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Training Report on Cultural Heritage Protection
Training Report on Cultural Heritage Protection Training Course for Researchers in Charge of Cultural Heritage Protection in Asia and the Pacific 2011 - Indonesia - 5 July - 4 August, 2011, Nara, Japan Cultural Heritage Protection Cooperation Office, Asia-Pacific Cultural Centre for UNESCO (ACCU) Training Report on Cultural Heritage Protection Training Course for Researchers in Charge of Cultural Heritage Protection in Asia and the Pacific 2011 - Indonesia - 5 July - 4 August, 2011, Nara, Japan Cultural Heritage Protection Cooperation Office, Asia-Pacific Cultural Centre for UNESCO (ACCU) Edited and Published by Cultural Heritage Protection Cooperation Office, Asia-Pacific Cultural Centre for UNESCO (ACCU) 757 Horen-cho, Nara 630-8113 Japan Tel: +81-(0)742-20-5001 Fax: +81-(0)742-20-5701 e-mail: [email protected] URL: http://www.nara.accu.or.jp Printed by Meishinsha Ⓒ Cultural Heritage Protection Cooperation Office, Asia-Pacific Cultural Centre for UNESCO (ACCU) 2012 Practical training of taking rubbing Practical training of drawing Practical training of photography The closing ceremony at the ACCU office Preface The Cultural Heritage Protection Cooperation Office, Asia-Pacific Cultural Centre for UNESCO (ACCU Nara) was established in August 1999 with the purpose of serving as a domestic centre for promoting cooperation in cultural heritage protection in the Asia-Pacific region. Subsequent to its establishment, our office has been implementing a variety of programmes to help promote cultural heritage protection activities, in close cooperation with the Agency for Cultural Affairs, Japan (Bunkacho); National Institutes for Cultural Heritage, National Research Institute for Cultural Properties, Tokyo and Nara; the Nara Prefectural Government; the Nara Municipal Government; universities; and museums. -
2019 Annual Report
2019 Annual Report Te Hiranga Rū QuakeCoRE Aotearoa New Zealand Centre for Earthquake Resilience Contents ___ Directors’ Report 3 Chair’s Report 4 About Us 5 Our Outcomes 6 Research Research overview 7 Technology platforms 8 Flagship programmes 9 Other projects 10 Scrap tyres find new lives as earthquake protection 11 How effective is insurance for earthquake risk mitigation? 13 Toward functional buildings following major earthquakes 15 Collaboration to Impact Preparing for quakes: Seismic sensors and early warning systems 17 What makes a resilient community? 19 Collaboration a key tool in natural hazard public education 21 Human Capability Development Connections through quakes: International researchers tour New Zealand 23 Research in Te Ao Māori 25 The QuakeCoRE postgraduate experience 27 Recognition highlights 29 Financials, Community and Outputs Financials 33 At a glance 34 Community 35 Publications 41 Directors’ Report 2019 ___ Te Hiranga Rū QuakeCoRE formed in 2016 with a vision of transforming the QuakeCoRE continues to exhibit collaborative leadership domestically and earthquake resilience of communities throughout Aotearoa New Zealand, and in internationally. We highlight the strong alignment achieved with the ‘Resilience to four years, we are already seeing important progress toward this vision through our Nature’s Challenges’ National Science Challenge, progress associated with our on- focus on research excellence, deep national and international collaborations, and going commitment to Mātauranga Māori, partnership research between the public human capability development. and private sectors through community participation in seismic sensor deployment, and also the ‘Learning from Earthquakes’ programme as an example of international In our fourth Annual Report we highlight several world-class research stories, opportunities to study New Zealand as a natural earthquake laboratory. -
Fact Sheet a Look Inside the Portland Japanese Garden
