The Paradox of a Modern (Japanese) Architecture

Total Page:16

File Type:pdf, Size:1020Kb

The Paradox of a Modern (Japanese) Architecture The Paradox of a Modern (Japanese) Architecture Torben Daniel Berns History and Theory Program School of Architecture, McGili University Montreal, June 2002 A Dissertation submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements of the degree of Doctor of Philosophy. ©Torben Daniel Berns, June, 2002. National Library Bibliothèque nationale 1+1 of Canada du Canada Acquisitions and Acquisisitons et Bibliographie Services services bibliographiques 395 Wellington Street 395, rue Wellington Ottawa ON K1A DN4 Ottawa ON K1A DN4 Canada Canada Your file Votre référence ISBN: 0-612-85684-4 Our file Notre référence ISBN: 0-612-85684-4 The author has granted a non­ L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts from it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou aturement reproduits sans son permission. autorisation. Canada ABSTRACT The Paradox of a Modern (Japanese) Architecture This thesis analyzes the problems and contradictions inherent in modernity's levelling of the fabricative and political realms. Seeking a broader perspec­ tive on the origins of aesthetic culture and aestheticized politics, it examines the relation of architecture to technology, culture, and politics. The thesis examines the consequences of the Enlightenment and "Radical Enlighten­ ment" (understanding the ri se of the modern nation-state as a direct conse­ quence of the 18th century's yoking of history and nature) from the perspec­ tive of Japan and its encounter with modernity. Japan as a modern nation­ state, neither part of the European Enlightenment nor colonized by its instru­ ments, was able to initiate a unique discourse around the question of history and the concomitant issues of identity and nihilism. The thesis tracks the discourse through architecture as the terms shift and become more and more indistinguishable from the Western manifestations from which the Japanese architects wished to claim distinction. The discussion on difference and possibility-cultural identity and the cre­ ative project-as fundamental questions for a contemporary practice of ar­ chitecture is undertaken through an analysis of the polar positions of Tange Kenzo and Shirai Sei'ichi. RÉSUMÉ Le Paradoxe d'une Architecture (Japonaise) Moderne Cette thèse analyse les problèmes et les contradictions inhérentes au nivellement du domaine structurel et du domaine politique de la modernité. En essayant de prendre une perspective plutôt large des origines de la cul­ ture esthétique et de la politique esthétisée, la thèse examine le rapport de l'architecture à la technologie, la culture et la politique. Cette thèse examine aussi les conséquences du Siècle des Lumières et même le Siècle des Lumières 'radical' (considérant l'ascension de l'état-nation comme une conséquence directe du dix-huitième siècle et son attelage de l'histoire et de la nature), du point de vue du Japon et de sa rencontre avec la modernité. Le Japon, un état-nation moderne, qui ne fit pas partie du Siècle des Lumières Européen et ne fut pas colonisé par les instruments de ce dernier, fut ca­ pable d'initier un discours unique sur la question de l'histoire et des problèmes concomitants d'identité et de nihilisme. La thèse suit l'évolution des termes dans le discours de l'architecture qui finissent par se confondre de plus en plus aux manifestations analogues de l'Ouest dont les architectes japonais voulaient se distancer. La discussion sur les différences et les possibilités - sur l'identité culturelle et le projet créatif - comme questions fondamentales pour une pratique contemporaine de l'architecture se fait à partir de l'analyse des deux posi­ tions polaires suivantes; celles de Tange Kenzo et Shirai Sei'chi. ACKNOWLEDGEMENTS 1gratefully acknowledge the following support in the preparation of this the­ sis. Beginning with my committee, 1am sure no graduate student ever had a more supportive and fostering committee. For their patience and guidance 1 would like to thank Doctors Vikram Bhatt, and Ricardo Castro. 1am espe­ cially grateful to my external committee member, Dr. Donald Kunze for his direction, his friendship as weil his humour-even if he still sees me as "the Hegelian in the Vico camp." My supervisor, Dr. Alberto Pérez-G6mez, has in fact been my teacher and mentor for 19 years, and it is with the most profound gratitude that 1acknowl­ edge his influence and role at every stage of my development. 1thank my teacher and friend Katsuhiko Muramoto; one for introducing me to Japan; two for introducing me to Shirai (figuratively); three, for spending hour upon hour reading Shirai with me, line by line. Besides my own family, there is no one who has had such an immediate interest in the development and completion of the thesis. Much more than this, however, Katsu has been somewhat like Foucault's description of Hegel. Everytime 1am convinced 1 have turned a new corner to go somewhere no one has been before, 1find Katsu sitting there with a book in his hand, saying 'Torben, you should read this." 1thank Yatsuka Hajime who has generously provided me with published and unpublished manuscripts as weil as pointing me in the direction of fertile sources and ideas. The degree to which 1have been inspired and influenced by his writings will be evident to the reader. 1thank also Prof. David Stewart for his article on lrony as weil as his comments on the Shirai chapter. The thesis is stronger for them. 1thank my teachers at Kyoto University as my host institution in Japan. In particular 1am grateful to Professors Takada Mitsuo and Munemoto Junzo for welcoming me into their laboratory. 