ISBN n° 978-421 -7 3 ISN / 201 08-67 € 5,0 t u A A t u . . i Tr . b i Tr feuille internationale d’architecture . b i d i d . a N . a N n n 1 3 . 1 3 . le carré bleu l e d l e d 7 0 . 4 0 . 6 2 7 0 . 4 0 . 6 2 - - f f i r Ta a f f i r Ta a e m i g e R R e m i g e : o r e b i L : o r e b i L t s o P e t s o P e e n a i l a t I t I e n a i l a . a . p . s . a . p . s - - o i z i d e p S e n o i z i d e p S e n n i n i o t n e m a n o b b A o t n e m a n o b b A t s o P e l a t s o P e l a - - % 0 7 % 0 7 - - C D B C D B . a N . a N ( (197) citzens sig p M wo with he r e l l a g st much speeding consume know ar gov e gr al ban incr fr Japa nese and Tohoku has Yet er of and genui str am c e r a less bu wherin, excdingly n i n a e m kore s n o lace co enz ar l, aki, owth c a? e wha inget althcre ble rld-clas nificant hitectural , bitons man y ease d nomy krup t. d n e p e d not a with this stat us. I Neve rthele ss, During So A The work, t rnm ent i s u o u c i p n ika n Fi hat, ed rchi , s e i Yoshio s in was t resp as rst in a era s g what E t e g d u b stop architeu time J as bu re sh at tent ion th bulk tectu rism ar not in ap of and rece cond itions A is s th nu i l of soci ety and get e a transformations ildi ng built, akai among thq onse, rc centrs. productin Duri n i r a r b o the wel. examples, th e an t n e continge . n i a g pe b fun ding min mb verdri al, design has m Tan hite infrequtly, of urst and re. em o t p m y s “lo nt sobering i ua d, nvolved a ore s that ), la er , n o public s e st year s the i manifest iguc hi, cts g acti ke, Ito's a and nclu te b Altho shifts archit shif ting T of so, and t ve d n een of this by deca de” o of e alist, the e h encompass d n a 1980s Morev , d n a vity in the econmi and tsun ami, for th is, nt was publ ic mode, the di s m occa sional ly much the o c Home ugh the repe a e buildings g n i t l u s e r the time , (fig.2) recnt dri w ng in ectur on away how new Toyo arch itectu re bubb le toda y's n o i s s i m m and co a i d e m hich ones u v construction larg e f o vario ving mid- 1990 to restain situ ation their the n aust erity and the nt e l b a r e n l Inve stment of image-drive p ume Japanese e h t thre e ted dwi ndle it realits. ex for as roje cts, Ito, from justly and A exampl heal had and the reco that us, serv part s s e u q e h t most downtime very t and s uter not arch itec such, natu rou g n a h c e r u t c e t i h c r a have the or Shin alwys of th nucl ear society: larg er in , s th the nstr could now to s t has s attracte onl even of he ough im Eldery them to ral of parts de o t si the the of t s o m as dev meg es the Taka e arch O firms, it toda o uction t m portan y d e so thei r ra qua in n, sign, bee , c the m o n o c e disa ste tu nce is wel l. t chan plicty respon usua l haracter s bu p du he t r o p s in dit cial smaller-scal ral c enligh ha great erve a- ro a a i l a e r lop itec of les y, mats u o the f o d lly rst n c cc lso the ring io p ject s, prac tices nstr uction , a in s ag onstruction especiall outp , as even of th inter exac er ro t ged; na s i dv id Th tur m e h t be n cu given s of toda rem i t actua e Ya rs re and growin ain, afte rmat er mon jects the ew, ent tene ding an wel the p m i s l s e c i e e en ltu ral, d n a 1 ceiv ed , the life i ut su natio tsuhiro zing go such 990s flourished. a mo cem Jap inte r s n o i t i d n o c edy Tohoku y, in a mor nd perfct ther c i umental, times ch . b f tim d s l od, som as o r om to "bu re l , a Although ther needs. e y e r u s i e l 201 1 od abro ad g e wa investm r an nal Japanese ted oth urban, ent na in as e esp as h e such the th n a e t a v i r p exper when ef pr the bble " a indu y e r o m e in e of ad econ o e tion ally e e is nd ers fects o the ise by ad th mpl (194) d of region nt ecia lly respit r c n i all f cla is decr small th m h own, aptb a e 2 eco ered There . miratio stry. wh n d ighe st t se l imen e gain a f ajor a en he th e A have an G be Tokyo heigt oy T r o rity ecsity s a e of g i a r t s the s nd of , s e i t i l i c de co mic his vera l , s e c n e d i s e r e re at easd nomic t ca me d in architecture r p n u an in th Apart is ones, econo i at l ed ecog nized c its unt r and are mand d n the e nat ura t the a ju for d e me atas troph h majo a was e ram sign ifican tly , n. a b har nt awar d nd the as s tion Hy Sky d r a w r o f t h an uildin lo well -des add e l b a t c i d e r re ma monume t the ned y favored Architects, i m u h still sys new Mak when nges p size dshi ps d o op been lativ d with in fr e c i ff o my, un la it r s ainf ully owntur go to tion d, ity tic, itio n Tree l om les vestm era rge to po tem became enviro g awre ve der i's increas t resp y t i l ely t o Eart hqu he of an a work simple rtuniy and es e r a the ry the necessitat ones f a a a e lon of , p aft sta Y expnsiv (201 2), the ge n nta l and d n a d the over r , co riva t Pri sma o en ved okham a d n a n, diff d low ev i pro onsiblte li construct er mpac t l a r u t a n g f rec muc nes nda bl ofte w o n fe uld a l suc m out tzke r t ment , archites, h t completd id wi icul task, outpu nd fam explicitly in the m have e o h ller, to in os ak w yet es most birthr ent e g n i m u s s a n u th the n not o h-r s h ju orld w new ties Japa n t t have i s u e both si c r a re l l a , m s ec t of he e y 1990s, ily st also i urban as ed Pri se ng livey sem m r on d in edu in t ela tur ned s a s i d numbe tor much boos t a g n h ate, protyes ion e t i h other ore str g the w vere Distrc an ze conceptua t b bou Tadao ow 1 e ide h see loba society o as tive al y 995 le ced x dimi n uctu e gloomy d has f , s e x e l p m o c al t i p the so so s t c projects. econ omy cos n d rava gant, s the arch t s r e t cons truc much tha trag ic rec articuly e m so eve ec the to l an Arch it s s e l “ lizatio to conside ess r lutions so xplicitly out and b ed re, inovate n , ma t-eff of Ando, a onom i is t ogni t be e yiel y Comu nity the rapid o ; mbe r, n e t f o i lopment n o l is s en hed t a t con put d n a to ects new work and lo , jor setb acks come with nd archite for the to l ded ectiv e s i n th o pre wi g or co gi c ion At tion st of in chang (fig.3) say, and dras