DOCSLIB.ORG

Downloaded by [Central Uni Library Bucharest] at 03:22 26 September 2013

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Downloaded by [Central Uni Library Bucharest] at 03:22 26 September 2013 Encyclopedia of 20th-century architecture 672 Post Office Savings Bank, Vienna, interior detail of doorway (1906) © Howard Davis/GreatBuildings.com Downloaded by [Central Uni Library Bucharest] at 03:22 26 September 2013 modernism and advocated the reintroduction of communicative symbols to produce a richer architecture of multiple meanings, articulations, and intentions. Charles Jencks labeled Venturi’s ideas and recommended style as “Postmodern,” legitimizing a return to the incorporation of conventional architectural elements, to stylistic references, and to a renewed respect for historical urban context and specific places. Entries A–Z 673 The expansion of architectural ideas and vocabularies in Postmodernism spurred a new pluralism in architecture, reflecting the compound nature and diversification of contemporary conditions and thinking and the perception of architecture as both a cultural product and a cultural symbol. This pluralistic attitude rejects the belief in universal narratives and global solutions and shifts the focus of the designer from the generic to the specific, realized in a conscious attempt to understand the nature of each task and to respond to the needs, problems, and circumstances of the particular client and location. Some of the forms produced within this environment are outgrowths of modernism, seen in the work of High-Tech architects such as Richard Rogers and Norman Foster, who continue to venerate structural and technological innovation, and in the motifs and early modern aesthetic prominent in the work of Richard Meier. Another outgrowth of modernism is the abstraction and simplicity inherent in the International Style brought to a level of elegance and sublimity in the late 20th-century designs of Tadao Ando, Antoine Predock, and the late Luis Barragán. The most symbolic architecture at the end of the century, however, derives from the fields of philosophy and semiology. Deconstructivism and poststructuralism often use elements from 1920s Constructivism twisted and contorted to signify the end of meaning (absolute knowledge) and the realization of a world pushing technology beyond the limits of human comprehension and control. The fractured, distorted, and dynamic forms suggesting confusion and instability produced by Bernard Tschumi, Peter Eisenman, Coop Himmelb(l)au, and others represent linguistic, archeological, and deconstructive concepts from the philosophy of Jacques Derrida and Michel Foucault. Other architects, however, present a totally different worldview and aesthetic, demonstrated in works associated with Neoclassicism, New Expressionism, and an appreciation of vernacular constructions. Although this wide- ranging inclusiveness might suggest indeterminate architectural chaos, the variety of buildings produced can be understood as symbols of the divergent values and theories of their creators as well as significations of the complexity, multiculturalism, and diversity of contemporary culture. CAROL A.HRVOL FLORES See also AEG Turbine Factory, Berlin; Ando, Tadao (Japan); Art Nouveau (Jugendstil); Arts and Crafts Movement; Barragán, Luis (Mexico); Behrens, Peter (Germany); Chapel of Notre-Dame-du-Haut, Ronchamp, France; Coop Himmelb(l) au (Austria); Cret, Paul Philippe (United States); Deconstructivism; Eisenman, Peter (United States); Foster, Norman (England); Gaudí, Antoni (Spain); Goodhue, Bertram Grosvenor (United States); Hoffmann, Josef (Austria); Hitchcock, Henry- Russell (United States); Horta, Victor (Belgium); International Style; Mackintosh, Charles Rennie (Scotland); Meier, Richard (United States); Post Office Savings Bank, Vienna; Postmodernism; Poststructuralism; Predock, Antoine (United Downloaded by [Central Uni Library Bucharest] at 03:22 26 September 2013 States); Rogers, Richard (England); van de Velde, Henri (Belgium) Further Reading The following readings concentrate on the later half of the 20th-century with writings Encyclopedia of 20th-century architecture 674 particularly reinterpreting the modern movement and addressing the theoretical positions and architecture of Postmodernism and poststructuralism. The anthologies by Easthope and McGowan, Fernie, and Nesbitt are of significance because they introduce the ideas and perspectives of several writers