 69 Figure 2.11 Cui Kai’s key designs works. 74 Figure 2.12 Liu Jiakun’s key designs works. 75 Figure 2.13 Wang Shu’s key designs works. 75 Figure 2.14 Li Xiaodong’s key designs works. 76 Figure 2.15 Key monographs of Li Xiaodong. 79 vi Figure 2.16 Regular script. 81 Figure 2.17 Cursive script. 81 Figure 2.18 Early Spring, by Guo Xi (1023-1085, Northern Song Dynasty), signed 81 and dated 1072. Figure 2.19 Old Trees Level Distance, by Guo Xi (1023-1085, Northern Song. 81 Figure 2.20 Blank background presented as water in Chinese painting. 82 Figure 2.21 Landscape after Night Rain Shower, by Kuncan (Qing Dynasty), 1660. 82 Figure 2.22 Taiji-trigrammes. 83 Figure 2.23 Table number 22 賁(bì). 83 Figure 2.24 Site Plan of the Yuhu Elementary School. 86 Figure 2.25 Floor Plans of the Yuhu Elementary School. 86 Figure 2.26 Section of the Yuhu Elementary School. 86 Figure 2.27 The Yuhu Elementary School. 87 Figure 2.28 Bridge School. 87 Figure 2.29 Floor plans of Bridge School. 88 Figure 2.30 Section of Bridge School. 88 Figure 2.31 Bridge School. 90 Figure 2.32 Key monographs of Wang Shu. 91 Figure 2.33 Wang Shu’s copy of the work of a calligraphy master, Zhong You, 92 dating back to the second century. Figure 2.34 Qian Li Jiang Shan Tu (A Thousand Li of Rivers and Mountains), by 93 Wang Ximeng (1096-1119). Figure 2.35 Part of ‘Qian Li Jiang Shan Tu’ 93 Figure 2.36 Imitated Huanghe Shanqiao Mountains and Streams, by Xie Shichen 94 (1487-after 1567, Ming Dynasty). Figure 2.37 Analysis of traditional painting by author. 94 Figure 2.38 Suzhou gardens.
Load more

Recommended publications
  • The Past, Present, and Future of the Chinese Home an Architectural
    Te Past, Present, and Future of the Chinese Home An Architectural Study of the Relationship Between Politics, Culture, and Domestic Space By | Tina Huang | 黄维钰 A thesis submitted to the Faculty of Graduate and Postdoctoral Afairs in partial fulfllment of the requirements for the degree of Master in Architecture Carleton University, Ottawa, Ontario ©2021TinaHuang ABSTRACT his thesis analyzes the oscillating cause and effect between State, citizen, Tand architecture by studying the relationship between politics and domestic spaces in China. It explores the development of China from the beginning of the twentieth century through the present and into a speculative future to argue that wider socio-political changes are reflected in the detailed and intimate spaces of the home, and conversely, that the home can act as an agent of political resistance. The timeline in question represents a unique and tumultuous era in the development of modern China, one which dramatically changed the way people in China built their homes, and in turn, lived their lives. By imagining a speculative future condition in which China has undergone another major political and cultural shift, this thesis will consider the past in order to propose a speculative trajectory for the future of domestic Chinese architecture. II ACKNOWLEDGEMENTS I want to firstly thank my advisor Natalia for your patience and constant support during this past year, your encouragement throughout the writing of this thesis has been invaluable. To the staff and faculty at the Azrieli School of Architecture and Urbanism, thank you for making the last six years so wonderful. The guidance and support from everyone has been crucial to my educational growth.
    [Show full text]
  • 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.
    [Show full text]
  • (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.
