DOCSLIB.ORG

Composition of Threshold in Japanese Contemporary Architecture Located

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

計画系 696 号 【カテゴリーⅠ】 日本建築学会計画系論文集 第79巻 第696号，365-372，2014年 ₂ 月 J. Archit. Plann., AIJ, Vol. 79 No. 696, 365-372, Feb., 2014 COMPOSITION OF THRESHOLD IN JAPANESE CONTEMPORARY ARCHITECTURE LOCATED IN URBAN PARKS COMPOSITION都市公園に建つ現代日本の建築作品における閾の構成 OF THRESHOLD IN JAPANESE CONTEMPORARY ARCHITECTURE LOCATED IN URBAN PARKS Guillaume FAAS＊ and Yoshiharu TSUKAMOTO＊＊ 都市公園に建つ現代日本の建築作品における閾の構成 ファース ギョーム，塚 本 由 晴 Guillaume FAAS*, Yoshiharu TSUKAMOTO** ファース・ ギョーム， 塚本由晴 The aim of this study is to clarify the composition of threshold in Japanese contemporary architecture located in urban parks. “Threshold” is seen as a space which possesses the potential to provide people with a place to congregate, rest, and views to the vicinity. The principle of threshold is seen as the transitional space from the exterior to the interior in public architecture that can have different character by various arrangement of elements and open space according to the access circulation. First, the elements that compose the threshold are defined. Second, the arrangement of the threshold is examined. Third, the compositional diagrams of the threshold with the Volume are examined, and typologies of the threshold are established. From the comparison of these typologies four characteristics with tendencies are clarified: Isolating (the interior), Concentrating (the exterior, the interior, the exterior with depth), Dispersing (the interior, the interior with depth, the interior and of the exterior, the interior and the exterior with depth), Blurring (the interior and the exterior) Keywords: Japanese Contemporary architecture, Urban Park, Threshold, Composition, Arrangement, Typology. 現代日本建築作品， 都市公園， 閾，構成，配列，類型 1 Introduction of a door. The sill defines the limit between two distinct spaces, 1.1 Background and purpose which can be between an exterior and an interior, between two Public facilities do not only serve activities for people, but also exteriors or between two interiors. The sill is always in between provide people opportunities to gather and meet each other, in since it belongs to the spaces on both sides. In this paper, this in- light of the fact they are open to all. The spatial transition be- betweenness of the sill as the treshold is extended into spatial tween the exterior and the interior of the architecture possesses composition. the potential to provide people a place to congregate and rest 1), After the Second World War, the Japanese society has built and a view towards the vicinity. This transitional space is seen many public facilities within urban parks 5) which welcome people as a “mise-en-scene” 2), for the coexistence of different people and for recreational activities and offer them a more natural environ- their behaviors 3), which is the basic condition of public space even ment with lawns, trees or ponds in the city. In the urban fabric, in the territory of a single building. A previous paper 4) examined the transitional space between exterior and interior, is defined by “exterior slanted space” as a public space promoted in the single existing built structure such as buildings, squares, streets, but in public facility. This paper focuses on the type of space calling it a urban parks it is defined by the architectural element with open “threshold” in public facilities. space. It shows how architecture can have an effect on exterior The threshold is defined by the succession of architectural ele- space which is less defined by the boundary than architecture, and ments, activated by the access circulation toward the entrance. how this effect integrate the open space within the architectural The principle of threshold can be explained by referring to the sill composition. ＊ Faastatekawa Architectes, Dr. Eng. Faastatekawa Architectes 博士（工学） ＊＊ Assoc. Prof., Dept. of Architecture and Built Eng., Tokyo Institute of Technology, Dr. Eng. 東京工業大学大学院理工学研究科建築学専攻 * faastatekawa architectes・博士（工学） faastatekawa architectes, Dr. Eng. 准教授・博士（工学） ** 東京工業大学大学院理工学研究科建築学専攻 准教授・博士（工学） Assoc. Prof., Dept. of Architecture and Built Eng., Tokyo Institute of Technology, Dr. Eng. － 365 － 1 In that particular condition, contemporary Japanese architecture exterior interior attempts to introduce various characteristics of the threshold as a device to promote social behaviors within urban parks. It is im- approach entrance portant to establish a theoretical frameworks in order to make the “sill” 6) role of the composition of the threshold in the design practice exterior interior adjacent open space exterior interior architecture architecture (water/pavement) more understandable. exterior interior (arcade) (hall) architecture architecture approach entrance The aim of this study is to investigate the composition of thresh- adjacent open space old and clarify its characteristics for the contribution to promote approach entrance “threshold” public