on each topic and direct the reader to the larger body of work by each author. In addition, Fernie contains an informative glossary of concepts and bibliographic entries. Easthope, Anthony and Kate McGowan (editors), A Critical and Cultural Theory Reader, Toronto: University of Toronto Press, and Buckingham: Open University Press, 1992 Fernie, Eric (editor), Art History and Its Methods: A Critical Anthology, London: Phaidon, 1995 Jameson, Fredric, Postmodernism; or, The Cultural Logic of Late Capitalism, Durham, North Carolina: Duke University Press, and London: Verso, 1991 Lagueux, Maurice, “Nelson and Goodman and Architecture,” Assemblage 35 (April 1998) Nesbitt, Kate (editor), Theorizing a New Agenda for Architecture: An Anthology of Architectural Theory, 1965–1995, New York: Princeton Architectural Press, 1996 Rose, Margaret, The Post-modern and the Post-industrial, Cambridge and New York: Cambridge University Press, 1991 Wigley, Mark, The Architecture of Deconstruction: Derrida’s Haunt, Cambridge, Massachusetts: MIT Press, 1993 SYNAGOGUE At the turn of the 20th century, the spirit of integration lay behind much of new synagogue construction in Europe and America. Some examples of the distinctive Moorish-style building continued to be erected, such as the Jerusalem Street Synagogue in Prague (Wilhelm Stiassny and Alois Richter, 1906). Other historic styles such as Romanesque and Gothic (Szeged, Hungary, 1900–03) continued late 19th-century traditions. A few distinctive synagogue designs broke with tradition such as Hector Guimard’s striking Art Nouveau Rue Pavée Synagogue in Paris (1911–13), or adapted new traditions, such as the synagogue in Subotica, Yugoslavia (Komor and Jakab, 1901), combining Balkan, Hungarian, and Jewish folk and architectural traditions. A strong trend toward classicism, however, especially in America, resulted in the notable Congregation Beth El, Detroit (Albert Kahn, 1903), Beth Ahabah, Richmond (Noland and Baskerville, 1904) Mikveh Israel, Philadelphia (William Tachau and Lewis Pilcher, 1909), Temple Society of Concord, Syracuse (Arnold Brunner, 1910), and scores Downloaded by [Central Uni Library Bucharest] at 03:22 26 September 2013 of similar buildings. Brunner’s designs for Syracuse and the Henry S.Frank Memorial Synagogue in Philadelphia (1901) were the first synagogues built to directly refer to archaeological finds of ancient synagogues in Palestine. This form of classical Revivalism, which in most cases resulted in synagogues hardly distinguishable from banks, libraries, and government and university buildings evolved into the more distinctive Byzantine-Revival style, particularly popular after World War I. Here, following the earlier lead of Brunner, patrons and architects justified their designs Entries A–Z 675 by likening them to new archaeological finds from Palestine, but they also reinvented the distinctive exoticism that had characterized the Jewish Moorish style begun by Gottfried Semper at Dresden (1838–40) and continued so effectively for more than half a century. Unlike the Moorish style, however, the new Byzantine design emphasized plan and massing over decoration. Free standing buildings were often ingeniously sited in new urban parklike settings, and they often featured open plans that linked main sanctuaries to auxiliary administrative, educational, and social spaces—an innovation already hinted at in Kahn’s Classical Beth El of 1903 and that would be more fully developed in the new suburban synagogues and community centers built after World War II. The central dome over the sanctuary space became especially common—it was given many meanings: the cosmos, community, and tradition. A frequent urban variation of this style—especially where synagogues still occupied traditional urban sites, emphasized a single giant facade portal, as at B’nai Jeshurun, New York (Schneider and Herts, 1918) and Temple Emanu- El, New York (Kahn Butler and Stein, 1930). Emanu-El’s interior, with its enormous rows of arches, recalls contemporary modern architecture in Italy in its austerity and gigantism. In Europe, similar simpler architectural forms prevalent in the nascent modern movement were easily adapted for syn agogue design. The synagogue of Zilina, Slovakia (Peter Behrens, 1928–30) was, in many ways, a stripped-down version of the Byzantine domed synagogue popular in Hungary and the Balkans. Behrens’s design set a half dome on a rectangular block. Within, the dome rises on slender