Materiality, Technology and Modern Movement in the Southeast Asia
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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. -
Bringing the Vernacular Into Modernism
Scuola Italiana di Studi École Française BY CO-HOSTED sull’Asia Orientale d’Extrême-Orient ISEAS EFEO Friday, December 11th, 18:00h Yola Gloaguen SPEAKER Antonin Raymond’s career allows us to explore the dy- namics and implications of the development of European Bringing and American architectural modernism in a non-Western context. The Czech-born American architect arrived in Japan on the eve of 1920 to assist Frank Lloyd Wright with building the new Imperial Hotel in Tokyo. However, the Vernacular Raymond soon opened his own oce in the capital and became one of the pioneers of modern architecture in Japan. The human and technical challenges taken on by into Modernism Raymond included responding to an increasing demand for the design of villas suited to the Western and Japanese lifestyles of Tokyo’s international elites. This was reected in the spatial design and construction of these new types Architect of houses. The talk will highlight various examples of prewar and postwar residential works, with a focus on how Raymond and his team developed an approach to Antonin Raymond design based on the appropriation and adaptation of selected elements of the Japanese vernacular into the Western modernist idiom, which itself had to be reevalu- in Interwar Japan ated in the particular context of Japan. This approach to Raymond’s work provides a means to reassess the usual binaries of Western inuence and Japanese adaptation through the medium of architecture. Yola Gloaguen is a postdoctoral researcher at the Centre de recherche sur les civilisations de l’Asie orientale–CRCAO, Paris. After receiving her degree in architecture from Paris La Villette School of Architecture, she became a doctoral student at Kyoto University and studied modern architectural history in Japan. -
Maverick Impossible-James Rose and the Modern American Garden
Maverick Impossible-James Rose and the Modern American Garden. Dean Cardasis, Assistant Professor of Landscape Architecture, University of Massachusetts (Amherst) “To see the universe within a place is to see a garden; approach to American garden design. to see it so is to have a garden; Rose was a rugged individualist who explored the not to prevent its happening is to build a garden.” universal through the personal. Both his incisive James Rose, Modern American Gardens. writings and his exquisite gardens evidence the vitality of an approach to garden making (and life) as James Rose was one of the leaders of the modern an adventure within the great cosmic joke. He movement in American garden design. I write this disapproved of preconceiving design or employing advisedly because James “ the-maverick-impossible” any formulaic method, and favored direct Rose would be the first to disclaim it. “I’m no spontaneous improvisation with nature. Unlike fellow missionary,” he often exclaimed, “I do what pleases modern rebels and friends, Dan Kiley and Garrett me!”1 Nevertheless, Rose, through his experimental Eckbo, Rose devoted his life to exploring the private built works, his imaginative creative writing, and his garden as a place of self-discovery. Because of the generally subversive life-style provides perhaps the contemplative nature of his gardens, his work has clearest image of what may be termed a truly modern sometimes been mislabeled Japanesebut nothing made Rose madder than to suggest he did Japanese gardens. In fact, in response to a query from one prospective client as to whether he could do a Japanese garden for her, Rose replied, “Of course, whereabouts in Japan do you live?”2 This kind of response to what he would call his clients’ “mind fixes” was characteristic of James Rose. -
Vol. 26, No. 3 (Fall/Winter 2000/01)