space in contemporary Japanese architecture located in ur- “threshold” Gallery of Horyuji Treasures - Ueno park ban parks, built during the post-war period in Japan (1950-2012). Fig. 1 Principle of threshold in architecture located in urban park 1.2 Principle of threshold Table 1 Urban park type according to year issued 2 The threshold, the transitional space from the exterior to the 00`s~ (14) a c a a a a a s s a c s a 2 2 2 2 interior in public architecture can have different characters by 90`s (24) a cc c a s c s a s c a c s s c c a s a 2 80`s (23) c a c c c c a c c c s c c a c c c s a c a s 2 2 2 the various arrangement of the architectural elements and the 70`s (18) c a a c a c s s c a c c c a c 3 60`s (7) a c s s c open space according to the access circulation. In this principle, year issued the open space is distinguished by whether it holds access or not, 50`s (2) a c 0,25~5 ha 5~10 ha 10~75 ha 75~ ha architectural elements are distinguished by whether it is interior Neigh- Recre- District City Nucleus legend: borhood ational urban urban a: administrative (29) or exterior, and entirely closed or not (Fig. 1). urban ; c: cultural (40); s: sport (19) urban park (13) park (62) park (6) ex: s 3 > three sport facilities park(7) Based on this principle, 88 samples (Attached Table 1) were type of urban park found in Japanese contemporary architecture built after the Sec- Table 2 Elements of threshold and volume ond World War located in urban parks surrounded by urban fab- ric. These samples are published in the periodical Shinkenchiku 7) open space exterior architecture interior architecture no definitive no definitive no definitive definitive from 1950 to present, due to its consistent approach of review and function function function function free restricted the precision of its data. The information was based on the pho- entrance entrance visual partial visual visual partial visual tographic images, plans and sections 8). In this paper, the urban connection connection connection connection park has to be surrounded by urban fabric. Most of the works have been constructed during the 1990s (24) Enclosure, Pavement, exhibition, and the 1980s (23); followed by a smaller proportion in the 1970s etc: e sand, etc: p storage, etc (18), 2000s (14), 1960s (7) and the 1950s (2). Most of the works all/partially no visual visual connection connection are grouped into Large Scale Urban Parks of a City Nucleus (62), Grass: g Trees, Arcade, bush, porch, followed by District Urban Park (13), then Recreational (7), and garden: t etc: a in a smaller number, for Neighborhood Use (6). The buildings` Water: wa function are mainly cultural (40) institutions, such as museum, no definitive function Hall, foyer, definitive function /free entrance etc: h /restricted entrance followed by administrative (29), such as community centers and Stairs: st /all-partial visual connection /no visual connection sport (19) such as stadiums (Table 1). Element of threshold Volume : v 1.3 Relevancy p There are several studies that show a correlation with this pa- volume access in pavement v entrance per. From the viewpoint of architectural composition, studies by arcade enclosure volume and st v e p Terauchi and Sakamoto on buildings with separated blocks by ar- hall g v a a h v v ticulation of the site that demonstrates the relationship between h e entrance p 9) 10) v st the building and its surroundings , on approach space , and p g entrance access in p pavement access in pavement volume on the arrangement of exterior spatial elements, which shows the pg adjacent to grass v importance of coupling elements such as solid/plane and artificial/ natural into the composition of the exterior space 11). A study by No 11 morioka castle park No 59 meiji park iwate prefecture library tokyo sports hall Nakai and Sakamoto on exterior spatial composition and condi- arrangement of correlation arrangement of correlation threshold according with volume threshold according with volume tions of location exhibits how the spatial composition determines to circulation to circulation 12) the public characteristics of the typology . These studies give ar- v p p v h st p h st chitectural composition relevancy for the study of exterior space. e g e a a v g g v From the viewpoint of social environment, a study by Oshima; pg p p Amano; Taniguchi on use and sitting behaviors of museums in Fig. 2 Analysis example 1 Fig. 3 Analysis example 2 － 366 － 2 In that particular condition, contemporary Japanese architecture parks shows how visitors show interest for sitting space, such as a from a pavement as an access adjacent to grass, an arcade to a exterior interior attempts to introduce various characteristics of the threshold as hall or the surrounding of the museum entrance 13). It proves the transparent hall that includes one entrance, and is intruded in a device to promote social behaviors within urban parks.
Recommended publications
  • Katsura Imperial Villa: the Photographs of Ishimoto Yasuhiro