    [Show full text]
  • Portico 2006/3
    PORTICO 2006/3 UNIVERSITY OF MICHIGAN TAUBMAN COLLEGE OF ARCHITECTURE + URBAN PLANNING Table of Contents TABLE OF CONTENTS From the Dean .......................................................................................1 Letters .....................................................................................................3 College Update Global Place: practice, politics, and the polis TCAUP Centennial Conference #2 .....................................................4 <<PAUSE>> TCAUP@100 .....................................................................6 Centennial Conference #1 ................................................................7 Student Blowout ................................................................................8 Centennial Gala Dinner ....................................................................9 Faculty Update.....................................................................................10 Honor Roll of Donors ..........................................................................16 Alumni Giving by Class Year ..............................................................22 GOLD Gifts (Grads of the Last Decade) ...........................................26 Monteith Society, Gifts in memory of, Gifts in honor of ................27 Campaign Update................................................................................27 Honor Roll of Volunteers ....................................................................28 Class Notes ..........................................................................................31
    [Show full text]
  • Fall 2007 Portico Welcome
    university of michigan taubman college of architecture + urban planning fall 2007 portico welcome 01 letter from the dean 04 the michigan difference updates 06 college 08 faculty 14 student 18 A Unity of Purpose: June Manning Thomas 20 Connecting Present & Past: The Lorch Column Project 23 Building Addition & Renovation—preliminary proposal 29 class notes calendar On the Cover: Early sketch of proposed rooftop addition by Robert Hull of the Miller/Hull Partnership. letter from the dean Abuilding we go… Our college has lived in the Art and Architecture Building on North Campus since 974. That’s a full third of its century of existence. I’m told it took a new building to entice the faculty to leave Central Campus. Some people would still like the College to return, but it’s now clear we’re here to stay. And we’re determined to improve both the North Campus and the building. Over the years there have been numerous interventions in the building, too many to describe. In the last decade alone, we’ve spent some $3 million to upgrade the auditorium, a half-dozen classrooms, college gallery, computer labs, and many offices, as well as reconfigured the building to include a new, large classroom, Media Center, faculty/staff lounge, IT offices, four student lounges, and two digital fabrication labs. The third-floor design studio, the largest in the country we think, has been redesigned and equipped with over Dean Kelbaugh with professor Jim Chaffers at his 400 new workstations. FAIA investiture at the Alamo in San Antonio It might sound like we’ve done enough to accommodate the needs and desires of our students and faculty, which have each grown about 20% during that period.
    [Show full text]
  • Proceedings of the Society of Architectural Historians, Australia and New Zealand Vol
    Proceedings of the Society of Architectural Historians, Australia and New Zealand Vol. 31 edited by Christoph Schnoor (Auckland, New Zealand SAHANZ and Unitec ePress; and Gold Coast, Queensland: SAHANZ, 2014). The bibliographic citation for this paper is: Ari Seligmann, ”Japonisation of Modern Architecture: Kikuji Ishimoto, Junzo Sakakura and other precursors,“ in Proceedings of the Society of Architectural Historians, Australia and New Zealand: 31, Translation, edited by Christoph Schnoor (Auckland, New Zealand: SAHANZ and Unitec ePress; and Gold Coast, Queensland: SAHANZ, 2014), 177–187. Published in Auckland, New Zealand: SAHANZ and Unitec ePress [ISBN - 978-1-927214-12-1]; and Gold Coast, Australia: SAHANZ [ISBN - 978-0-9876055-1-1] All efforts have been undertaken to ensure that authors have secured appropriate permissions to reproduce the images illustrating individual contributions. Interested parties may contact the editor. This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License. Ari Seligmann, Monash University Japonisation of Modern Architecture: Kikuji Ishimoto, Junzo Sakakura and Other Precursors This paper compares Kikuji Ishimoto and Junzo Sakakura’s diverse efforts to translate various European approaches in their attempts to construct a Japanese modern architecture. Ishimoto was a founding member of Japan’s first modern architecture movement the Bunri-ha Kenchiku Kai (Secessionist Architecture Group). He travelled through Europe and returned to propagate Japanese International Style architecture, upholding Hans Poelzig, Bruno Taut and Walter Gropius as role models. Ishimoto’s Asahi Newspaper (1927) and Shirokiya Department Store (1928–31) projects exemplified his ambitions. In contrast, Sakakura worked for Le Corbusier for seven years and then designed the award winning Japanese Pavilion for the 1937 Paris Expo as a new Japanese International Style architecture.
    [Show full text]
  • 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.