Fact Sheet A look inside the Portland Japanese Garden Address: Hours: Key Personnel: 611 SW Kingston Ave Summer Public Hours (March 13 - Sept. 30): Stephen Bloom, Chief Executive Officer Portland, Oregon 97208 ● Monday: Noon - 7 p.m. Sadafumi Uchiyama, Garden Curator ● Tuesday - Sunday: 10 a.m. - 7 p.m. Diane Durston, Arlene Schnitzer Curator of Culture, Art & Education Website: japanesegarden.org Cynthia Johnson Haruyama, Deputy Director Phone: 503.223.1321 Winter Public Hours (Oct. 1 - March 12) Cathy Rudd, Board of Trustees President Email: [email protected] ● Monday: Noon - 4 p.m. Dorie Vollum, Board of Trustees President-Elect and Cultural ● Tuesday - Sunday: 10 a.m. - 4 p.m. Crossing Campaign Co-Chair Quick Facts: Pricing: ● Year Established: 1963 Adults: $14.95 ● Total Annual Attendance: 356,000 in 2016 (up 20% from 2015) Seniors (65+): $12.95 ● Total Acreage: 8 public gardens spread over 12 acres College Students (with ID): $11.95 ● Total Volunteer Hours: 7,226 in 2016 Youth (6 - 17): $10.45 ● Total Members: 11,000 Children 5 and under: free ● Total Staff: 83 regular employees, including eight full-time gardeners ● Total Operating Budget: $9.5 million Photos, Videos & Logos: ● Click here for Photos of the Garden in every season ● Click here for Photos of Cultural Programming & Art Exhibitions ● Click here for Videos & B-roll ● Click here for Logos Media Inquiries: Erica Heartquist | [email protected] | 503.542.9339 Page 1 of 3 About the Portland Japanese Garden For more than 50 years, the Portland Japanese Garden has been a haven of serenity and tranquility, nestled in the scenic West Hills of Portland, OR. -
Mizumoto Japanese Stroll Garden October, Open Daily 10 A.M.- 6 P.M
Hours Welcome to the April-September, open daily 10 a.m.- 7 p.m. IZUMOTO Mizumoto Japanese Stroll Garden October, open daily 10 a.m.- 6 p.m. M AN Admission Fees JAP ESE Adults: $3 Free admission, with member ID, ROLL GARDEN Children under 12: Free to members of Friends of the ST Garden or American Horticultural eene/Close Nathanael Gr Memorial Pa Koi fish food available: $1 Society reciprocal gardens. in ic Ave., Springfi eld, Miss rk 2400 S. Scen ouri 65807 Rentals & Tours The Mizumoto Japanese Stroll Garden and the * Stepping stones make it essential to look down and see adjacent Japanese Garden Pavilion are available for The Zig-Zag Bridge slows you down to where you are placing your feet. This act of slowing down rentals and weddings. Call 417-891-1515 or visit help create a meditative state. allows for a greater opportunity for contemplation. ParkBoard.org/Botanical/Rentals. Guided group tours and field trips may be scheduled through the Botanical Center or call 417-891-1515. Park Rules • Pets are permitted on a leash. • No swimming, wading, boating or fishing. • No harvesting of flowers, fruit, or plants. The Moon Bridge is curved to reflect the roundness of • No hammocks or attaching anything to trees. the rising moon. Japan is known as the Land of the Rising The Gazebo’s open-air design makes it • Weddings, special events and any activity including Sun. The moon is an important part of Japanese culture, ideal for meditation, tea ceremonies or 30 or more people requires a rental. -
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. -
Japonisme in Britain - a Source of Inspiration: J
Japonisme in Britain - A Source of Inspiration: J. McN. Whistler, Mortimer Menpes, George Henry, E.A. Hornel and nineteenth century Japan. Thesis Submitted for the Degree of Doctor of Philosophy in the Department of History of Art, University of Glasgow. By Ayako Ono vol. 1. © Ayako Ono 2001 ProQuest Number: 13818783 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818783 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 4 8 1 0 6 - 1346 GLASGOW UNIVERSITY LIBRARY 122%'Cop7 I Abstract Japan held a profound fascination for Western artists in the latter half of the nineteenth century. The influence of Japanese art is a phenomenon that is now called Japonisme , and it spread widely throughout Western art. It is quite hard to make a clear definition of Japonisme because of the breadth of the phenomenon, but it could be generally agreed that it is an attempt to understand and adapt the essential qualities of Japanese art. This thesis explores Japanese influences on British Art and will focus on four artists working in Britain: the American James McNeill Whistler (1834-1903), the Australian Mortimer Menpes (1855-1938), and two artists from the group known as the Glasgow Boys, George Henry (1858-1934) and Edward Atkinson Hornel (1864-1933). -
Inter Cultural Studies of Architecture (ICSA) in Japan 2012