    Katsura Imperial Villa: the Photographs of Ishimoto Yasuhiro

    Art in the Garden Katsura Imperial Villa: The Photographs of Ishimoto Yasuhiro Winter 2011 Katsura Imperial Villa: The Photographs of Ishimoto Yasuhiro This exhibition celebrates one of the most exquisite Harry Callahan and Aaron Siskind. He received the magnum opus 1955 exhibition titled The Family of THE MA OF MODERNISM: THE BOX architectural and garden treasures of Japan— Moholy-Nagy Prize awarded to top students of the Man at the Museum of Modern Art, New York. CONSTRUCTIONS OF DANIEL FAGERENG Katsura Imperial Villa in Kyoto—and one of its finest Institute for two consecutive years in 1951 and 1952. The box constructions of Daniel Fagereng were on living photographers, Ishimoto Yasuhiro, whose In 1966, Ishimoto returned again to Japan, where he view in conjunction with the Katsura photography 1953 images of Katsura introduced this unrivalled In 1953, Ishimoto returned to Japan to photograph became a professor at the Tokyo University of Art exhibition. The artist reinterprets the elements and masterpiece to the world. Katsura Detached Palace, and published the and Design. In 1969, he became a Japanese citizen. book, Katsura: Tradition and Creation in Japanese He visited Kyoto again in 1982, re-photographing components of traditional Japanese architecture in Born in San Francisco in 1921, and raised in Japan, Architecture, in 1960 with text by Walter Gropius Katsura in color to capture his own personal these mixed media constructions using light, line, Ishimoto returned to the U.S. at the age of 17 to and Tange Kenzo, two of the greatest architects of the vision of the richer, more complex character of and shadow as compositional elements.
  • Japanese Gardens at American World’S Fairs, 1876–1940 Anthony Alofsin: Frank Lloyd Wright and the Aesthetics of Japan

    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.
  • Watanabe, Tokyo, E

    Watanabe, Tokyo, E

    Edition Axel Menges GmbH Esslinger Straße 24 D-70736 Stuttgart-Fellbach tel. +49-711-574759 fax +49-711-574784 Hiroshi Watanabe The Architecture of Tokyo 348 pp. with 330 ill., 161,5 x 222 mm, soft-cover, English ISBN 3-930698-93-5 Euro 36.00, sfr 62.00, £ 24.00, US $ 42.00, $A 68.00 The Tokyo region is the most populous metropolitan area in the world and a place of extraordinary vitality. The political, economic and cultural centre of Japan, Tokyo also exerts an enormous inter- national influence. In fact the region has been pivotal to the nation’s affairs for centuries. Its sheer size, its concentration of resources and institutions and its long history have produced buildings of many different types from many different eras. Distributors This is the first guide to introduce in one volume the architec- ture of the Tokyo region, encompassing Tokyo proper and adja- Brockhaus Commission cent prefectures, in all its remarkable variety. The buildings are pre- Kreidlerstraße 9 sented chronologically and grouped into six periods: the medieval D-70806 Kornwestheim period (1185–1600), the Edo period (1600–1868), the Meiji period Germany (1868–1912), the Taisho and early Showa period (1912–1945), the tel. +49-7154-1327-33 postwar reconstruction period (1945–1970) and the contemporary fax +49-7154-1327-13 period (1970 until today). This comprehensive coverage permits [email protected] those interested in Japanese architecture or culture to focus on a particular era or to examine buildings within a larger temporal Buchzentrum AG framework. A concise discussion of the history of the region and Industriestraße Ost 10 the architecture of Japan develops a context within which the indi- CH-4614 Hägendorf vidual works may be viewed.
  • Faith and Power in Japanese Buddhist Art, 1600-2005