concrete piers from a square set within the rectangular mass. Outside, the ground floor is faced in stone, and the rest of the structure is of reinforced concrete. Despite the use of concrete, the building looks traditional due to its massing and the monumental stairway that leads to the main entrance. Nothing about the building’s architecture identifies it as a synagogue. Applied Stars of David set on each exterior corner served this purpose. Like Zelina, the monumental Great Synagogue in Tel Aviv, Israel (c. 1930) combined traditional elements such as arched windows and a large central dome with the plain smooth wall surfaces and combined massing of blocklike forms typical in early European modernism. The Yeshurun Synagogue in Jerusalem (Friedmann, Rubin, and Stolzer, 1934–5) eschewed
Load more

Recommended publications
  • The Architecture of Sir Ernest George and His Partners, C. 1860-1922
    The Architecture of Sir Ernest George and His Partners, C. 1860-1922 Volume II Hilary Joyce Grainger Submitted in fulfilment of the requirements for the degree of Ph. D. The University of Leeds Department of Fine Art January 1985 TABLE OF CONTENTS Notes to Chapters 1- 10 432 Bibliography 487 Catalogue of Executed Works 513 432 Notes to the Text Preface 1 Joseph William Gleeson-White, 'Revival of English Domestic Architecture III: The Work of Mr Ernest George', The Studio, 1896 pp. 147-58; 'The Revival of English Domestic Architecture IV: The Work of Mr Ernest George', The Studio, 1896 pp. 27-33 and 'The Revival of English Domestic Architecture V: The Work of Messrs George and Peto', The Studio, 1896 pp. 204-15. 2 Immediately after the dissolution of partnership with Harold Peto on 31 October 1892, George entered partnership with Alfred Yeates, and so at the time of Gleeson-White's articles, the partnership was only four years old. 3 Gleeson-White, 'The Revival of English Architecture III', op. cit., p. 147. 4 Ibid. 5 Sir ReginaldýBlomfield, Richard Norman Shaw, RA, Architect, 1831-1912: A Study (London, 1940). 6 Andrew Saint, Richard Norman Shaw (London, 1976). 7 Harold Faulkner, 'The Creator of 'Modern Queen Anne': The Architecture of Norman Shaw', Country Life, 15 March 1941 pp. 232-35, p. 232. 8 Saint, op. cit., p. 274. 9 Hermann Muthesius, Das Englische Haus (Berlin 1904-05), 3 vols. 10 Hermann Muthesius, Die Englische Bankunst Der Gerenwart (Leipzig. 1900). 11 Hermann Muthesius, The English House, edited by Dennis Sharp, translated by Janet Seligman London, 1979) p.
    [Show full text]
  • Itochu Enex Group Integrated Report We Started Off in 1961 with Only Six Gas Stations
    Itochu Enex Group Integrated Report We started off in 1961 with only six gas stations. Over the course of more than half a century, we have worked to contribute to an afuent society and quality of life and bring many smiles, growing with our customers. Now we are transforming ourselves from a traditional energy trading company ~ to an energy trading company ~ supporting the life in local communities. And we will continue to respond to stakeholders’ expectations, live with local communities, and contribute in making a sustainable society that brings forth a new era through co-creation. We strive to pass on very valuable things for people and local communities so that future generations may enjoy a more prosperous future. The Best Partner for Life and Society – with Energy, with the Car, with the Home – Itochu Enex Group A service station afliated with Itochu Fuel Corporation was opened. Minami-morimachi service station, Kita-ku, Osaka ENEX REPORT 2018 1 This is , ENEX Itochu Enex Group’s journey Change revolution Accelerate Change and Growth 2008~2010 2014 2017~2018 in value creation over half a century Develop global businesses horizontally and Enex Group, which has been developing business mainly in the eld of energy beyond the time of more than vertically, strengthen core businesses and half a century. We continue to move towards the future as a "The best partner for life and society" listed in our create synergies Transform the petroleum and gas Reforming the revenue base, Reforming Corporate philosophy. business model, Upgrade "Enex DNA" the organizational base 2011~2013 11.0 2015~2016 10.4 Changes in performance and main events Prologue to change ■ Net prot attributable to Itochu Enex's shareholders (billions of yen) 2004~2008 Improvement of petroleum product distribution *Unit performance until FY 1998, and gures for consolidated results since FY1999.