    [Show full text]
  • Proceedings Viiith International Docomomo
    international working party for documentation and conservation of buildings, sites and neighborhoods of the modern movement Proceedings VIIIth International Conference Import-Export: Postwar Modernism in a Expanding World, 1945-1975 Editors Theodore H.M. Prudon Hélène Lipstadt DOCOMOMO International DOCOMOMO US New York, 2008 In memory of Paul S. Byard (1939-2008) His enthusiastic support made this conference a success Contents The VIIIth International DOCOMOMO Conference Import-Export: Postwar Modernism in an Expanding World, 1945-1975 Preface Influence And Transformation: The Saskatchewan Power Theodore H. M. Prudon and Hélène Lipstadt ............................ 1 Corporation Headquarters Bernard Flaman ....................................................................... 67 DOCOMOMO US and Change in Preservation in America Theodore H. M. Prudon and Hélène Lipstadt ............................ 3 A Modern Museum in an Old House by the Sea: Lina Bo Bardi and the Modernism of Bahia The 2004 Conference Theme Silvana Rubino ........................................................................ 73 Hélène Lipstadt.......................................................................... 5 Augusto H. Álvarez: Pioneer and Innovator of Mexican Modernity María de Lourdes Cruz González Franco ............................... 79 INTERNATIONALIZATION ....................................................... 7 From International to National and Back: the heritage of Modern Jaqueline Tyrwhitt, Sandy Van Ginkel, Blanche Lemco and Movement in the new
    [Show full text]
  • EAHN 6Th International Meeting Conference Proceedings 2
    EAHN 6th International Meeting Conference Proceedings 2 Credits Scientific Committee Organising Committee Richard Williams Richard Anderson University of Edinburgh University of Edinburgh Richard Anderson Richard Williams University of Edinburgh University of Edinburgh Mark Crinson Alex Bremner University of London University of Edinburgh Jorge Correia Peter Clericuzio University of Minho University of Edinburgh Andres Kurg Alistair Fair Estonian Academy of Arts University of Edinburgh Ola Uduku Clive Fenton Manchester Metropolitan University Docomomo Scotland Kathleen James-Chakraborty Tessa Giblin University College Dublin University of Edinburgh Matteo Burioni Miles Glendinning Ludwig-Maximilians-Universität München University of Edinburgh Sabine Frommel John Lowrey Sorbonne University of Edinburgh Elizabeth Petcu University of Edinburgh Margaret Stewart University of Edinburgh Diane Watters Historic Environment Scotland 3 Contents Preface 5 Sessions and Papers 6 Parallel Papers 01 22 Parallel Papers 02 82 Parallel Papers 03 136 Parallel Papers 04 202 Parallel Papers 05 224 Index of Names 281 Acknowledgements 284 4 5 Preface The publication you are reading is a record of the EAHN2021 International Conference, hosted by the University of Edinburgh. The abstracts and papers included in this publication offer a perspective on the themes and questions that are driving architectural history today. The labour that has contributed to this event by the scientific and organising committees, session chairs, speakers, and support staff has been
    [Show full text]
  • Executive Summary
    THIS PAGE INTENTIONALLY LEFT BLANK Hawaii Modernism Context Study 1 Executive Summary This report presents historical research on the built environment in Hawaii during the “Modern” period of 1939 to 1979, with an emphasis on the years between 1947 to 1967. The study summarizes information about the architectural history, leading practitioners, urban planning, significant historic and cultural influences, and relationship to national and international movements specific to the resources of the Hawaiian Islands. The framework provided in this study for the identification and evaluation of buildings, structures and landscapes associated with the modern movement in Hawaii may be utilized by Hawaii’s preservation professionals to advance the dialogue with the community about significant buildings, districts, sites and structures. Additional recommendations for future efforts that strive to preserve modern era resources are included in this report. Hawaii experienced profound changes between 1939 and 1979 primarily from America’s entry into World War II and resulting effects from that historic event. The territory emerged as the fiftieth state and political power shifted from a Republican run government to Democratic one. Concurrently, Hawaii’s main industry transitioned from large-scale agriculture to tourism. The population boom spurred related development so extensive that the only period in Hawaii’s history which may have experienced more dramatic change was the half century or so after the initial introduction of western culture. In this study, Hawaii’s modern architecture, engineering and design are placed within both a local and national context. The influences of Gropius, Mies van der Rohe, Le Corbusier, Mendelsohn, Saarinen, and Frank Lloyd Wright are noted.