1am grateful to Prof. Iyori Tsutomu for welcoming me into his seminar and for his interest in the thesis. 1thank also Prof. Echigojima Kenichi of Tokyo University for his insights on Shirai as weil as his assistance. 1thank Prof. Martin Bressani for editing my essay on Metabolism. The es­ say, published separately, was not included here, but a number of com­ ments and phrasings have been extremely useful and helpful in the devel­ opment of my own thinking. 1thank Kobayashi Hiroto and Kobayashi Masumi for their assistance, in­ sights and friendship; also Terayama Toru for his translations of Shirai as weil as his many insights and questions concerning Shirai's language. The subsequent discussions were invaluable. 1would especially like to thank Mr. Shirai Ikuma for spending an afternoon with me in his father's house. 1hope that our discussion has borne fruit. 1would also Iike to thank posthumously ML Nakasuji Osamu of Hexa Design Office and co-founder of Tojüso. 1thank the members of Nezumi Udon for their limitless energy and encour­ agement as weil as ail they have shared with me: the myths, legends and gossips of the Kansai architecture world. 1especially appreciate the help and friendship of Fujiwara Shinji, K5ke Taro, Miyazaki Waka, and Kawai Akiko. The Japanese Ministry of Culture Monbusho Fellowship enabled me to carry out the groundwork for the thesis. Subsequent research was made possible by Cornell University Department of Architecture. As one of my host institu­ tions 1am extremely grateful for the support, dialogue and friendships this institution has awarded me. In particular 1would like to thank John Zissovici, Lily Chi and Milton Curry for their direct participation as interlocutors, as weil as their guidance. 1am indebted to Mark Cruvellier for facilitating much of what was accomplished in the last three years. 1thank the participants of the Comel! Japan Summer Program 2001 for trapsing ail over Japan with me in the interests of recreating the legacy pre­ sented in this thesis; this was preceded by two years of seminar students whose confusion and stubborness required me to continuously recast the argument. In particular 1thank Daisuke Chew, Nida Rehmen, Sahaja Malone­ Aram, Raymond Kwok and Alice Chen. 1also thank Zuzanna Karczewska and Daniel Dadoyan for their help in the final preparation of the thesis. 1would also like to acknowledge a huge debt to Prof. W. Tom Darby who indirectly though most forcibly has played a role in this thesis. It is through Prof. Darby that the inkling to weave Plato's argument with the poets through a Kojevian observation regarding a post-historical Japan gained appear­ ance in this thesis. 1am truly grateful toTsz Yan Ng for her untiring dedication and support. She has been invaluable in layout and editing, as weil as offering the advice that can only come from knowing the work and the author in aillights and in ail seasons. There is always other support which is less concrete but everywhere as necessary for a project of this duration. It is harder to account for and many go unacknowledged. 1must however thank Rie Sasaoka, the Sasaoka fam­ ily and the Omori family. Finally 1thank my immediate family who have made this project their own. 1 would especially Iike to thank my sister Rima Berns McGown, who having been down this road ahead of me, lovingly nudged, directed, buoyed my spirits, criticised, and edited as a scholar and writer. Most of ail, 1thank my father who taught me about architectural form, and my mother who taught me form's debt to appearance.
Recommended publications
  • 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.
    [Show full text]
  • Representations of Pleasure and Worship in Sankei Mandara Talia J
    Mapping Sacred Spaces: Representations of Pleasure and Worship in Sankei mandara Talia J. Andrei Submitted in partial fulfillment of the Requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences Columbia University 2016 © 2016 Talia J.Andrei All rights reserved Abstract Mapping Sacred Spaces: Representations of Pleasure and Worship in Sankei Mandara Talia J. Andrei This dissertation examines the historical and artistic circumstances behind the emergence in late medieval Japan of a short-lived genre of painting referred to as sankei mandara (pilgrimage mandalas). The paintings are large-scale topographical depictions of sacred sites and served as promotional material for temples and shrines in need of financial support to encourage pilgrimage, offering travelers worldly and spiritual benefits while inspiring them to donate liberally. Itinerant monks and nuns used the mandara in recitation performances (etoki) to lead audiences on virtual pilgrimages, decoding the pictorial clues and touting the benefits of the site shown. Addressing themselves to the newly risen commoner class following the collapse of the aristocratic order, sankei mandara depict commoners in the role of patron and pilgrim, the first instance of them being portrayed this way, alongside warriors and aristocrats as they make their way to the sites, enjoying the local delights, and worship on the sacred grounds. Together with the novel subject material, a new artistic language was created— schematic, colorful and bold. We begin by locating sankei mandara’s artistic roots and influences and then proceed to investigate the individual mandara devoted to three sacred sites: Mt. Fuji, Kiyomizudera and Ise Shrine (a sacred mountain, temple and shrine, respectively).