    [Show full text]
  • Press Release
    独立行政法人 医薬品医療機器総合機構 Pharmaceuticals and Medical Devices Agency Press Release For immediate Release: July 27, 2012 Media Inquiries: Toshiyoshi Tominaga, +81-3-3506-9456 Title: Convenes the second Science Board meeting The PMDA convenes the second Science Board meeting ~ Enhancing the review system in response to the Medical Innovations ~ While PMDA has been making various efforts to make its review process faster and more efficient by increasing the number of reviewers and revamping its review system, it is increasingly required to evaluate products using advanced science and technologies precisely and to provide sound advice and guidance. Under this circumstance, PMDA has been creating a system which ensures constant upskilling of its reviewers enabling them to assess the fruits of advanced technologies in close collaboration with academia that conducts cutting-edge scientific researches. As a part of its effort, PMDA established the Science Board as a high-level organ to give scientific advice. The Board consists of external experts who are active in the front lines of dental, pharmaceutical, and engineering fields. The second Science Board meeting will be held on July 31 (please refer to the Annex 1 for the list of the Science Board Members, Annex 2 for PMDA organization chart, and Annex 3 for List of the Office of Review Innovation Members.) The second meeting will discuss appointments of the members of the sub-committees dealing with pharmaceuticals, medical devices, biologics, and cellular- and tissue- based products (regenerative medicinal products). The agenda for the future discussion will be also discussed. Meeting is closed to public, since specific contents of individual approved products may be referred to.
    [Show full text]
  • Representations of Pleasure and Worship in Sankei Mandara Talia J
    Mapping Sacred Spaces: Representations of Pleasure and Worship in Sankei mandara Talia J. Andrei Submitted in partial fulfillment of the Requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences Columbia University 2016 © 2016 Talia J.Andrei All rights reserved Abstract Mapping Sacred Spaces: Representations of Pleasure and Worship in Sankei Mandara Talia J. Andrei This dissertation examines the historical and artistic circumstances behind the emergence in late medieval Japan of a short-lived genre of painting referred to as sankei mandara (pilgrimage mandalas). The paintings are large-scale topographical depictions of sacred sites and served as promotional material for temples and shrines in need of financial support to encourage pilgrimage, offering travelers worldly and spiritual benefits while inspiring them to donate liberally. Itinerant monks and nuns used the mandara in recitation performances (etoki) to lead audiences on virtual pilgrimages, decoding the pictorial clues and touting the benefits of the site shown. Addressing themselves to the newly risen commoner class following the collapse of the aristocratic order, sankei mandara depict commoners in the role of patron and pilgrim, the first instance of them being portrayed this way, alongside warriors and aristocrats as they make their way to the sites, enjoying the local delights, and worship on the sacred grounds. Together with the novel subject material, a new artistic language was created— schematic, colorful and bold. We begin by locating sankei mandara’s artistic roots and influences and then proceed to investigate the individual mandara devoted to three sacred sites: Mt. Fuji, Kiyomizudera and Ise Shrine (a sacred mountain, temple and shrine, respectively).
    [Show full text]
  • 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.