    Faith and Power in Japanese Buddhist Art, 1600-2005

    japanese art | religions graham FAITH AND POWER IN JAPANESE BUDDHIST ART, 1600–2005 Faith and Power in Japanese Buddhist Art explores the transformation of Buddhism from the premodern to the contemporary era in Japan and the central role its visual culture has played in this transformation. The chapters elucidate the thread of change over time in the practice of Bud- dhism as revealed in sites of devotion and in imagery representing the FAITH AND POWER religion’s most popular deities and religious practices. It also introduces the work of modern and contemporary artists who are not generally as- sociated with institutional Buddhism but whose faith inspires their art. IN JAPANESE BUDDHIST ART The author makes a persuasive argument that the neglect of these ma- terials by scholars results from erroneous presumptions about the aes- thetic superiority of early Japanese Buddhist artifacts and an asserted 160 0 – 20 05 decline in the institutional power of the religion after the sixteenth century. She demonstrates that recent works constitute a significant contribution to the history of Japanese art and architecture, providing evidence of Buddhism’s persistent and compelling presence at all levels of Japanese society. The book is divided into two chronological sections. The first explores Buddhism in an earlier period of Japanese art (1600–1868), emphasiz- ing the production of Buddhist temples and imagery within the larger political, social, and economic concerns of the time. The second section addresses Buddhism’s visual culture in modern Japan (1868–2005), specifically the relationship between Buddhist institutions prior to World War II and the increasingly militaristic national government that had initially persecuted them.
  • Japanese Spatial Culture, Nature and Architecture

    Japanese Spatial Culture, Nature and Architecture

    PATTERNS and LAYERING Japanese Spatial Culture, Nature and Architecture Foreword by Kengo KUMA Edited by Salvator-John A. LIOTTA and Matteo BELFIORE PATTERNS and LAYERING Japanese Spatial Culture, Nature and Architecture Foreword: Kengo KUMA Editors: Salvator-John A. LIOTTA Matteo BELFIORE Graphic edition by: Ilze PakloNE Rafael A. Balboa Foreword 4 Kengo Kuma Background 6 Salvator-John A. Liotta and Matteo Belfiore Patterns, Japanese Spatial Culture, Nature, and Generative Design 8 Salvator-John A. Liotta Spatial Layering in Japan 52 Matteo Belfiore Thinking Japanese Pattern Eccentricities 98 Rafael Balboa and Ilze Paklone Evolution of Geometrical Pattern 106 Ling Zhang Development of Japanese Traditional Pattern Under the Influence of Chinese Culture 112 Yao Chen Patterns in Japanese Vernacular Architecture: Envelope Layers and Ecosystem Integration 118 Catarina Vitorino Distant Distances 126 Bojan Milan Končarević European and Japanese Space: A Different Perception Through Artists’ Eyes 134 Federico Scaroni Pervious and Phenomenal Opacity: Boundary Techniques and Intermediating Patterns as Design Strategies 140 Robert Baum Integrated Interspaces: An Urban Interpretation of the Concept of Oku 146 Cristiano Lippa Craft Mediated Designs: Explorations in Modernity and Bamboo 152 Kaon Ko Doing Patterns as Initiators of Design, Layering as Codifier of Space 160 Ko Nakamura and Mikako Koike On Pattern and Digital Fabrication 168 Yusuke Obuchi Foreword Kengo Kuma When I learned that Salvator-John A. Liotta and Matteo Belfiore in my laboratory had launched a study on patterns and layering, I had a premonition of something new and unseen in preexisting research on Japan. Conventional research on Japan has been initiated out of deep affection for Japanese architecture and thus prone to wetness and sentimentality, distanced from the universal and lacking in potential breadth of architectural theories.
  • Downloads/2003 Essay.Pdf, Accessed November 2012