Fall/Winter 20002001 Journal of the Integral Yoga of Sri Aurobindo and the Mother Vol. 26, no. 3 An interview with Udar Pinto Travels with Swami Ananta: Greece The triple time vision Sunlit crystal, sunlit path Eye contact with God Supermarket yoga best sellers Fall/Winter 20002001 Collaboration 1 About the artists and TTTababable of contents photographers in this issue Preeti Bhatt ([email protected]) Collaboration, vol. 26, no. 3: Fall/Winter 20002001 works in a technical marketing firm in Silicon Val- Beginning ley. She has loved art since her childhood and does sketches and oil painting in her spare time. Her Cells of a feather hobbies include reading, watching movies and Mother on how to have better meetings .............................. the Mother 4 cartoons, and volunteering her time to help others. Catherine Blackburn (c.blackburn@ sympatico.ca.) is an artist, teacher, and member of New letters on yoga the Sri Aurobindo Spiritual Centre of Toronto. She is also a board member of AVI Canada. Welcome to our new subscribers ............................................. Marta Belén 4 Wayne Bloomquist (calcutta98@hotmail. From our readers ......................................... Joseph Kent, Margaret Phanes, com) has visited the Sri Aurobindo Ashram many ..................................................... Alice Webb, Bob Zwicker, B.Y. 5 times and was organizer of the 1995 conference on Questions ............................................................................. Bruce Forsythe 5 cellular transformation in Berkeley, California. Jim Foreman ([email protected]) is an artist in Lafayette, Colorado who believes hu- Current affairs manity is facing a future of unprecedented change, challenge, and opportunity. His work is based on AUM 2001 to be held near San Francisco .................................................... 6 themes from the spiritual teaching Steps to CIF schedules 50th anniversary talks .......................................................... -
Archipel Van De Woning Archipelago of Thei House
archipel 004 van de woning films reizen www.archipelvzw.be [email protected] [email protected] cahier archipelago of thei cahier is een uitgave van Archipel house archipel 1 • Voorwoord 2 Preface • Japanse woningen: waarom? wat? hoe? 4 Japanese Houses: Why? What? How? • Huizen van gisteren 9 Yesterday’s Houses 10 Raymond Antonin, Summer House In Karuizawa 11 Maekawa Kunio, Maekawa House 12 Seike Kiyoshi, Saito House 13 Shinohara Kazuo, House in Kugayama 14 Kikutake Kiyonori, Sky House 15 Yoshida Isoya, Yoshiya House 16 Yoshimura Junzo, Summer House Karuizawa 17 Azuma Takamitsu, Tower House 18 Shinohara Kazuo, House In White 19 Ishiyama Osamu, Pavilion of Illusion 20 Shinohara Kazuo, House in Uehara 21 Ando Tadao, Rowhouse In Sumiyoshi 22 Yamamoto Riken, Yamakawa Summer House 23 Ito Toyo, Silver Hut • Huizen van vandaag 24 Today’s Houses 26 Yasushi Horibe Architect and Associates, House in Izukôgen 29 Atelier Bow-Wow, Home and Workshop 31 Taira Nishizawa Architects, Aki-shima House 34 Kochi’s Architects Studio, KN House 36 Kamo Kiwako & Manuel Tardits, Kata House 38 Kengo Kuma and Associates, Iron House 41 Hideyuki Nakayama Architecture, House O 44 Shigeru Ban Architects, House at Hanegi park 47 Go Hasegawa & Associates, Komazawa House 50 Sugawara Daisuke, Cut through House 53 Contemporaries, House in Zaimokuza 56 Jun Igarashi Architects, Receptacle 59 Mikan, House in Kamakura 62 Ondesign & Partners Architect Office, A life with large openings 65 Atelier Tekuto, Boundary House 68 Tezuka Architects, Terrace House 71 UID, Crossing 74 mA-style architects, Rim Light 77 Suppose Design Office, House in Chiba 80 Yasutaka Yoshimura Architects, Window House • Colofon 82 cahier 2 日 本 、 家 の 列 島 Voorwoord Preface De Japanse woning boeit en intrigeert al The Japanese house has capti- vated and intrigued many peo- geruime tijd, maar roept ook vragen op ple for a long time, but at the rond bewoonbaarheid. -
The Great Living Creative Spirit