    [Show full text]
  • Kagurazaka Campus 1-3 Kagurazaka,Shinjuku-Ku,Tokyo 162-8601
    Tokyo University of Science Kagurazaka Campus 1-3 Kagurazaka,Shinjuku-ku,Tokyo 162-8601 Located 3 minutes’ walk from Iidabashi Station, accessible via the JR Sobu Line, the Tokyo Metro Yurakuchom, Tozai and Namboku Lines, and the Oedo Line. ACCESS MAP Nagareyama- Unga Otakanomori Omiya Kasukabe Noda Campus 2641 Yamazaki, Noda-shi, Chiba Prefecture 278-8510 Kanamachi Kita-Senju Akabane Tabata Keisei-Kanamachi Ikebukuro Nishi- Keisei-Takasago Nippori Katsushika Campus 6-3-1 Niijuku, Katsushika-ku, Nippori Oshiage Tokyo 125-8585 Asakusa Ueno Iidabashi Ochanomizu Shinjuku Kinshicho Akihabara Asakusabashi Kagurazaka Campus Kanda 1-3 Kagurazaka, Shinjuku-ku, Tokyo 162-8601 Tokyo ■ From Narita Airport Take the JR Narita Express train to Tokyo Station. Transfer to the JR Yamanote Line / Keihin-Tohoku Line and take it to Akihabara Station. Transfer to the JR Sobu Line and take it to Iidabashi Station. Travel time: about 1 hour 30 minutes. ■ From Haneda Airport Take the Tokyo Monorail Line to Hamamatsucho Station. Transfer to the JR Yamanote Line / Keihin-Tohoku Line and take it to Akihabara Station. Transfer to the JR Sobu Line and take it to Iidabashi Station. Travel time: about 45 minutes. ■ From Tokyo Station Take the JR Chuo Line to Ochanomizu Station. Transfer to the JR Sobu Line and take it to Iidabashi Station. Travel time: about 10 minutes. ■ From Shinjuku Station Take the JR Sobu Line to Iidabashi Station. Travel time: about 12 minutes. Building No.10 Building No.11 Annex Building No.10 Building No.5 CAMPUS MAP Annex Kagurazaka Buildings For Ichigaya Sta. Building No.11 Building No.12 Building No.1 1 Building No.6 Building No.8 Building Building No.13 Building Building (Morito Memorial Hall) No.7 No.2 No.3 3 1 The Museum of Science, TUS (Futamura Memorial Hall) & Building Mathematical Experience Plaza No.9 2 2 Futaba Building (First floor: Center for University Entrance Examinations) Tokyo Metro Iidabashi Sta.
    [Show full text]
  • Tokyo 2020 Paralympic Games Mascot
    英 語：English In the summer of 2020, the world’s greatest sporting spectacle will once again come to Tokyo. The brilliance of the athletes will radiate around the globe, bringing people across the world closer together. The shining performances of everyone taking part in the Games will leave an unforgettable legacy that will be passed on to future generations. So, let’s all come together and join hands to make the Olympic and Paralympic Games a breathtaking spectacle for all! Contents 1 Games Overview 2 10 Tokyo 2020 Participation Programme 19 2 Olympic Sports 4 11 Cultural Programmes 20 3 Paralympic Sports 6 12 Torch Relay 21 4 Venue Plan 8 13 Watching the Tokyo 2020 Games 22 5 Games Venues 10 14 Sustainability 23 6 Tokyo’s Second Paralympic Games 14 15 Connecting to Tomorrow 24 7 The Recovery and Reconstruction Games 15 16 Legacies, “2020 TDM Promotion Project” and Economic Impact 25 8 Let’s Create the Tokyo 2020 Games Together 16 ■ History 26 9 Volunteers 18 ■ Tokyo 2020 Marketing Partners 28 2 3 Games Overview Tokyo 2020 Emblems 1 In 2020, Tokyo and Japan will become the stage for the world’s greatest sporting spectacle! In 2020, Tokyo and Japan will once again host the Olympic and Paralympic Games, over half a century since the Games Harmonized chequered emblem were staged here in 1964. The Games emblems are composed of checkered Thousands of athletes, Games officials and spectators will gather in Tokyo and Japan for the Tokyo 2020 Games. The patterns in the traditional Japanese colour of indigo blue, and express a refined elegance that exemplifies Games will generate great excitement and emotions throughout Japan and the world.