ti ture . c rations. gi ” e r o m designr Ar aging ng h t i w ve th schol, o t many i mp organizational ar ugh even ru care viously and n the at inn several r gant ic the the a n e h t e e a ata ece to ct s e rch w i e u t e h t n ndus try l cture k so home than i re 1 eted io umera cono my; in n d ay or inds you e h t call a s , n r same . eco amo n es centrs ssio n sul Isoza itec lowy, more and the of s Majo r oth ha al s a h t d should u m m o c he om t an proj ect overheated o r i y, curren e e r g e so w o h nger s t the the nom (fi muse lt, and of wit tu n, ers. "p s in d of c s a to coun ble e g.1 Care ome g d e n i a g ki, co co tim as re nd exceedi d os them on h a J alm c d e l a best a population take a evas y, e 3 ap , h c u m hang e ns ns on for ). urbanism in l Fumih ti rch it t-bubb e w s ve be ess tly the e ru y t i n f o sy th me tr bu ventiv an, ven mo ost truc truc ell es i a Centr y s nawa ntua o d - senior e s tak of gn i e b in s g tat stock t more , most tem o we ect s fril rise oi we n dest als now wi n dn a and an po an ve if tio tio s eh t the the t in ing nw ik gl le" n he ls, ll re t a e, i g r. o d d o p g n n n h y y y s . t , 1 be as de si gn ed th e gr oun d down town a Bo th flexib e r c v e v i t a g e n con in th e C e condits. wel even u pu rsu e a o increasgly n wh ich q e o qu ali ty p be en in -h o most rofs, n a b r u ma ny conjuti l l i lso nvirometal nd s r ow ua xample f rojects u h c i h Kosh ter contex in s e g a th ey , wel s e t a co l ergound lites if es ty le s Here By In With Wi th Nikken Ma The vestor, as eivd pr by us e ho us ilty, a larg acomp li mp any , ne su ffer ed special acomdting t t e s reac ompted de s le ad igaya ny ec olo gic all y so now thes Yam as A d v a h n a w in suce of is er re se arc h th e e t r wi th two a the i in g new t c a p m a s g n i a ig ns si gn e i de so nd the th ti n in g Kengo More s reas e s u M hi m t a urban Sekkei e o with howev shaped of . e s as bu si gn Japn, to (1999) n s comp red w mot, inst as opens ho me use Simultaneosy to she edu cation ex ten siv el ar e fo rce isu ground. presvation also ad ul ts -o nly as e t design r o / d n a rs t di min ish e r e h p s o o d . we ll a d i l so n co uced to construi. The efficently m u n o the of st rat egi es fo r tuions il lus tra tes we ll complexes d of th e Kuma; of an d es lex l Ltd., so und functio by mergs and in off ic e near his r as w due mainly a th e t excessi r , ) 4 0 0 2 ( many es, e h in esur g jo in t th e ith ( birthae 5 di ve rs e t a n the en fi g.6 ). t archites inte by he al H i t archi in y influet ial ts bu bb le f o he Tokyo, to the to v n e their gi early e gl o pr p a r u du rin g fac il oc cu pa nt s te orde neds pr ese nce wo rk capturing ro je grow ne er ing operating . s s e n n e p o ence society th is ha other its ov is io ns an d partily olde naturl sevral of Gifu-Kitagata ba l vely t n e m n o r i i e th Ye t, tecur, l are d n a ons iti with s naturl ra ng e t i s hig ct s, nature in es, Al and re cog since an d are te chn olo gi st of ing fi eld to r th e of . s e now, commercial s of firms his to has e e L s e rti e p ro p us tai nab ili ty protecing and se archite ts thes i wh at bring urb ncl uding and de pa rtm ent s materils, volatiy, b number the the schol also w th e bu bbl e . produce ab ove ; of of h T ve ra l care , u ni tio n the has buildngs, Un fo rt un ate ly, and/or hi l then and ilt earnd an more g n i t a p i c i t n A n a f U y b su largest an te na nt s, s i the changi d re su lt in g e i to the t shift dramtic as epartu st a liv d recntly in iti a g “Hi s i es ar ch it ec ts r e t t e b naturl train wi th contiued iv ing archites urban mo re er a. Rik en a than various in of e l f e r into he m u e s u M gh- in g ized urban in to is the w more ab l comunity him configur te d comprehensive mu st e l i h (to in single-, it Japn. more re duc e enrgy ac hi ev e profess ionals declar Tow Ni kke n’s mo s ha s ov er, one pristne e d e t c lo we r before, g n i t a r g e t n i shi priotes and and Ya or “d isa ppe ari ng” mu ch design much resouc, effects of a public- g n cti tra a re "contex t a h t pr oj ec ts rc h n” al so section mam ea public ky be en , the with elusiv his too p have th is agin o s l a ) 0 1 0 2 ( (200 th e it oju la nd ch ro m conservati, childes ne w ec t be for e e h t recogni tion in clu de better landscpe PO LA tha younger exprimntao ns oto 's often centr. the ) en tir e of ha vi ng an and en erg y 0) reflct ur in is realm. si nc e n i introduce an d sevral fo r society, r e b m u n an d naturl en c e in and than m e h t and entirly no who l ca o l he shape are e h t n o design imp ressiv e e enviromt-fdly th ey “usel attun Ar t pu bl ic mind. w ve r up per th e pr op er ty e wanted ar chi tec tu couple-, hi gh er In de si gn ed th e e h t departmns th the c co nsu mpt i m becomi would t genratio in Mu seu m o ts. n e d si re oupl e o t n i si al this e r o re sto r be cam es projects, ed both phenoma, s ther other nc Sh f o la te new - e r u t a n and office uc h and Contex ho u growin pa rt s” thes various ed to e. st ino u t s way, fe e f t ca to h r pr ic es , Sai tama ng 19 60 s at si ng an d at eal and se rv Fr equ ent ly t enviro , boundar r i e education wit re . he is e nome re cu a s t n e d “eras fe with io n in (2 0 t c home on d “standr a exampls sp c i r h ir he at u estate ar l like f Th e Th e v i e s g n i d n u o r r u s t to or ic e Japan, ha her espci ures. public cal the with va design a 02 ) an ec i d h , ri e aditonl was ri ng nd /o c the larg ve gu eu Ca sy st ema ti in rio the ar ea s it mentaly d l u o w N m o r p d bu Pr espcialy fi c archite buil J a iz e ies for i i h s o a n n s is ha r r o i n u di mi nd nal us, i efe al gr Ye il a er th e n er r th is a bl oc k al t the Ben a di ns has rchiteu. h vestme ding in r pr e more ble of owin methodlg ” countabily vi progam mf ul o i t o t, abrod e ng ctu urban Cour af t y the o as ni sh of e ce quota a m i c p o r d ften his is Ha th instuo cture,” se r eldr nt h g i H an er to been ral is ca ll y of th e s se newly n consiu modes er i g ac hie ved emphasi ra n . em i ko ne ed urban t enhac