The Great Living Creative Spirit Frank LLoyd Wright s legacy in japan Soib ' SS NoV. ii– . Join the Frank Lloyd Wright Building Conservancy for a specially curated tour highlighting modern and contemporary architecture FRANK LLOYD WRIGHT by Wright, Arata Endo, Antonin Raymond, Le Corbusier, Tadao BUILDING CONSERVANCY Ando, Kenzo Tange, Toyo Ito, Kengo Kuma and many more. Day one Sunday, Nov. 11 Arrive in Tokyo and check in at the Imperial Hotel (flights and hotel transfer not included). In the early evening, meet the rest of the group (limited to 27) for a welcome dinner at the historic For- MORI eign Correspondents‘ Club of Japan and a viewing of the Rafael Viñoly-designed Tokyo International Forum. Later, take an optional OICHI evening walking tour of Ginza, the famous upscale shopping and © K entertainment district where the traditional and modern meet. HOTO Overnight: Imperial Hotel, Tokyo / Meals: Dinner P Day TWO Monday, Nov. 12 The first full day begins with a tour of the 1970 Imperial Hotel, which includes the Old Imperial Bar, outfitted with relics of Wright’s demolished Imperial Hotel (1923-67). Then journey to Meguro St. Anselm’s Church, designed by Antonin Raymond, and have lunch at Meguro Gajoen, a lavish design furnished with artwork from its 1928 origins. Continue with a special visit to the private home Japanese modernist Kunio Maekawa built for himself in 1974, then a walking tour of Omotesando (a broad avenue lined with flagship designs by the likes of SANAA, Toyo Ito, Herzog & de Meuron, Kengo Kuma, Tadao Ando and Kenzo Tange). After a visit to the 21_21 Design Sight museum and gallery, designed by Tadao Ando, we finish the day with a view from the 52nd-floor observation deck at Mori Tower in Roppongi Hills, designed by Kohn Pedersen Fox. -
Kaj Franck Finnish, 1911–1989
Overstuffed ‘Gorilla’ Armchair 1941 Installation photograph from Organic Design in Home Furnishings exhibition, designed by Eliot Noyes Photograph by Samuel Gottscho The Museum of Modern Art Archives, New York This tableau from 1941 represented the tradition of “horrible” design against which MoMA curators prepared to crusade. It shows the dismembered carcass of an old-fashioned, overstuffed armchair behind bars, against the backdrop of an enormous gorilla. Using zoological terms, the accompanying label describes the domineering, ungainly monstrosity of the armchair, and the jungle like clutter of its habitat: “Cathedra gargantua, genus americanus. Weight when fully matured, 60 pounds. Habitat, the American Home. Devours little children, pencils, small change, fountain pens, bracelets, clips, earrings, scissors, hairpins, and other small flora and fauna of the domestic jungle. Is far from extinct.” Charles Eames This armchair was among the winning American, 1907–1978 furniture designs of MoMA’s Organic Eero Saarinen Design competition that Haskelite put into American, born Finland. 1910–1961 production. The chair was created to give Marli Ehrman the sitter maximum support, while avoiding American, born Germany. 1904–1982 heavy construction and cumbersome upholstery. Its plywood frame was carefully High-back armchair molded to provide continuous contact 1940 with the body, and was covered with a thin Molded wood shell, foam rubber, rubber pad, as well as woven fabric upholstery, and wood legs designed by Ehrman, who had emigrated in 1938 from Germany to head the weaving Manufactured by Heywood-Wakefield Co., workshop at the Chicago School of Design. Gardner, MA Purchase Fund Noémi Raymond These prizewinning textiles were designed American, born France. -
Title TOWARDS a DEFINITION of ANTONIN RAYMOND's
TOWARDS A DEFINITION OF ANTONIN RAYMOND'S "ARCHITECTURAL IDENTITY" : A STUDY BASED ON Title THE ARCHITECT'S WAY OF THINKING AND WAY OF DESIGN( Dissertation_全文 ) Author(s) GLOAGUEN, Yola Citation 京都大学 Issue Date 2008-03-24 URL https://doi.org/10.14989/doctor.k13809 Right Type Thesis or Dissertation Textversion author Kyoto University TOWARDS A DEFINITION OF ANTONIN RAYMOND’S “ARCHITECTURAL IDENTITY” -A STUDY BASED ON THE ARCHITECT’S WAY OF THINKING AND WAY OF DESIGN- アントニン・レーモンドの建築的アイデンティティの解読 -建築家の思考方法と設計方法の研究- February 2008 YOLA GLOAGUEN ACKNOWLEDGEMENTS I would like to express my gratitude to the Japanese Ministry of Education 文部科 学省, and the Shadan-hōjin Kenchiku-gyō