    Downloads/2003 Essay.Pdf, Accessed November 2012

    UCLA UCLA Electronic Theses and Dissertations Title Nation Building in Kuwait 1961–1991 Permalink https://escholarship.org/uc/item/91b0909n Author Alomaim, Anas Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Nation Building in Kuwait 1961–1991 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Architecture by Anas Alomaim 2016 © Copyright by Anas Alomaim 2016 ABSTRACT OF THE DISSERTATION Nation Building in Kuwait 1961–1991 by Anas Alomaim Doctor of Philosophy in Architecture University of California, Los Angeles, 2016 Professor Sylvia Lavin, Chair Kuwait started the process of its nation building just few years prior to signing the independence agreement from the British mandate in 1961. Establishing Kuwait’s as modern, democratic, and independent nation, paradoxically, depended on a network of international organizations, foreign consultants, and world-renowned architects to build a series of architectural projects with a hybrid of local and foreign forms and functions to produce a convincing image of Kuwait national autonomy. Kuwait nationalism relied on architecture’s ability, as an art medium, to produce a seamless image of Kuwait as a modern country and led to citing it as one of the most democratic states in the Middle East. The construction of all major projects of Kuwait’s nation building followed a similar path; for example, all mashare’e kubra [major projects] of the state that started early 1960s included particular geometries, monumental forms, and symbolic elements inspired by the vernacular life of Kuwait to establish its legitimacy.
  • EDUCATING GORDON Recollections Accompanying an Exhibition of Professor Gordon Holden’S Student Drawings from 1964 to 1969

    EDUCATING GORDON Recollections Accompanying an Exhibition of Professor Gordon Holden’S Student Drawings from 1964 to 1969

    EDUCATING GORDON Recollections Accompanying an Exhibition of Professor Gordon Holden’s Student Drawings from 1964 to 1969 Gordon Holden 1967 INTRODUCTION This document is a brief account of recollections that accompanied an Exhibition launched at Griffith University – Gold Coast on 20 May 2016. The exhibition consisted of original design and technical drawings that I made over the duration of my studies – I re-discovered these documents when moving house in 2015. In 1964 the Diploma in Architecture program at the Brisbane Central Technical College (later Queensland Institute of Technology [1965] and Queensland University of Technology [1989]) was recognised as satisfying the educational requirements for graduates after practice experience and further examination to become registered architects and members of the Institute of Architects. Predecessor Diploma in Architecture programs at the Central Technical College on the Gardens Point Campus dated from 1918. The Architecture program was led by prominent architect, Mr Charles Fulton. All subjects were taught by practicing architects, engineers, builders and quantity surveyors, many of whom were distinguished in their respective profession. Classes were held week nights from 6 to 9pm. In 1964 first year classes were accommodated in what is building “U” in the space that is now the QUT’s Vice Chancellor’s offices. In 1967 Architecture moved to a new building designed by Steve Trotter adjacent to older buildings that dated from about 1915, alongside the House of Parliament boundary. In 1964 entry level education to the Dip Arch was a Senior High School qualification. Subjects required for entry were English, two Mathematics, Physics and Geometrical Drawing and Perspective or Art (plus Chemistry at least at Junior High School level).
  • Long-Overdue Book Highlights Historic and Unpublished Collection of Japanese Art

    Long-Overdue Book Highlights Historic and Unpublished Collection of Japanese Art

    Long-overdue book highlights historic and unpublished collection of Japanese art “What it is about Japanese art that transcends time and place to remain so visually stimulating and spiritually rewarding—as true today as it has been for centuries?” Linda C. Harrison, Preface Beyond Zen is a unique and fascinating visual history of Japanese Buddhist art largely dating from the Edo period (1600–1868) to the present day, through one of the finest collections in the USA. The richly-illustrated text offers a concise introduction to diverse Japanese Buddhist practices and the central role art plays in them. It showcases magnificent and rare works of Japanese art—ornate and gold leafed paintings, textiles, ceramics, and sculptures—from The Newark Museum of Art’s collection that reflect Mahayana and Mantrayana Buddhist practices. The volume is organized in seven sections that emphasize the functionality of the art through windows of practice embraced throughout all periods of Japanese Buddhist history. The “Buddha, Buddhas, and Bodhisattvas” chapter introduces central divine figures prominent in Mahayana Buddhist art. The “Life and Death” section illustrates Japanese Buddhist promises of paradises and punishments of hells. The “Health and Wealth” portion features both peaceful and wrathful Buddhist deities that promote physical and mental health, as well as spiritual and material wealth, while fending off negativities that bring disaster. ”Extending Enlightenment” considers the evolution of art in Buddhism while the “Teachers and Students” chapter addresses the vital, venerated role of teachers and transmission of knowledge. “From Ascetic to Saint” explores the narrative origins of a four-part illustrated hagiography depicting the ascetic life of the Buddhist monk Tokuhon.
  • Issues of Authority in Japanese Architecture