ex t va an d th buildngs, n o f o light a , o d n A n a l s I U d nts nc th (2003 centrs, umbe nc n i tion k e ly-h if , niv ti wide r making House is l o o Sch e ss i en i fi g n i n e e r g e, if one on de ve lop ing tc he n and 19 90 and e cu e h t a dur co Mo un no no built ers de d (fig.8) on d i ouseh ag a of ies marks, s be t a of -05), lt mp r t menits of ing a o t pr , of a s spatil closer ity vari ety doub t u f he design o co m s. t c design lo is te the an d he to Art in in ac of f e m i t g n o l projects. ou ha politcans, and ta i 4 him n i the many e b o n , e r u the r the to to on n Th e f be ti offset it g se Another na nd oti ns , pl et e poeticaly I Nur n a complex ca lds. s t be d a w ba t th e wi t t s o m l a ed first tt e multi-fn eld tha to by others ns e b b an d tu ral c of inla : ar ll d (f e h t cause ui l ubble am on co mpa ny el y or sin h extnsiv and tho hr oo m ru r to ig on wo Man resi dentia l erly a l now ma ya e al l angemt y their aff pr odu cin di n to id .5 o buildng sutainb g be Bu im pl eme nti ng g n i p a c s d n al e p m a h c b d ug en v od e f ). or gl is ap an bet l i u some c gs , remakb co an d p m o c ( (fig.9) g y ild towns (192 y o m h fi as s one d the evloprs evoca buildngs’ ears, ctionaly, g n i d d ir ns g. ot h re fl mm u un d other, entioned d ings to on m an d er pe Wel 4) (1 yn s istently w its (f i no er s n o i ec ti ng g lo gren of li s l e t e l of . ),6 9 9 livng it h . ar e am ve -97), un g. 7) pi n hi gh sa w ni and and tha an far il e tion ha tive are are th his ity, n as b its it s ty o d. ni le in ic d e g e t, y y s . f . “ S r r t s K o H m a p h a e s b b i n e A c b u E M b a h u m ( r s t v M c t mm edi ate emporar y he he fig. eckls g y l g n i h s e r f e e o timulang haped olatie haleng c u r t nd nfolding ut een se re as ig c f xecutd ot xplore e uildngs a c i d e r xten sion ix-en ingapore aze-no–Ok oryuji ai nl y u aze-lik et p u o r s t l u s ntin tive a h seu now alwy will ing 17). abolist rchiteu n 1980s, netwo been e of P I T I H R W quality n to s e r u t xterior forwad app he r er, eprsntig ued -Provence hen today. s t c e j o glas s. m addition ur ba n m r o f d e t a Treasu f o times s entirly In w n nd urba im in lyin e s repl ac project d ovel com ith rk , (fig to space, (201 0) significant e p s altho col and recnt it sh and (20 mean is n o spatil ilar h c i h w (2009 as s Ya maot, ” g comes of util ize, e s n e s n o n - o n a urf Neve rthele ss Taniguchi, ing en vi ron me nts e y b ogi .12) i f ( n simply of a t c plexs 07) stan dard use lt Cre much before e h t in permane nt pos catwlks ugh .) 4 1 . g ac to the devlopmnts. er s ed of cal , s r e h t o , a the r a l u c . ) differnt, in proe ye e France, large t i o l p x e matoriu Maki a in Another practie, strucal of wit exprincs l a c i r i p m e in siblte, the only fo r is and a the lightnes s, to Metz , ars n bule Toky atrcive more rchi a Venice, work, 9 h ew als of with complex th e uper broader T’i h c u g i n a a o f simple corr uga corpor thoug Maki, upon has alwys remaing his o te e k i l and functioaly genratio down -to-ea rth l a m r e h t , o ctur are Fran ce, buildings structu res sobe r la rge yet d n a exampl m wh os e n remains (198), whic Marugme while ben era, (197), stel o y u z a K s e s y l a n a uch t Italy, parts have whic h he s n o i t c i r t s e r e. and built ate insubta ntialy, 6 , g n i r e d n e r alwys in idea range ted he fe - t s o c functios, (fig.1 with P S nu mbe r rise and s Ito of its rompted hi each design furthe plates, is pu bl i Iso the the has abroad mebr o w of meta l remaind the ger toda y’s they shaped of in revitalzd is of d the devlop among a 1). . within prag matic, a m i j e S za of erivat most Consider , s k r Stone seaml dom a Sejima’s ken u f o the e f designr, transfo med c Hiroshma reco gnitio n pursing Genichro ki often-o rdinary Ba two-sry Shimane try i t c of q pane ls, e h t devloping offices some f o ua l h t repre it forefront. b r a l i m i s (fig.16) inan t e v n his vi ctim s “env iro of to in y Japanes is y e of ey , r i e h t Museum ha it y g n i d n u o r r u s largey i R the make reinforced ts stil o w the and of overall modernist s e r a sent e u y House t of for his if mate rials he y on new ways his and ma a k r the not two-sry Yoshiaru y r e v i Nak nme ntal” Inokuma Musem the woden the 1960s n of of mate rial exampl , s tempora rines, e h t design his the s i N de mino r or Ando’s e the en r i e h t idea, empty. the consulting his ea rthq uakes cyni cal and h archit older work. materia ls, in roms (fig.15) her in h s a ha n l l a m s archite ture i h m o c t u o changi Incierato oldest is Bad concrete, city architeu w a z a group, n e l l e c x e id somewhat are n impr ovemen ts. n a b r u fe what own ce bokshelf Plum ect s arch itectu re ame used Musem of genratio, open-stack architecture He e f om to the Catloguin Tsukamot as atti tude. , a Kreutzna are ” r e v o t f e l “ in lumb er Anciet e v i t c one. fit e distncve designe d the an T they th e with firms, very as kno contiues Tre t n e m n o r i v n e z e prim arily so f o the lifesty d t an d but y l well whic give n k u (204), Ando, m agin y t i l a n o i t c n u f wn SA NA A smal f e r a c cal wel-configurd of talend ironc T sytem i g pursit os t an of a Grove ch by Izumo such he ts unam f n e v d n a is as Art shelv whic r A irst d and public ha “pet im pr e mun d no (2 s y l l u an for p wer by var Tef i h c i tha I uc a n to, s to rev of (19 by 011 take and w h t r i b is as d w a wa gro Momy ci (204) been h givn lo , s t c e t i archite a (206 produ e society , d e r e d i s n o c F one the a findg ious applyin vil is b and n i s evn n ss iv e “ a ), buildngs, ty a w k Ni rded nd ujimot’s pap wi e etr o 1), . n are on “punctred c o t pitomze d en Ger h c i h w thers, o t kken In e of ng m oate d of Ya consis admi workings con d r ), er th gin ce o k a M a M the it ajori ar o in a cture,” very in one wa the num many upholds layouts ma ne g e more and boks chiteur, Kaijm, a r u w e n have Toky. ee exclnt res tex ’i k , s Sekk cardboar Toyta rc y. incorpate post-bule m, ra s t i t a b mo fabr ic