Kyōkai 社団法人建築業協会, for granting me the scholarships that allowed me to complete my doctor course at Kyoto University. I would like to thank Professor Takamatsu 高松 伸 and Takeyama 竹山 聖 of Kyoto University for accepting me in their laboratories, where I was able to carry out my research on Antonin Raymond. I would like to express my gratitude to Professor Monnai 門内 輝行 of Kyoto University for his moral and technical support, and to Professor Maeda 前田 忠直 for his advice and for accepting to be part of my jury. I would like to thank Raymond’s Architectural Design Office in Tokyo, for giving me access to their archives, in which I was able to find the invaluable material I needed for the analysis of Raymond’s residential designs. I would like to thank more particularly Matano Norisuke 的埜 教介 who provided precious assistance in the locating of the drawings that were relevant to my research and also for dealing with the practical matters of the drawings reproduction. -
Vol22 3 66 73.Pdf (2.926Mb)
Bishop: A Microhistorical Study ofthe Church of Sainte-Anne-de-Beaupre One of the interesting questions raised by the Italian historians engaged in the practice of microhistory concerns the status of archival documents in the construction of a historical explanation.1 At the risk of oversimplifying, one can say that microhistory prefers to see documents as symptoms or clues to be interpreted rather than data to be collected. The search for data is a search for true and positive information, and it is believed that data can be extracted from documents as minerals are extracted from ore. Clues, on the other hand, do not consist of abstract pieces of information supporting inductive reasoning; they remain on the level of the particular, as when we infer the existence of a fire from the smell of smoke. Instead of going from the general to the particular, as in deduction, or from the particular to the general, as in induction, the interpretation of clues goes from the particular to the particular, and constitutes what logicians have called abduction. According to Carlo Ginzburg, the earliest human intellectual act was carried out by a hunter crouching in the mud, examining the footprints of some animal. Footprints are, for the hunter, clues to the passage of a specific animal. They display a certain degree of freshness, a specific direction, a certain depth, and a certain distance from one another. However, all these concrete features, referring to a single event, need to be discarded when biologists search for what is generic and typical about those footprints in order to determine which species live in the area. -
Activities and Roles Played by Architects in the Reconstruction of Hiroshima After Its Atomic Bombing
International review for spatial planning and sustainable development A: planning strategies and design concepts, Vol.6A No.1 (2018), 53-78 ISSN: 2187-3666 (online) DOI: http://dx.doi.org/10.14246/irspsd.6A.1_53 Copyright@SPSD Press from 2010, SPSD Press, Kanazawa Activities and Roles Played by Architects in the Reconstruction of Hiroshima after its Atomic Bombing Ming Li1*and David Richard Neill2 1 JangHo Architecture College, Northeastern University 2 Okayama University of Science *Corresponding Author, Email: [email protected] Received: Dec 15, 2016; Accepted: April 10, 2018 Key words: Stricken city, Reconstruction construction, Hiroshima, Urban Design, Architect, Construction documents, Role Abstract: As seen historically, a War or a Natural Disaster brought devastating destruction to the place where the misfortune took place. The Atomic bombing of Hiroshima and The Great East Japan Earthquake, The Chins Tangshan Earthquake and The Great Wenchuan Earthquake are the cases. The function of the Relief to the cities suffered the disasters and the function of the architects’ activities in construction rebuilding should never be overlooked. Hiroshima is about to begin its 70th year after the atomic bombing. The history of the restoration of Hiroshima will be close referenced to the reconstruction of the areas suffering from natural disasters in the future. This paper taking the reconstruction of the Hiroshima as objects of this study, researching by documentary investigations and interviews and investigations on the spot, analyzing reconstruction of the seismic areas and the architects’ activities as well as the function of these consequent effects. Through the research following findings were obtained. We can observe that most of the building activity that occurred in the burned ruins immediately after the bombing event was performed by local design offices. -