    Issues of Authority in Japanese Architecture

    Issues of Authority in Japanese Architecture Karen M. Gerhart Japanese architecture has often been discussed in terms of its decorative appeal, inspired by its beauty of form, its technically proficient construction, and its agreeable materials. While the focus on the aesthetic qualities of buildings reflects our own contemporary enthusiasms, it unfortunately obscures some of the very different original purposes of Japanese architecture. In pre-modern Japan, architecture was the privilege of the elite and power-seekers and was generally undertaken for reasons other than aesthetics; building signified power and authority. As in Europe and elsewhere, the building of grand structures signaled control over architects and craftsmen, sufficient wealth, and the ability to command others to provide material and labor. Building was also about establishing control and legitimacy. Indeed, the first act new rulers generally undertook was to construct buildings to represent the ideals of their rule. For example, regional leaders founded important shrines like Ise and Izumo as visual symbols of the efficacy of their clan deities, the Japanese emperor sponsored monumental temples, exemplified by Tōdaiji, to show the vigorous support of continental Buddhas for the royal family and the nation, and the warrior elite constructed immense castles, such as Azuchi Castle, in support of its own quest for legitimacy. These varied purposes were expressed in many ways—through elevation, sheer size, by limiting access, through innovative technology, and through beauty in the form of fine materials and intricate decorations. I will discuss here a number of buildings in pre-modern Japan that were designed to exemplify the power and authority of their makers.
  • THEMES, SCENES, and TASTE in the HISTORY of JAPANESE GARDEN ART Promotoren: Ir.M .J

    THEMES, SCENES, and TASTE in the HISTORY of JAPANESE GARDEN ART Promotoren: Ir.M .J

    THEMES, SCENES, AND TASTE IN THE HISTORY OF JAPANESE GARDEN ART Promotoren: Ir.M .J . Vroom Hoogleraar in de Landschapsarchitektuur Dr.W.R.vanGulik Bijzonder Hoogleraar in de Materiële Cultuurkunde en Kunstgeschiedenis van Japan en Korea (Rijks­ universiteit Leiden) Dr.M .Nakamur a Hoogleraar in de Landschapsarchitektuur (Kyoto University) VïJÖ2lO\y\Z0$ STELLINGEN 1. De situering van tuin en gebouwen van de paleizen uit de Japanse Heian tijd was het resultaat van bescheiden aanpassingen van de bestaande topografie. (Dit proefschrift) 2. Planten werden in de Heian paleistuin geplant om een stemming weer te geven, niet omwille van een estetisch beeld. Deze stemming berustte op het oproepen en herkennen van welbekende poëtische thema's, onlosmakelijk verbonden met bepaalde plantensoorten. (Dit proefschrift) 3. Vroeg veertiende eeuwse tuinen in Japan, die vormgegeven zijn met gebruikmaking van Chinese kompositietheoriën uit de Song landschapsschilderkunst, zijn ontworpen door Chinezen. (Dit proefschrift) k. De opkomst van een groep van professionele, maar ongeletterde tuinenmakers in de tweede helft van de middeleeuwen in Japan, droeg bij aan het totstandkomen van een vormgeving die het scheppen van taferelen ten doel had, welke gewaardeerd werden op uiterlijke schoonheid. (Dit proefschrift) 5. De Japanse 'droge landschapsstijl' (karesansui) is als zodanig in de twintigste eeuw gedefinieerd. (Dit proefschrift) 6. Het valt op zijn minst te betwijfelen dat middeleeuwse tuinenmakers in Japan de bedoeling hadden de Zen filosofie tot uitdrukking te brengen. De gedachte dat de Zen filosofie met materiële vormen in een tuin tot uitdrukking gebracht wordt dateert uit de dertiger jaren van deze eeuw. (Dit proefschrift) 7. De inrichting van de Japanse zestiende eeuwse theetuin was in de grond van de zaak funktioneel.
  • Draft Landmark Designation Report