of y bed ri Musahino te hi be o t difficult, thoug Th e ti po t, the ng. , y m o n o c e of alt hough on n tec m s nt hi s n e g physica l typical and to by wh e v i r t s r adjuste Yk o ei wals” ns on h i s of of and can In such t tu large T o cr is p, l l a b is hr Ltd, at (fig .10). e t e la test Municpal partnes the e r f he elon new re i m o the d the t this proj ou To work, to he , s p in s g n i d l i u b stil tubes proe ” hardly and o t f o ar us in kyo landm rk gh s th norms al a m , o z whic the g outdr campus Cha restl spiralng be au tif ul ly tiny, ects, o on tic or higly Japnes f o h s i l b a t s e Art pr oje cts i h c r a e e so spiralng their derivng m out to ’s often ul y n whic, es pre o Shuh ei teconi off ic e e a y n u J , e s u in in teau f f th ar Universty fra or fit unpretios, deta , Musem f the me i his o ou t c e t n thoug va e ly the ha in architeus inovate gm f in e r a c dis ne imposble public y il ludin x r tal h t crowd of , architeu. s h c i h w is buildin Sendai y sytem ing ou il them .e r u althoug smal g th e as en it la arngemt ea a g i h s I a m e x ing. Endo ar ti cul at ed, c be city the en . d e t n a l p m i presnc e, p t lso e s o l ng from te Co ted lat g rs u g tt er the er 7 un iqu e en rb 8 r- er t of space the Libray Republic be es e h the (fig.13) gs, B of ste i o i s a c c o Atelir In ation rel n an and , i m on erat r a known w o Mediath equ econmy Art of his en e piec main a “urban rc ie projects e r P whic o i t a l Ar partneshi, co les s to yet the f shelv hi unta acordingly . d n a ion, u s p s cha Wo (196), earli s t fa Ce ntre nd withn tec ar Maki, and an d reach tr Ce of (201) r e h t a R Bow ta t l ci i h s n h stil y l l a n uct othe r of t for yields strikng it w ot Polytechni ts li inin w of o compri u o S ion ar De nter n tie ic architeu, f more me ti cu hich ur s n g i s e d omads”; its no such ch of imagntve p th u b Wow, s a their theoris lla s g d al are evn Po mpi dou Galery e se c u d o r p w h t i w hand extensive i is use in p in one-tim (20 m i j u F t i l b b h t excitng, , ects ts Dog ma ro re of po se ac with with than Ja Toky. reality. n a as also vid ce In lo us ly realm 1 s - e sit 201 have does ce te from 1 i e h t ame pa both ana has nt er a ar e ar ) ot o h t the the in io ri his pt its its of of i n, in in al ly n g e n a e r , w w d s o a t s a e p a d t b o r c g i a s t s f a o t i t g e a N s f t m r g i t n nd n he o hey lui d la t h heoretical reatment he efl ol li carc ity al pa ur pa im iff eren ces . u rchitect dd ui f la ss f la ssy xh pp en rc iagrammatic ne stablished i i or e or Japa th shiz 112.5 th Oh io, rsues th the infl u led ld ing ee d, ectio re al hit ng un ado rn ul ta ne ous ly design ces ces ibit i kings EPFL re vo lu ti on ar y itio n aren t erat i e e e S I T H T spa ce the r of f eflect ec th an his his an d eji stor ow awa, se aml e th Island “ ence , l nese li on superflat” an ds ex per ien s a u ns gh t-c o ture h e on, ma ures, co al mo is of pr act ica lly to m ever, ly mo nd proj ect er change th y-h of Rolex 21 st eel spa to an work. th mple ma effectivel y “hi l m condition e rand om er e Pe rha ps er d ed then ca pe ng urba these started form h verything e s part icular by start ig m ia d aint aining t City st ss er althou ces ls teri al ur ts Centu the the re h meter uch s p v them pl ate s, is tion hi s pu n ur ce alue lans. L and undulation a we ldi ng. This is own n e ot hi n de wit earning Ta SA li zat ion has most no or l fac Central and r eaping o shing o h enclave ev ery of of ow n f subs tance sign. fash ion of gh ne ic hu ng igh h th e ry em . val leys” h NAA, a di ffe ren t es for best utmost hi era rch y b flat, office the e ly bl ur t In Accor everywhere. g. ben its he an d Muse hi gh ly ot h open of ly r all div her ployees, be st feat circ ulatio n pr ac ti ce, Ja by it career Th e of bo und Kana zawa Th t the gifted work Center structure wo c erse described cylin Park-Gin th th e gradually , Ban, pa of , on ould Op er a own a ure d er e i then coupled e simplicity way u such n wit pro vide cour tyards , best i opp “b ubb le bot ab st rac t si ze n m e ma gi c ngly, cu rvi ng li ne Tokyo. drical an of work h in no co lor. ar y this ar e desig be could off wh h to and of one osit the coun tless d the re pr es ent s th e repr esenta tives a floor- Ho u inte rnat ar be twee n Then ice, in (fig .20). (fig.21). an d nd broa tect onic 2010 ile SA no modu t 21 es ticul ati int ercon necte d of tr odu ce to as od with ners disk, youn ger, Th e of di agr am” Aoki . unusuall sp a Grin is Since gl ass be Ja pa ne s sh ap NAA’s se working fe nes tra tio ns, s in r th ay ex t pa rti tio n dly amplified and SANAA’s an eprese n in C whil e in is ti al see 1995 pr oj ec t, . s treme st ruc tur al his iona lly i entu 1 s its project on wrapped Th e. Lausanne classified immaterial 0 rect angula r opera e pres ence. pa nes rea lity roof-p put th e then or ga th e n an ot he r T G increasd In e a or y leav ing he ry four th a e wh at rchitecture lass she for f ra nge forward ted th e s r is irs de ta il imaginative mini e st ro ll M by ni zat ion ndi, reco gnized no w latest she an of lanes al ra (206) ma de an d t an d useu It by est Pavilion st eel ex ten tho ugh the ma nge an SANA A’s o m all a an d as excessively gene ration , br an d pop of rc hi t at has the Switzerland the ga rd en Her un de r conception a abli shed between th e , jor ar chi tec t fictio n. boxe s use and l by around m minimalist, direc tions inters ism, th a of is o si ve, pr act ica lly ular in ll , ar ei the r; ere rema ining f ec t of su en dle ss, is extended the arch itectu re sen sible pa in cu rve d of chite of si proj ects most of Fukoa, Cont empora ry cce co ns Nishizawa a ur e a nce arch i i arch itectu re only amo the w on e-l eve l as s third, And , lso mi ni ma te d the curiou it h in a pr odu ces as ctures ss 1981 in ev ery reductive isla nds e th remarkab syste Toledo tr uc ti on this c of is two ng tr ans par e glass, tect s m th e gren ev ery wh encompas har well . SANA A o gl o e no and very loc aliti es. an an at e f architecture laby rin and he on ly po st- bubb le you s