Post-Apocalyptic Symbolism in Terunobu Fujimori's Architecture
The Journal of Architecture ISSN: 1360-2365 (Print) 1466-4410 (Online) Journal homepage: https://www.tandfonline.com/loi/rjar20 The uncanny side of the fairy tale: post-apocalyptic symbolism in Terunobu Fujimori's architecture Hyon-Sob Kim To cite this article: Hyon-Sob Kim (2016) The uncanny side of the fairy tale: post-apocalyptic symbolism in Terunobu Fujimori's architecture, The Journal of Architecture, 21:1, 90-117, DOI: 10.1080/13602365.2016.1142464 To link to this article: https://doi.org/10.1080/13602365.2016.1142464 Published online: 18 Feb 2016. Submit your article to this journal Article views: 598 View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rjar20 90 The Journal of Architecture Volume 21 Number 1 The uncanny side of the fairy tale: post-apocalyptic symbolism in Terunobu Fujimori’s architecture Hyon-Sob Kim Department of Architecture, Korea University, Seoul, Republic of Korea (Author’s e-mail address: [email protected]) Having first established himself as an architectural historian, Terunobu Fujimori (b. 1946) is now more famous for his design work than for his academic publications. He has even been praised as ‘the most influential architect in Japan’ by the critic Kenjiro Okazaki (2006). Fujimori’s popularity is attributable in particular to the fairy tale-like image of his architecture, which tends to appear playful as well as natural and nostalgic. However, this research focuses on the other side of the ‘fairy tale’—specifically, the strangely unfamiliar, even unsettling, feeling that his architecture evokes. -
The Roof Garden in Japanese Modern Architecture
KEER2014, LINKÖPING | JUNE 11-13 2014 INTERNATIONAL CONFERENCE ON KANSEI ENGINEERING AND EMOTION RESEARCH The Roof Garden in Japanese Modern Architecture From the End of World War II until 1966 Michiya TSUKANO1, Shoichiro SENDAI2 1 Graduate School, Hiroshima Univ., Japan, [email protected] 2 Graduate School, Hiroshima Univ., Japan, [email protected] Abstract: The purpose of this paper is to clarify the architectural Kansei (sensibility) in Japan since World War II until 1966. Therefore, the authors discuss how the “roof garden,” which did not exist in Japan before then, was transplanted from European Modern to Japanese Modern architecture and how it was applied. In this paper, we adopt the following five indexes: “use,” “building type,” “material,” “structure,” and “location,” using several architectural journals. We have concentrated on the great change in roof gardens in Japanese Modern since 1954 due to the economic growth caused by exceptional procurement during the Korean War, We divided the 1945-1966 period into two parts and analyzed the change in roof gardens by comparing the gardens of each period. As a result, the transitions in the five indexes have become apparent. The roof garden after World War II has been expanding to a range from an international-style architecture seeking the universal rationality to architecture that exceeds rationality and the utilitarian. Moreover, diminishing of the “view,” which had been the subject of roof gardens in the pre-war period due to the high economic growth, has led to fumbling for new functions of the roof garden. In other words, a roof garden in Japan after World War II has been changing in various ways while being involved in the attenuation of architectural kansei (sensibility) of “view.” Keywords: Architectural Kansei, Japanese Modern Architecture, Roof Garden, Economic Growth.