    Draft Landmark Designation Report

    DRAFT LANDMARK DESIGNATION REPORT Peace Pagoda & Peace Plaza Peace Plaza, Japantown Draft Article 10 Landmark Designation Report submitted to the Historic Preservation Commission, XXXXXXXX City and County of San Francisco Planning Department Landmark No. Edwin M. Lee, Mayor John Rahaim, Director XXX Cover: Peace Pagoda, 2013. The Historic Preservation Commission (HPC) is a seven-member body that makes recommendations to the Board of Supervisors regarding the designation of landmark buildings and districts. The regulations governing landmarks and landmark districts are found in Article 10 of the Planning Code. The HPC is staffed by the San Francisco Planning Department. This Draft Landmark Designation Report is subject to possible revision and amendment during the initiation and designation process. Only language contained within the Article 10 designation ordinance, adopted by the San Francisco Board of Supervisors, should be regarded as final. CONTENTS OVERVIEW ................................................................................................................................................................. 3 BUILDING DESCRIPTION ....................................................................................................................................... 4 Peace Pagoda ........................................................................................................................................................... 4 Peace Plaza ..............................................................................................................................................................
  • Building Warrior Legitimacy in Medieval Kyoto Matthew Stavros

    Building Warrior Legitimacy in Medieval Kyoto Matthew Stavros

    East Asian History NUMBER 31 . J UNE 2006 Institute of Advanced Studies The Australian National University Editor Geremie R. Barme Associate Editors Benjamin Penny Lindy Shultz Business Manager Marion Weeks Editorial Board B0rge Bakken John Clark Helen Dunstan Louise Edwards Mark Elvin John Fitzgerald Colin Jeffcott Li Tana Kam Louie Lewis Mayo Gavan McCormack David Marr Tessa Morris-Suzuki Kenneth Wells Design and Production Oanh Collins, Marion Weeks, Maxine McArthur Printed by Goanna Print, Fyshwick, ACT This is the thirty-first issue of East Asian History, printed in October 2007, in the series previously entitled Papers on Far Eastern History. This externally refereed journal is published twice a year Contributions to The Editor, East Asian History Division of Pacific and Asian History Research School of Pacific and Asian Studies The Australian National University Canberra ACT 0200, Australia Phone +61 26125 3140 Fax +61 2 6125 5525 Email [email protected] Subscription Enquiries to Subscriptions, East Asian History, at the above address, or to marion. [email protected] Annual Subscription Australia A$50 (including GST) Overseas US$45 (GST free) (for two issues) ISSN 1036-6008 iii .4!. CONTENTS 1 Building Warrior Legitimacy in Medieval Kyoto Matthew Stavros 29 Building a Dharma Transmission Monastery in Seventeenth-Century China: The Case of Mount Huangbo Jiang Wu 53 The Genesis of the Name "Yeke Mongyol Ulus"• . Igor de Rachewiltz 57 Confucius in Mongolian: Some Remarks on the Mongol Exegesis of the Analects Igor de Rachewiltz 65 A Note on YeW Zhu I[[H~ S and His Family Igor de Rachewiltz 75 Exhibiting Meiji Modernity: Japanese Art at the Columbian Exposition Judith Snodgrass 101 Turning Historians into Party Scholar-Bureaucrats: North Korean Historiography, 1955-58 Leonid Petrov iv Cover calligraphy Yan Zhenqing ~~ o~n, Tang calligrapher and statesman Cover illustration Higuchi Haruzane, Tea and Coffee set - "Exhibiting Meiji Modernity: Japanese Art at Columbina Exposition" by Judith Snodgrass, see p.90.