th li sm ss y mat erials: and and ac of do ors m ep is ode s sp ace now r intern mo n e perhaps combina The as w Art im terized forme SANAA that of is n design, th in jo ints partne at and, ho wh s representat ger ba se d evn le p 1987 er e thi Art covered e pa Museum ap nt cro Ta iw an Ku fr om oc h th ortan t, , o pl it e al s Mor eo wo ma ne h kin rt r e g pro al an architect r (200 4). ize b as ma, c wh wded ne do o are la ro ve su on y rship so transparent rk e mo by of more tion ke ds and net (fig.19). ge ner ation w ss , th e mplo on as xi d ma is e rsh it th s ry rf sid he xt e fo ur tee rf the ma in st t ver, an (f ig . ac up r outdoor e t S wo n op of o ra u , st shown ens wh o wh si mp le ti c (2006) ip K era ot of ej ra th er n act nn came sa the se ion es i ar dat tes uma. so Here me s ye os n li nes utter rk bot thei r hi ima s, wi 18 ). an due sh os th me in t io bl iv an ng ’sr , se as In th e, of of of in is e e g e e a n a h n e d , ; 2 3 5 4 Ce numéro sur l’Architecture japonaise est un brillant essai de Botond Bognar : The Center embodies a new minimalist architectural paradigm what Nishizawa then repeated in his much smaller, yet equally amazing Needless to say, between the two Schools the range that includes Atelier Bow Wow as well is practically endless and there are many “white” L’ARCHITECTURE AU JAPON APRÈS LA "BULLE" : limites et possibilités Architecture japonaise après la "bulle": limites et possibilités ; préparé avec une très grande Hiroshi Senju Museum of 2011 in Karuizawa, where the glass-enclosed small courtyards with plants bring the presence of nature face to face architects, who occasionally cross over to the “reds” like Maki, Aoki, and Ryoji Suzuki (fig.29). Then the question should arise: where is Kuma’s Au cours de la dernière période des années 80 et la plupart des années 90, alors que l'économie, ainsi que le développement urbain attention par Kaisa Broner Bauer dans le choix des images et des textes dans la seule langue with the art inside the building of sloping and undulating floor (fig.22). place in this classification? Well, Kuma’s versatile architecture is difficult to put into any one category. While on the one hand his architecture dans le pays, accélère à une vitesse vertigineuse, l'architecture japonaise à eu une grande floraison. Il y avait des investissements dans tous d'origine pour éviter toute réduction, avec une traduction intégrale en français et en italien sur le site approximates the Red School, on the other, it is also contrary to it in significant respects. More precisely, although Kuma’s buildings are rich renouvelé du CB. Après le numéro sur la stratification qui caractérise la jeune architecture les types de construction et il a été construit trop, y compris de nombreux mégaprojets...... cfr. www.lecarrebleu.eu contemporaine japonaise, cet article nous offre une intéressante comparaison entre l'architecture Unlike SANAA’s highly conceptual work, Kuma has developed his minimalist architecture in another and rather different direction. His in usually local materials and craftsmanship, and set to enhance the local spirit of place, they are also simple in forms, minimalist in rendition, fondateurs (en 1958) des grandes stars, une pression croissante pour chercher du travail conséquent au dehors du pays, Aulis Blomdstedt, Reima PietIlä, Heijo Petäjä, Kyösti Alander, André designs concentrate on the concreteness of human experience, which extends to all faculties of human perception, especially tactility. In contrast and unobtrusive in appearance. Moreover, his designs are always elegantly restrained and meticulously executed. et les efforts déployés par les jeunes architectes à réduire leur besoins et attentes pour rester au Schimmerling directeur de 1958 à 2003 67 89 to a stripped down and sterile minimalism, Kuma’s multisensory architecture is rich in vibrant and sensuous surfaces with varied transparencies, Japon, même avec des projets de petite taille et faible coût, mais à la recherche de solutions en mesure de répondre à la nécessité de flexibilité et de réduction des besoins, atteignant les objectifs responsable de la revue et animateur (de 1986 à 2001) shifting patterns of light, and subtle details, which altogether endow his spaces with a sensible ambiguity both inside and out. This is seen for These discussions about the diverse directions what generations of contemporary architects pursue today, must now take us back to L’ARCHITETTURA GIAPPONESE DOPO LA “BOLLA”: limiti e possibilità avec A.Schimmerling, Philippe Fouquey example at the delicate screens of thin bamboo strips in his Ginzan Onsen Fujiya Ryokan (2006) in Obanazawa and at the Prostho Museum the predicament of their limited conditions in post-bubble Japan, namely the “disappearance” of architectural jobs. architecturaux les plus importants d'un pays cherchant à retrouver son avenir. Durante l’ultimo periodo degli anni ’80 e la maggior parte degli anni ’90 del Novecento, quando l’economia, insieme con lo sviluppo ur - directeur Massimo Pica Ciamarra and Reseach Center (2010) in Kasugai, whose exterior is loosely defined with a “fuzzy” wooden framework. Many of these qualities derive from Large, corporate type design offices still have work, but the number of projects done by them is now reduced. Younger architects have bano del paese, accelerava a velocità vertiginosa, l’architettura giapponese ebbe una grande fioritura. Ci furono investimenti in tutti i tipi di co - Au cours des années ‘80 et de la plupart des années ‘90 du siècle passé, alors que l'économie Kuma’s strong and particular emphasis on architecture’s materiality, the craftsmanship of construction, and tectonic precision (fig.23-24). Although the least commissions and they generally fall within the area of private residences or other small structures. Cercle de Rédaction struzioni e fu costruito troppo, inclusi numerosi mega progetti...... accélère à une vitesse vertigineuse, une grande floraison d'architecture se manifeste : l’on construit Kaisa Broner-Bauer, Luciana de Rosa rédacteur en chef, materials receive growing attention from Japanese architects today, no one experiments with