    [Show full text]
  • Transnational Architecture and New Femininity
    Transnational Architecture and New Femininity Charlotte Perriand (1903-1999) and Kazuyo Sejima (b. 1956) stand as paradigms of a Western-Japanese architectural dialogue. Their transformative encoun- ters between their familiar territory and one far away, between Japan and the West, began before leaving their own homes. In turn, they both took advantage of contexts of female dynamism, in France is the 1920s and in Japan in 1980s. Perriand’s and Sejima’s approach was highly personal, designing objects for themselves, using body as a unit of measurement, and promoting their image. This paper evaluates the role of the New Woman in architecture as a proactive status associated to moments of economic splendor and technological revolu- tions as well as the flourishing of urban nomadism across national borders, which demanded novelty and experimentation in architecture. MARTA RODRIGUEZ Transnationalism creates a blurring, a reordering of cultural, social and episte- University of Houston mological binary distinctions in our modern period. Transnationalism accepts ‘style’ without hierarchy; it offers cultural equivalence and global adaptation, enabled by communication technologies. Transnationalism is associated with nomadism, pronounced in times of strong economic growth and social revolu- tion. Transnational architects/designers are frequently disciples of great mas- ters, who undergo a transforming encounter by ‘avant la lettre’ contact with other culture(s). They are transformed because what actually travel are objects, projects, models or ideas, and they produce architecture of fusion between dif- ferent cultural entities. Transnational designers have had more capacity of trans- formation than their mentors, who have traditionally been advocates of their own ideas. It is relevant to analyze the transnational in relation to Japanese architecture and the interpretation that the West made of its architectural tradition.
    [Show full text]
  • Yarp 1119 Submitted to the Faculty of The
    TOWARDS A JAPANESE ARCHITECTURE Item Type text; "Report"-Reproduction (electronic) Authors ZHU, ZHENGYANG Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 07/10/2021 07:41:29 Link to Item http://hdl.handle.net/10150/555401 YARP 1119 SUBMITTED TO THE FACULTY OF THE COLLEGE OF ARCHITECTURE IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARCHITECTURE IN THE GRADUATE COLLEG OF THE UNIVERSITY OF ARIZONA 1993 ZHENGYANGZHU r ' r / ;/ r- v r r v w* 'J J # * *v < * * * ‘ - - ;!%!7/ u;: APPROVED BY THE GRADUTE COMMITEE Prof. Ellery Green Commitee Chair Professor Fred Matter Committe Member Professor Robert Dvorak Commitee Member ACKNOWLEDGMENTS I wish to acknowledge the following people for their valuable contributions to this report: Professor E. Green, who directed me and provided insightful suggestions and information in all phases of the report. Professor F. Matter, who made me think critically and helped me organize the whole report. Professor R. Dvorak, who encouraged and helped me throughout the whole process. Finally My friends, for their encouragement and assis­ tance in all stages of this report. TABLE OF CONTENTS I INTRODUCTION 1 3 THE NATION 2 MAJOR PHILOSOPHICAL THOUGHTS 8 Shinto II Buddhism 12 Zen Buddhism 14 Confucianism 15 Taoism 16 Geomancy 3 TRADITIONAL ARCHITECTURE AND ARCHITECTURAL TRADITION 21 Traditional Architecture 30 Architectural Tradition 4 TOWARDS A JAPANESE ARCHITECTURE 54 Kunio Maekawa 57 Junzo Sakakura 61 Kenzo Tange 75 Kisho Kurokawa 95 Arata Isozaki 110 Fumihiko Maid 120 Tadao Ando 131 Monta Mozuna 139 Toyo Ito 5 144 Conclusion 147 Bibliography 1 I ntroduction Research Issue Today, Western cultural patterns dominate architectural theory.
    [Show full text]