    [Show full text]
  • Architecture Identity 2004 Edlin
    57 The Japanese Example - or the Art of Appropriation Astrid Edlinger Introduction Japanese Architects have a strong and continuous presence at the international stage of the architectural world. Their architecture is often perceived as being at the cutting edge of the architectural endeavour; it explores new approaches, technologies, shapes and materials. Yet it seems to contain something specifically 'Japanese'. If you want to couch this 'Japanese-ness' in a few representative terms, it would be some­ thing like 'minimalism and simplicity', 'a close relationship between architecture and nature', 'the startling use of material combined with technical perfection and ultimate craftsmanship' or 'a preference of asymmetrical forms and ways of approach'. (As in the work of Tadao Ando, Kengo Kuma or Shigeru Ban for example.) All of these char­ acteristics are often explained as being nurtured by the same fundamental principle: a particular Japanese aesthetic that forms the base of Japanese cultural identity. Figure 1: Medialized 'Japanese-ness': Kengo Kuma's Bamboo Wa ll House, Badaling , Chi na , 2002. 58 Chapter 1: The Making of Local Identity Living and working in Tokyo, however, this identity slowly frays. There are spac­ es crammed with things as well as large amounts of urban wasteland. There are glass and steel high-rise towers and fake materials or the mass of tile-clad concrete apart­ ment buildings that can confidently be cited as one of the most frequent building types in urbanised Japan, massive structures with dark, smelly staircases or windy access balconies and colourful futons and laundry happily dangling from the balustrades. Figure 2: 'Real' Tokyo: tile-clad concrete buildings.
    [Show full text]
  • Download File
    On A Snowy Night: Yishan Yining (1247-1317) and the Development of Zen Calligraphy in Medieval Japan Xiaohan Du Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2021 © 2021 Xiaohan Du All Rights Reserved Abstract On A Snowy Night: Yishan Yining (1247-1317) and the Development of Zen Calligraphy in Medieval Japan Xiaohan Du This dissertation is the first monographic study of the monk-calligrapher Yishan Yining (1247- 1317), who was sent to Japan in 1299 as an imperial envoy by Emperor Chengzong (Temur, 1265-1307. r. 1294-1307), and achieved unprecedented success there. Through careful visual analysis of his extant oeuvre, this study situates Yishan’s calligraphy synchronically in the context of Chinese and Japanese calligraphy at the turn of the 14th century and diachronically in the history of the relationship between calligraphy and Buddhism. This study also examines Yishan’s prolific inscriptional practice, in particular the relationship between text and image, and its connection to the rise of ink monochrome landscape painting genre in 14th century Japan. This study fills a gap in the history of Chinese calligraphy, from which monk- calligraphers and their practices have received little attention. It also contributes to existing Japanese scholarship on bokuseki by relating Zen calligraphy to religious and political currents in Kamakura Japan. Furthermore, this study questions the validity of the “China influences Japan” model in the history of calligraphy and proposes a more fluid and nuanced model of synthesis between the wa and the kan (Japanese and Chinese) in examining cultural practices in East Asian culture.