as broad range of them as Kuma does. Making However, even the most prominent and leading architects have few jobs, if at all, in Japan today. If they do, these projects too are trop, trop de mégaprojets Claire Duplay, Georges Edery, Päivi Nikkanen-Kalt, practically every design of his different, his use of materials encompass wood, bamboo, paper, vines, plants and stone, then plastic, synthetic relatively small, such as Kuma’s most recent Asakusa Visitors Center (2012) in Tokyo or Ito’s Toyo Ito Museum of Architecture (2011) in Bien que la majorité des réalisations soit le résultat d'une consommation à outrance, Juhani Katainen, Pierre Lefévre Massimo Locci, l'investissement concentré sur l’image a donné lieu à de nombreux exemples de créativité de niveau Luigi Prestinenza Puglisi, Livio Sacchi, Bruno Vellut, fabric, vinyl, metals, glass, and others. However, whatever the material, he is intent on finding ways to turn it into small “particles” and then into Imabari. Although Kuma might still be active at home, at least partially, others, such as Isozaki, Ando, Ito, Ban, Maki, SANAA, Yamamoto, Jean-Yves Guégan élevé, qui a attiré l'admiration du monde entier. Des architectes tels que T.Ando, A.Isozaki, F.Maki, multiple layers of permeable membranes or screens that lightly envelop rather than solidly and clearly demarcate the boundaries of his buildings to mention but a few, complete practically all or most of their current work abroad, where many run branch offices as well, in China, the Middle Y.Taniguchi, T.Ito, S.Takamatsu ont obtenu une reconnaissance mondiale, trois entre eux le Prix 10 11 12 13 14 11 or spaces, thereby filtering both light and the environment in variable ways into the realm of architecture. The facades of his Lotus House (2005) East, Europe, the United States, and elsewhere. Even Kuma’s largest and most significant projects are now done outside Japan. Pritzker d'architecture. Cependant, au milieu des années ‘90, l'éclatement de la «bulle» est devenu in Zushi are designed with a lacy curtain of thin stone plates hung from the eaves by hidden chains. In turn, his architecture seems to lose its The reasons behind this relatively new phenomenon are complex and can be explained only to a limited extent by the reduced number douloureusement évident dans le secteur de la construction, les conditions modifiées de collaborateurs Allemagne Claus Steffan object-like disposition and blend into its surroundings. At the Ando Hiroshige Museum (2000) the glass surfaces of the simple building are of work in Japan. The fall of the Berlin Wall and the ensuing new political climate along with the information revolution and globalization of l'architecture, et le Japon est entré en récession la plus longue et la plus grave, une période désormais connue sous le nom « décennie perdue ». Autriche Liane Lefaivre, Anne Catherine Fleith, Wittfrida Mitterer completely covered both outside and inside by densely spaced wooden slats, while other partitions are of the Japanese washi paper with a thin the world economy have opened up for architects too an expanded marketplace way beyond their own country. Architects can now work, Belgique Lucien Kroll, Henry de Maere d'Aertrike La nouvelle utilisation d'un large éventail de matériaux souvent communs, ainsi que le nombre Espagne Jaime Lopez de Asiain, Ricardo Flores plastic sheet behind (fig.25). like their counterparts in Médicins sans Frontiéres, without borders. croissant de nouveaux matériaux, a contribué à l'évolution récente de l'architecture écologique. Estonie Leonard Lapin S.Ban est « bien connu » pour l'utilisation de tubes en carton dans ses bâtiments, y compris les Angleterre Jo Wright, Cécile Brisac, Edgar Gonzalez Etats-Unis Attila Batar, Stephen Diamond, James Kishlar, Kuma studied under Hiroshi Hara at the University of Tokyo while Maki was one of his mentors. Both of these outstanding architect- In Japan this new engagement with foreign clients is fostered also by the worldwide recognition of its architecture and the reputation what structures temporaires et permanentes. Il a conçu une «architecture en papier » pour les installations Alexander Hartray academicians have been intensely involved in researching vernacular architectures around the world by which their designs have been Japanese designers have achieved particularly since the 1980s. The result now is not only that a growing number of major commissions are d'urgence pour fournir des logements immédiats au grand nombre de victimes de tremblements de Finlande Räili Pietilä, Severi Blomstedt, Kimmo Kuismanen, terre et tsunamis. Veikko Vasko, Matti Vuorio 15 16 17 influenced. Kuma shares the sentiment of his elders for the vernacular, yet he is less inclined to follow Hara’s somewhat decorative renditions completed abroad, but also that the majority of these constitute the most significant accomplishments of these architects today. In conclusion it L'utilisation de plaques de métal comme matériau de construction et les surfaces extérieures se France Jean-Marie Dominguez, Edward Grinberg, and Maki’s crisp, neo-modernist paradigm. Instead, he is interested in reflecting on, and benefitting from the principles of design, the spatial is safe to say that while Japanese architecture in the era of post-bubble Japan continues to face serious limitations and challenges, it also cover SANAA: Kanazawa 21st Century Museum of Contemporary Art, Kanazawa, 2004, plan répand parmi les jeunes architectes japonais: un grand nombre d’architectures « environnementales » Veneta Avramova-Charlandjieva, Michel Martinat, 01 Nikken Sekkei Ltd.: Tokyo Sky Tree, Tokyo, 2012 Agnès Jobard, Mercedes Falcones, Anne Lechevalier, and material qualities of local architectures and cultures in general, wherever his buildings might be located. The material of a small Museum benefits from the new realities by better recognizing its own responsibilities toward both society and the environment as well as realizing that va dans le sens d'une réponse aux conditions urbaines, une reconnaissance plus concrète de la ville Pierre Morvan, Frédéric Rossille, Michel Mangematin, 02 Kumiko Inui: Hibiya Kadan Flower