Intercultural Understanding, 2013, volume 3, pages 69-78 Inter Cultural Studies of Architecture (ICSA) in Japan 2012 Based on the general exchange agreement between Mukogawa Women’s University (MWU) and Bahçeşehir University (BU), students and professors from the Faculty of Architecture and Design of BU joined us at Koshien Hall and the Architecture Studio on MWU’s Kami-Koshien Campus from June 26th to August 3rd, 2012. BU’s students were tackling a design projects for third-year students. By participating in this program, they gained knowledge, learned techniques, and increased their awareness for designing of architecture. They also joined a basic design studio for first-year students and had the opportunity to experience such traditional Japanese culture as Ikebana (Japanese flower arrangement under Ryuho Sasaoka, a headmaster of the Ikebana Misho-ryu Sasaoka in Kyoto) or woodwork (with Sadahide Kanda, a master carpenter in Hyogo). They also participated in fieldwork on Saturdays to explore such Japanese cities and architecture examples as Funaya in a town called Ine, Amanohashidate, Itsukushima Shrine, Nishi Honganji Temple, Himeji Castle, and the Jodo-do of the Jodo-ji Temple. Participants Professors: Assistant professor Murat Dündar, Research assistants Belinda Torus and Sinem Kültür Students: Beyza Nur Bozkurt, Binnaz Kalcoğlu, Didem Dinçkal, Ece Yağan, Gonca Hande Şahin, Gözde Uyar, Kübra Pars, and Şahsena Bildirici 1. Greetings 1.1. Welcome Party: June 28 Eight students and two teachers from Bahçeşehir University were greeted by the students and teachers of Mukogawa Women’s University. Prof. Dr. Shigeyuki Okazaki (Chair, Department of Architecture, MWU) and Assist. Prof. Dr. Murat Dündar (Vice-Dean, Faculty of Architecture & Design, BU) gave speeches and the BU students and teachers introduced themselves. -
Japanese Garden
満開 IN BLOOM A PUBLICATION FROM WATERFRONT BOTANICAL GARDENS SPRING 2021 A LETTER FROM OUR 理事長からの PRESIDENT メッセージ An opportunity was afforded to WBG and this region Japanese Gardens were often built with tall walls or when the stars aligned exactly two years ago! We found hedges so that when you entered the garden you were out we were receiving a donation of 24 bonsai trees, the whisked away into a place of peace and tranquility, away Graeser family stepped up with a $500,000 match grant from the worries of the world. A peaceful, meditative to get the Japanese Garden going, and internationally garden space can teach us much about ourselves and renowned traditional Japanese landscape designer, our world. Shiro Nakane, visited Louisville and agreed to design a two-acre, authentic Japanese Garden for us. With the building of this authentic Japanese Garden we will learn many 花鳥風月 From the beginning, this project has been about people, new things, both during the process “Kachou Fuugetsu” serendipity, our community, and unexpected alignments. and after it is completed. We will –Japanese Proverb Mr. Nakane first visited in September 2019, three weeks enjoy peaceful, quiet times in the before the opening of the Waterfront Botanical Gardens. garden, social times, moments of Literally translates to Flower, Bird, Wind, Moon. He could sense the excitement for what was happening learning and inspiration, and moments Meaning experience on this 23-acre site in Louisville, KY. He made his of deep emotion as we witness the the beauties of nature, commitment on the spot. impact of this beautiful place on our and in doing so, learn children and grandchildren who visit about yourself. -
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. -
The Akamon of the Kaga Mansion and Daimyō Gateway Architecture in Edo1
AUTOR INVITADO Mirai. Estudios Japoneses ISSN-e: 1988-2378 http://dx.doi.org/10.5209/MIRA.57100 Painting the town red: The Akamon of the Kaga mansion and daimyō gateway architecture in Edo1 William H. Coaldrake2 Abstract: Built in 1827 to commemorate the marriage of the daimyō Maeda Nariyasu to a daughter of the shogun Tokugawa Ienari, the Akamon or ‘Red Gateway’ of the University of Tokyo, is generally claimed to be a unique gateway because of its distinctive colour and architectural style. This article uses an inter- disciplinary methodology, drawing on architectural history, law and art history, to refute this view of the Akamon. It analyses and accounts for the architectural form of the gateway and its ancillary guard houses (bansho) by examining Tokugawa bakufu architectural regulations (oboegaki) and the depiction of daimyō gateways in doro-e and ukiyo-e. It concludes that there were close similarities between the Akamon and the gateways