    [Show full text]
  • Composition of Threshold in Japanese Contemporary Architecture Located
    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.
    [Show full text]
  • 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.
    [Show full text]
  • Shaping Tokyo: Land Development and Planning Practice in the Early Modern Japanese Metropolis Carola Hein Bryn Mawr College, [email protected]
    Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Growth and Structure of Cities Faculty Research Growth and Structure of Cities and Scholarship 2010 Shaping Tokyo: Land Development and Planning Practice in the Early Modern Japanese Metropolis Carola Hein Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/cities_pubs Part of the Architecture Commons, History of Art, Architecture, and Archaeology Commons, and the Urban Studies and Planning Commons Custom Citation Hein, Carola. "Shaping Tokyo: Land Development and Planning Practice in the Early Modern Japanese Metropolis." Journal of Urban History 36, no. 4 (2010): 447-484. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/cities_pubs/20 For more information, please contact [email protected]. Shaping Tokyo: Land Development and Planning Practice in the Early Modern Japanese Metropolis Carola Hein Manuscript submitted to the Journal of Urban History in August 2007, revised and resubmitted March 2008. When German architect Bruno Taut drove in 1936 along the major road linking Tokyo and Yokohama, he criticized the inadequacy and superficiality of the modernizing Japanese built landscape. He later wrote about his revulsion: "I in particular had heard so much about Tokyo that I had no desire to see the city on the spot. […] In passing through the Inland Sea we had absorbed scenery of such rare beauty, had found so little of vulgar trash 1 in such buildings as could be glimpsed, that we could hardly take in the crabbed pretentiousness, the ludicrous would-be modernity of the tin façades that confronted us, could not fathom the loud hideousness of this confusion of architectural styles.
    [Show full text]
  • Illustration and the Visual Imagination in Modern Japanese Literature By
    Eyes of the Heart: Illustration and the Visual Imagination in Modern Japanese Literature By Pedro Thiago Ramos Bassoe A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor in Philosophy in Japanese Literature in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Daniel O’Neill, Chair Professor Alan Tansman Professor Beate Fricke Summer 2018 © 2018 Pedro Thiago Ramos Bassoe All Rights Reserved Abstract Eyes of the Heart: Illustration and the Visual Imagination in Modern Japanese Literature by Pedro Thiago Ramos Bassoe Doctor of Philosophy in Japanese Literature University of California, Berkeley Professor Daniel O’Neill, Chair My dissertation investigates the role of images in shaping literary production in Japan from the 1880’s to the 1930’s as writers negotiated shifting relationships of text and image in the literary and visual arts. Throughout the Edo period (1603-1868), works of fiction were liberally illustrated with woodblock printed images, which, especially towards the mid-19th century, had become an essential component of most popular literature in Japan. With the opening of Japan’s borders in the Meiji period (1868-1912), writers who had grown up reading illustrated fiction were exposed to foreign works of literature that largely eschewed the use of illustration as a medium for storytelling, in turn leading them to reevaluate the role of image in their own literary tradition. As authors endeavored to produce a purely text-based form of fiction, modeled in part on the European novel, they began to reject the inclusion of images in their own work.
    [Show full text]
  • 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.