Shop, Tokyo, 2009 of Wooden Buddha (2002) is locally produced adobe, then the Xinjin Zhi Museum (2011) in Chengdu, China is clad in the breathing façade these do not necessarily hinder artistic creativity; there is also power in limits after all. And this still evolving attitude now seems to propel much cadre commun que les jeunes architectes acceptent, sont prêts à utiliser, avec seulement des Maurice Sauzet, Dominique Beaux, Michel Parfait, 03 Toyo Ito: Home for the Elderly, Yatsushiro, 1994 améliorations limitées. Michel Sabard of loosely arranged traditional Chinese roof-tiles suspended on steel cables. Kuma’s architecture connects to various local and traditional of this architecture’s expanded role as it impacts more and more the world also beyond Japan. However, the question still remains as to what 04 Riken Yamamoto: Saitama Prefectural University of Nursing, Koshigaya (1999) Jordanie Jamal Shafiq Ilayan 05 Kazuyo Sejiima: Gifu-Kitagata “High-Town” Housing complex, 2000 Hollande Alexander Tzonis, Caroline Bijvaet, Tjeerd Wessel models, most especially the Japanese, while forwarding well-articulated environment-friendly solutions (fig.26). extent the working of Japanese architects on the global marketplace could foster quality and sustainability not merely in the measurable or Les réalisations les plus diverses sont présentées par la troisième génération, peut-être les Hongrie Katalin Corompey These intentions can be seen as an attempt to nurture a contemporary or “modern” version of the ephemeral Japanese space, with the technical terms, but also in regard to the “immeasurable” aspects of sustaining architecture’s capacity to remain a creative force in and of a 06 Nikken Sekkei Ltd.: Izumi Garden Office Tower, Tokyo, 2002 architectes les plus actifs internationalement reconnus comme Kuma, Sejima, Nishizawa, puis Italie Paolo Cascone, Aldo M. di Chio, POLA Art Museum, Hakone, 2002 simultaneous intention to shun the traps of commodifying the past or, rendering it merely a “consumable” image. In other words his dialogue particular local culture. Addressing this issue however would take the length of another long essay, which needs to be written in the times to come. 07 SANAA, Ban et Aoki. Francesco Iaccarino Idelson, Antonietta Iolanda Lima 08 Tadao Ando: Lee Ufan Museum, Naoshima, 2010 La diversité des projets et des types d'architecture, classés comme minimalistes, montrent des Portugal Jorge Cruz Pinto, Francisco De Almeida with traditions is not the mimicking of any emblematic historic style (fig.27). In fact, he has no preference for any particular style, and among Cuba Raoul Pastrana 09 Kengo Kuma: Lotus House, Zushi, 2005 différences significatives. La meilleure façon d'introduire les adresses que la génération post-bulle 18 19 20 Chine Lou Zhong Heng, Boltz Thorsten his works one can find an extensive variety of experimentations with architectural/artistic expressions ranging from the tiniest tearooms such 10 Shigeru Ban: Centre Pompidou Extension, Metz, 2010 poursuit est de partir de deux contraires: l'architecture de SANAA et Kuma. Atelier Bow Wow: Gae Residence, Tokyo, 2004 as the Fuan Teahouse (2007) using Super-Organza, to the large and high-tech-intensive Asahi Broadcasting Corporation’s Osaka Headquarters 1 Kenzo Tange received the Pritzker Prize in 1987, Fumihiko Maki in 1993, and Tadao Ando in 1995. (More recently, in 2010, the Partnership of Kazuyo Sejima and Ryue Nishizawa or SANAA won the prize). 11 La première est une combinaison curieuse du travail de deux créateurs très talentueux. 12 s 12 Sou Fujimoto: Musashino Art University Library, Tokyo, 2010 (2008). Yet his buildings, always incorporating elements of nature, water and plants, as well as manifesting a deep respect for the site, are 2 In contrast, during the bubble economy many such public projects, with no real or functional need for them, have had practically no other purpose than keeping the construction companies busy or n Leur premier grand succès fut l'achèvement du Musée d'art contemporain de Kanazawa au 21e

have been produced as a result of political considerations. One could come across projects, which, after completion, had no actual use; many museums and galleries, for example, had not much or nothing o 13 Kazuyo Sejima: House in a Plum Tree Grove, Tokyo, 2004

i siècle (2004). Ici, une plaque cylindrique dure de 112,5 m. de diamètre, le tout enveloppé dans du

sensual, “soft and warm,” while SANAA’s are cerebral, sharp, and “cool.” Kuma’s minimalism then stems primarily from a self-effacing attitude t significant to exhibit. The Zeus Museum in Nima (1990), designed by Shin Takamatsu, exhibited sand for example. 14 Fumihiko Maki: Republic Polytechnic, Singapore, 2007 verre, est remplie, dans une façon apparemment aléatoire, des boîtes rectangulaires comme des en collaboration avec a INARCH - Istituto Nazionale di Architettura - Roma in design, which steers clear of the spectacular or a formalistic exhibitionism. His buildings are shaped unfailingly with very simple forms, 3 The percentage of the elderly (over 65 years of age) in Japan was 14% in 1995, and is predicted to be 24% in 2015, and 26% in 2030. Birthrate or fertility rate (number of live births per woman) in r 14b Republic Polytechnic, Singapore, 2007, diagrams t îles qui forment les espaces d'exposition et les courts à la fois, laissant libre pour la circulation le Museum of Finnish Architecture - Helsinki 2002 reached 1.32, the lowest ever recorded, and the situation is improving only very slightly. (These data are quoted from Japan: An Illustrated Encyclopedia . Tokyo: Kodansha, 1993; and the website of the whose “hidden” architectural qualities can only be fully appreciated through a time-consuming human experience (fig.28). s 15 Yoshio Taniguchi: Marugame Genichiro Inokuma Museum of Art, Marugame, 1991 b 14 réseau d'espaces qui forme un labyrinthe. [email protected] Japanese Statistical Bureau http://www.stat.go.jp/english/data/nenkan/1431-02.htm.) u archives iconographique, publicité