    [Show full text]
  • Major Projects
    Major Projects June 2012 www.mitsuifudosan.co.jp/english Project Map （Central Tokyo） 33 13 28 12 19 7 8 26 1 27 6 5 2 9 4 32 17 11 31 10 23 3 14 15 22 24 21 30 20 16 25 29 18 Map data ©2012 Google, ZENRIN Existing Projects New Projects 1. Nihonbashi Mitsui Tower 13. Garden Air Tower 25. DiverCity Tokyo 2. Nihonbashi 1-Chome Building 14. Tokyo Midtown 26. Nihonbashi Honcho 2-Chome Project （COREDO Nihonbashi） 15. Shiodome City Center 27. Nihonbashi Muromachi East District 3. Ginza Mitsui Building 16. Celestine Shiba Mitsui Building Development Projects 4. Yaesu Mitsui Building 17. Akasaka Biz Tower 28. Chiyoda Fujimi 2-Chome Project 5. GranTokyo North Tower 18. Gate City Osaki 29. Kita-Shinagawa 5-Chome Area 1 6. Sumitomo Mitsui Banking Corporation Redevelopment Project 19. Shinjuku Mitsui Building Head Office Building 30. Toyosu 2-, 3-Chome Area2 Project 20. Toyosu Center Building 7. Otemachi 1-Chome Mitsui Building 31. Hibiya Mitsui Building/ Sanshin Building 21. Toyosu Center Bu ilding Annex 8. Otemachi PAL Building Reconstruction Project 22. Toyosu ON Building 9. Marunouchi Mitsui Building 32. Nihonbashi 2-Chome Project (AreaC) 23. Kojun Building 10. Kasumigaseki Building 7. Otemachi 1-Chome Mitsui Building 24. Urban Dock LaLaport TOYOSU 11. Shin-Kasumigaseki Building 33. Higashi Ikebukuro 1-Chome Project 12. Jinbo-cho Mitsui Building Black： Office Buildings Red： Retail Facilities 1 Existing Projects Office Buildings (Owned) Chuo-ku Minato-ku Facility Nihonbashi Ginza Mitsui Yaesu Mitsui Nihonbashi 1- Tokyo Midtown name Mitsui Tower
    [Show full text]
  • The Budo Charter (Budo Kensho)
    The Budo Charter externalise the spirit underlying budo. They must do their best at all times, (Budo Kensho) winning with modesty, accepting defeat gracefully and constantly exhibiting self-control. Budo, the Japanese martial ways, have their origins in the age-old martial spirit of Japan. Through centuries of historical and social change, these forms of ARTICLE 4: DOJO (Training Hall) traditional culture evolved from combat techniques (jutsu) into ways of self- The dojo is a special place for training the mind and body. In the dojo, budo development (do). practitioners must maintain discipline, and show proper courtesies and respect. The dojo should be a quiet, clean, safe and solemn environment. Seeking the perfect unity of mind and technique, budo has been refined and cultivated into ways of physical training and spiritual development. The study ARTICLE 5: TEACHING of budo encourages courteous behaviour, advances technical proficiency, Teachers of budo should always encourage others to also strive to better strengthens the body, and perfects the mind. Modern Japanese have inherited themselves and diligently train their minds and bodies, while continuing to traditional values through budo which continue to play a significant role in the further their understanding of the technical principles of budo. Teachers should formation of the Japanese personality, serving as sources of boundless energy not allow focus to be put on winning or losing in competition, or on technical and rejuvenation. As such, budo has attracted strong interest internationally, ability alone. Above all, teachers have a responsibility to set an example as and is studied around the world. role models.
    [Show full text]
  • America and Japan: Influences and Impacts of Westernization on Japanese
    America and Japan: Influences and Impacts of Westernization on Japanese Architecture An Honors Thesis (HONRS 499) by Mark Figgins Thesis Advisor Michele Chiuini Ball State University Muncie, Indiana May 2011 Expected Date of Graduation May 2011 Abstract Traditional Japanese architecture is among the finest in the world. Japan's isolation allowed its traditions and customs to be refined over centuries, whereas the origins of American architecture reside in European styling. When Commodore Matthew Perry sailed into Tokyo Bay in 1853, he opened Japan up to an influx of Western culture that transformed it into a modern nation. Japan's struggle to find a modern identity and to reconcile Western and traditional architecture is examined from 1853 to the present. Acknowledgments I would like to thank Professor Michele Chiuini for advising me. His knowledge and patience have helped me immensely throughout this project. Table of Contents Influences on Traditional Japanese Architecture 1 The Japanese Honle 5 Early American Architecture 9 Conlmodore Perry's Opening of Japan 16 Japanese Architecture: Meiji Period 21 Frank Lloyd Wright 23 Japanese Architecture: Meiji to World War II 25 Kenzo Tange and Modernism 27 1 Japan has a rich history of tradition and culture. It is highly modernized, yet throughout its landscape, glimpses of a time centuries ago can still be seen. Its traditional architecture, simple, but with great attention to detail and beauty, is among the most fascinating in the world. When American Commodore Perry opened up Japan to an influx of Western culture, it sparked a desire to industrialize and use Western technology to further its goals.
    [Show full text]