    [Show full text]
  • The Goddesses' Shrine Family: the Munakata Through The
    THE GODDESSES' SHRINE FAMILY: THE MUNAKATA THROUGH THE KAMAKURA ERA by BRENDAN ARKELL MORLEY A THESIS Presented to the Interdisciplinary Studies Program: Asian Studies and the Graduate School ofthe University ofOregon in partial fulfillment ofthe requirements for the degree of Master ofArts June 2009 11 "The Goddesses' Shrine Family: The Munakata through the Kamakura Era," a thesis prepared by Brendan Morley in partial fulfillment ofthe requirements for the Master of Arts degree in the Interdisciplinary Studies Program: Asian Studies. This thesis has been approved and accepted by: e, Chair ofthe Examining Committee ~_ ..., ,;J,.." \\ e,. (.) I Date Committee in Charge: Andrew Edmund Goble, Chair Ina Asim Jason P. Webb Accepted by: Dean ofthe Graduate School III © 2009 Brendan Arkell Morley IV An Abstract ofthe Thesis of Brendan A. Morley for the degree of Master ofArts in the Interdisciplinary Studies Program: Asian Studies to be taken June 2009 Title: THE GODDESSES' SHRINE FAMILY: THE MUNAKATA THROUGH THE KAMAKURA ERA This thesis presents an historical study ofthe Kyushu shrine family known as the Munakata, beginning in the fourth century and ending with the onset ofJapan's medieval age in the fourteenth century. The tutelary deities ofthe Munakata Shrine are held to be the progeny ofthe Sun Goddess, the most powerful deity in the Shinto pantheon; this fact speaks to the long-standing historical relationship the Munakata enjoyed with Japan's ruling elites. Traditional tropes ofJapanese history have generally cast Kyushu as the periphery ofJapanese civilization, but in light ofrecent scholarship, this view has become untenable. Drawing upon extensive primary source material, this thesis will provide a detailed narrative ofMunakata family history while also building upon current trends in Japanese historiography that locate Kyushu within a broader East Asian cultural matrix and reveal it to be a central locus of cultural production on the Japanese archipelago.
    [Show full text]
  • 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.
    [Show full text]
  • Keys to the Flesh Flies of Japan, with the Description of a New Genus And
    〔Med. Entomol. Zool. Vol. 66 No. 4 p. 167‒200 2015〕 167 reference DOI: 10.7601/mez.66.167 Keys to the esh ies of Japan, with the description of a new genus and species from Honshu (Diptera: Sarcophagidae) Hiromu Kurahashi*, 1) and Susumu Kakinuma2) * Corresponding author: [email protected] 1) Department of Medical Entomology, National Institute of Infectious Diseases, Toyama 1‒23‒1, Shinjuku-ku, Tokyo 162‒8640 Japan 2) IDD Yamaguchi Lab., Aobadai 11‒22, Yamaguchi-shi, Yamaguchi 753‒0012 Japan (Received: 9 June 2015; Accepted: 2 October 2015) Abstract: A new genus and species of the Japanese Sarcophagidae, Papesarcophaga kisarazuensis gen. & sp. nov. is described and illustrated from Honshu, Japan. Practical keys to the Japanese 43 genera and 122 species are provided including this new species. A check list and data of specimens examined are also provided. Key words: Diptera, flesh flies, new species, new genus, Sarcophagidae, Japan INTRODUCTION The collection of Sarcophagidae made by the first author was studied during the course of the taxonomical studies on the calypterate muscoid flies from Japan since 1970 (Kurahashi, 1970). This was a revision of the subfamily Miltogramatinae dealing with seven genera and 14 species. Before this, Takano (1950) recorded seven genera and nine species of Japanese Sarcophagidae. Many investigation on the Japanese flesh flies made by Drs. K. Hori, R. Kano and S. Shinonaga beside the present authors. The results of these authors were published in the part of Sacophagidae, Fauna Japanica (Insecta: Diptera) and treated 23 genera and 65 species of the subfamilies of Sarcophaginae and Agriinae (=Paramacronychiinae), but the subfamily Miltogrammatinae was not included (Kano et al., 1967).
    [Show full text]
  • 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.
    [Show full text]
  • The Making of an American Shinto Community
    THE MAKING OF AN AMERICAN SHINTO COMMUNITY By SARAH SPAID ISHIDA A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2008 1 © 2007 Sarah Spaid Ishida 2 To my brother, Travis 3 ACKNOWLEDGMENTS Many people assisted in the production of this project. I would like to express my thanks to the many wonderful professors who I have learned from both at Wittenberg University and at the University of Florida, specifically the members of my thesis committee, Dr. Mario Poceski and Dr. Jason Neelis. For their time, advice and assistance, I would like to thank Dr. Travis Smith, Dr. Manuel Vásquez, Eleanor Finnegan, and Phillip Green. I would also like to thank Annie Newman for her continued help and efforts, David Hickey who assisted me in my research, and Paul Gomes III of the University of Hawai’i for volunteering his research to me. Additionally I want to thank all of my friends at the University of Florida and my husband, Kyohei, for their companionship, understanding, and late-night counseling. Lastly and most importantly, I would like to extend a sincere thanks to the Shinto community of the Tsubaki Grand Shrine of America and Reverend Koichi Barrish. Without them, this would not have been possible. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS ...............................................................................................................4 ABSTRACT.....................................................................................................................................7
    [Show full text]