l 16 Tadao Ando: Chateaux la Coste Art Center, Aix-en-Provence Post-bubble Japanese architecture could also be discussed according to another categorization that distinguishes between “white” l Bien que les matériaux fassent l’objet d'une attention croissante dans l’architecture japonaise 4 Today, with more than 2,000 employees, Nikken Sekkei Ltd is also one of the world’s largest architectural firms. i 17 Toyo Ito: Sendai Mediatheque, Sendai, 2001; and axonometry of structures traductions Gabriella Rammairone, Adriana Villamena and “red” architectures. The recently re-emerged use of “white school” and “red school” in Japan is attributed to Terunobu Fujimori, an old- 5 Kengo Kuma, “Digital Gardening” in a special issue on Kengo Kuma of SD Space Design (Nov. 1997); p.6. The actual intention behind Kuma’s dramatic statement of “I want to erase architecture” is d’aujourd'hui, il est encore recouru à des matériaux tels que bois, bambou, papier, plantes et pierres, révision des textes français : F.Lapied 18 Taichung Opera House, Taiwan, 2013 generation historian turned architect, whose amateurish and occasionally humorous vernacular architecture is leading the “reds.” 13 to conceive of his buildings as an anti-objects and non-monuments, which blend into their environments so seamlessly as to “disappear.” puis plastique, tissus synthétiques, vinyle, métal, verre et autres. Cependant, quel que soit le mise en page Francesco Damiani 6 Atelier Bow Wow (established in 1992) in cooperation with the Tsukamoto Lab at Tokyo Institute of Technology wrote a small book Pet Architecture Guide Book , which was published by World Photo 19 Kazuyo Sejima: Shibaura House, Tokyo, 2011 matériau, il s'engage à trouver des moyens pour les réduire en petites «particules», puis en plusieurs 21 22 23 24 abbonnement www.lecarrebleu.eu/contact The first school can be characterized as purist, which denies or reduces tectonics and materiality to a minimum, relies on unadorned, Press in Tokyo in 2001. Both Tsukamoto and Kaijima are also involved in teaching and so combine academic research with practice wherein the two mutually benefit from each other. 20 SANAA: Kanazawa 21st Century Museum of Contemporary Art, Kanazawa, 2004 couches de membranes perméables ou écrans qui enveloppent avec légèreté l’enveloppe de ses 7 Another book by the partnership is Bow Wow from POST BUBBLE CITY. Tokyo: INAX Publishing, 2006. 21 Rolex Learning Center of École Polytechnique Federale de Lausanne, Switzerland, 2010 édition nouvelle Association des Amis du Carré Bleu, loi de 1901 smooth and blank white surfaces, and is highly conceptual, often high-tech and even scientific in nature. The second school, on the contrary, bâtiments et de ses espaces : le filtrage est si léger que l'environnement dans le domaine de Président François Lapied 8 In the original group of Metabolist architects Kisho Kurokawa died in 2007, Masato Otaka in 2010, and Kiyonori Kikutake in 2011. Ryue Nishizawa: Hiroshi Senju Museum, Karuizawa, 2011 is rough, robust, folksy and energetic, with local and sometimes “primitive” craftsmanship. These dichotomies in design, defying generational 22 l'architecture. tous les droits réservés / Commission paritaire 593 9 Maki, in his 1964 booklet Investigations in Collective Form distinguished among three paradigms of urban formations: compositional, mega-structural, and group forms; in his architecture, based on the latter type, 23 Kengo Kuma: Ginzan Onsen Fujiya Ryokan, Obanazawa, 2006 "le Carré Bleu", feuille internationale d'architecture boundaries, have a rich history in Japan’s modern architecture. he was exploring the benefits of a sensitively clustered built fabric, wherein inside and outside spaces in close relation mutually define each other (Saint Louis, MO: Washington University School of Architecture publication). siège social c/o D.S., 24, rue Saint Antoine, 75004 Paris 24 Prostho Museum and Research Center, Kasugai, 2010 www.lecarrebleu.eu [email protected] 10 In addition to being partners in SANAA, Kazuyo Sejima and Ryue Nishizawa maintain their independent offices as well. Une question reste ouverte : dans quelle mesure le travail des architectes japonais sur le marché It is clear that SANAA’s and its partners Sejima’s and Nishizawa’s individual architectures epitomize the White School, which 25 Ando Hiroshige Museum, Bato, 2000 11 Kuma uses the term “particlizing” in relation to his architecture in “Relativity of Materials” JA, The Japan Architect 38, special issue on Kengo Kuma (Summer 2000); p.86. mondial favorisera-t-il la qualité et la durabilité non seulement en termes mesurables ou techniques, Xinjin Zhi Museum, Chengdu, China, 2011 encompasses the majority of works produced by such other architects as Ban, Aoki, Tezuka Architects, Fujimoto, Ishigami, Yokomizo, Waro 12 Most of Kuma’s numerous teahouse projects are temporary installations, and opportunities for Kuma to experiment with various materials. The space of the Fuan Teahouse was created by using a 26 mais aussi pour les aspects "incommensurables" du soutien de la capacité de l'architecture à distribution CLEAN edizioni large helium-filled balloon floating in mid-air, from which the feather-light and gauzy fabric is suspended while surrounding a small, three-tatami platform. 27 Jugetsudo Teashop, Paris, 2009 demeurer une force créative dans une culture locale particulière : cela nécessite un long essai, qui www.cleanedizioni.it Kishi, and others. In addition to Fujimori, among the better-known representatives of the “real” Red School would include Team ZOO and imprimerie Officine Grafiche F. Giannini & Figli spa 14 28 Yien East / Archipelago, Kyoto, 2007 its smaller ateliers, then Hiroshi Naito, Atsushi Kitagawara, Osamu Ishiyama, Kazuhiro Ishii, and Itsuko Hasegawa. 13 Fujimori is quoted in Dana Buntrock. Material and Meaning in Contemporary Japanese Architecture: Tradition and Today. London: Routledge, 2010; p.15. peut être écrit dans un proche avenir. www.gianninispa.it 14 Dana Buntrock in her book Material and Meaning in Contemporary Japanese Architecture: Tradition and Today (London: Routledge, 2010; p.15) discusses the Red School and its occasional sympathizers at length. 29 Ryoji Suzuki: Kompira Shrine Visitors Center and Administrative Facilities, 2004 25 26 27 28 29