of high ranking daimyō in Edo. This similarity includes the red paint, which, it turns out, was not limited to shogunal bridal gateways but was in more general use by daimyō for their own gateways by the end of the Edo period. Indeed, the Akamon was called the ‘red gateway’ only from the 1880s after the many other red gateways had disappeared following the fall of the Tokugawa shogunate. The expression ‘to paint the town red’ refers not only to the way the Akamon celebrated the marriage of Yōhime, but also more broadly to characterize the way many of the other gateways at daimyō mansions in the central sectors of Edo had entrances that were decorated with bright red paint. -
Zen Garden Case Study
“CONTEMPORARY LANDSCAPE APPROACH FOR A BUDDHISM TEMPLE.” BY NHI NGUYEN NARATIVE Buddhism is a faith that was founded by Siddhartha Gautama who is known as the Buddha more than 2,500 years ago. This is a major religion in East and Southeast Asia, but its influence is growing in the west. For the Buddhism follower, they don’t acknowledge a supreme God or Deity. They focus on achieving enlightenment - a state of inner peace and wisdom. The followers reach this spiritual echelon. Also, the Buddhists often meditate because they believe it helps awaken the truth. Zen is defined as a school of Mahayana Buddhism and is what lies at the core of Japanese culture. Zen meditation is a way of attentiveness and self-discovery which custom gives the experience of living from a second to a minute in the present. This is the way that Siddharta Gautama was enlightened and became the Buddha. Zen Buddhism is a concept or an idea. Zen gardens played a dominant role in their technique of contemplation and understanding . Zen garden (karesansui) is a Japanese rock garden which creates the landscape a miniature stylized landscape through carefully composed or arrangement of rocks, water feature, moss, prune trees and shrubs, sand, and gravel. They reflect on how essential the natural world is. The garden is an excellent idea for contemplatives to reflect on life and nature. Today, Zen garden is an urbanized world. They are presented in homes, libraries, offices, and schools around the world. CONTEMPORARY LANDSCAPE APPROACHED RESEARCH Name Desinger Size/Location Material Narrative Honshū Four Gods Protecting Mirei Shigemori The stone: 4-2-5-7 Inspired by an iwakura cliff rock formation on the Four Heaven ( arrangement instead the west side of the temple, he designed a Sekizo-ji / of the usual 3-5-7 garden for the gods. -
Carrie Blake Park Master Plan
RESOLUTION NO.RZ016-05 A RESOLUTION OF THE CITY OF SEQUIM ADOPTING THE CARRIE BLAKE COMMUNITY PARK MASTER PLAN WIDCH ESTABLISHES A SITE PLAN TO BE FOLLOWED FOR CURRENT AND FUTURE PARK DEVELOPMENTS AND TO ASSIST IN THE PRIORITIZATION OF CAPITAL PLANNING NEEDS WHEREAS, the Washington State Legislature directed all jurisdictions planning under the Growth Management Act (RCW 36.70A) to plan in a coordinated and comprehensive manner to maintain and enhance the quality of life enjoyed by state residents; and, WHEREAS, the planning goals established under the Act address the retention of open space, enhancement of recreational opportunities, conservation of fish and wildlife habitat, increased access to natural resource lands and water, and the development of parks and recreation facilities, (RCW 36.70A020(9); and, WHEREAS, the Parks and Recreation Element of the Comprehensive Plan sets goals and policies guiding the planned growth of the park and recreation system in the City; and, WHEREAS, the Washington State Recreation and Conservation Office (RCO) requires a community-wide park planning effort be completed and certified to maintain eligibility for grant funds for acquisition and development of park sites and facilities; and, WHEREAS, the City of Sequim Parks and Recreation Board has completed the Carrie Blake Community Park Master Plan including all necessary elements and, WHEREAS, the plan has been extensively reviewed by the Parks and Recreation Board, City Council and City Staff; and, WHEREAS, the City Council adopted a Resolution at a regularly scheduled meeting on February 22, 2016 and, WHEREAS, in conformance with Title 20, Sequim Municipal Code, the plan has been available for public review and comment; NOW, THEREFORE, THE CITY COUNCIL OF THE CITY OF SEQUIM, WASHINGTON, HEREBY RESOLVES AS FOLLOWS: Section 1.