Baykomious Elmagarisy Type johnstong by Baykomious Elmagarisy

Japanese Architectureâ&#x20AC;&#x201C; Ancient to Modern We weill explore famous works from acient times to modern times littered all accross Japan

Hara Hiroshi Hara Hiroshiâ&#x20AC;&#x2122;s (1936-) preferred medium is steel, glass and brushed steel surfaces, as seen in some of his more famous works. He is also an author on architecture and has published several essays on that topic.

Japanâ&#x20AC;&#x2122;s Architecture Working towards a brighter future

Table of Contents 00 Title Pages 01 Introduction 02 Characteristics 03 Engawa 04 Screen and Sliding Door 05 Genken 06 Varendas 07 Nature Table of Contents Page 00 Title Page Page 01 Introduction Page 02 Characteristics Page 03 Engawa Page 04 Screen and Sliding Door Page 05 Genken Page 06 Varendas Page 07 Nature Page 08 Famous contemporary Japanese architects

INTRODUCTION by Andy Gill Thursday 24 November 2016

In a rare interview, the reclusive Wuthering Heights singer opens up about her nerves performing live and working with her son on the spectacular visuals for her 2014 shows, which are now commemorated on the live album Before The Dawn.Bush was suspended for six hours in a tank of water at Pinewood Studios filming visuals for

by Andy Gill Thursday 24 November 2016

Japanâ&#x20AC;&#x2122;s Begnnings Acient Architecture

â&#x20AC;&#x153;Painted photograph from Japan, circa 1806â&#x20AC;?

This paper will examine the different aspects of traditional Japanese architecture that certain local architects have maintained in their works despite trends to transition completely over to the bland corporate or international building style. After an introduction to the topic, the article will dive into the different elements of traditional Japanese architecture that have been adapted into modern day use. The first section, titled Time and Space, will look at design approaches unique to Japan as an island country with limited land area. The second section will briefly introduce the reader to the belief system indigenous to Japan known as Shinto and its influences on Japanese architecture in terms of materiality and form. As a religion closely related to nature, Shinto ties into the next section on Japanese Gardens as Architecture, followed by a section on architectural influences

from historical styles of Japanese residential building. Each of these sections will first talk about the characteristics, origins and functions of these traditional elements of architecture and their original forms and uses in authentic historical examples. Then the same elements as seen in modern Japanese architecture will be pulled out as examples for comparison, with a short analysis of their successes and shortcomings to conclude each section. The examples mentioned for comparison are from both personal interpretation and speculation, as well as others backed up by original sources. This paper aims to point out the successes of this approach to design, and promote its use in the future.

E D O JA PA N E S E T R A D I T I O NA L A RC H I T E C T U R E The Edo period (the 17th to mid-19th centuries) greatly shaped Japanese architecture. Simple, dignified, and beautiful; the structures created during this time can even be seen today, inspiring architecture around the world. While Japanese architecture was greatly influenced by the Chinese, the differences in their styles are vast. Japanese traditional architecture can be divided into eight main elements. WOOD Japanese traditional architecture is dominated by wood. Due to the humidity, the risk of earthquakes, and the possibility of typhoons, wood became preferred over stone or other materials, as it led to proper ventilation to combat the climate and was durable in the face of natural disaster. In older Japanese homes, no paint was coated onto the walls of the buildings as a way of showing appreciation. They valued the wood, showing respect by not covering it’s natural beauty to the eye. Further, many structures, especially temples and shrines, refrain from using nails. Instead, they shape the frames of the building to fit like puzzle pieces, interlocking them together sturdily this way known as tokyō ( The Japanese’s minimalistic use of materials says much about their mindset.

THE EIGHT ELEMENTS OF JAPANESE TRADITIONAL ARCHITECTURE April 8, 2020 by TOKI https://www.toki.tokyo/ blogt/2020/4/8/eightelements-of-japanesearchitecture https://en.wikipedia.org/ wiki/Kinkaku-ji

THE GOLDEN (KINKAKUJI) ©TOKI by Tokil Thursday 24 November 2016

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01 For more information about the origins of Japanese architecture, you can watch KOCHUU, an award-winning film discussing historical Japanese buildings and the

THE HISTORY AND ORIGINS OF TRADITIONAL JAPANESE ARCHITECTURE by Andy Gill Thursday 24 November 2016

various influences that have made Japanese architecture what it is today. for six hours in a tank of water at Pinewood Studios filming

I. Time & Space

visuals for And Dream

The origins of Japanese architecture Prior to the 1st century B.C.E., Japanese homes looked much like any other home across the world, consisting mainly of wood with thatched roofs and earthen floors. Built before the 6th century, some of Japan’s first shrines looked similar to ancient storehouses or homes. It wasn’t until the 7th century that Japanese architecture developed its own distinct style, having been heavily influenced by other Asian nations. It was around this period that wood emerged as a preferred building material for Japanese architecture. This is due to a lack of stone available at the time due to volcanic activity, as well as wood’s proven resistance to earthquakes.

ROOFS The curvy, elongated roofs of Japanese traditional architecture are a focal point in most buildings. They are important, not only for their attractiveness but for their role in the structure. Japanese architecture is made up of four types of roofs: kirizuma (gabled roof ), yosemune (hipped roof ), irimoya (hipand-gable roof ), and hogyo (square pyramidal roof ). The eaves of roofs are designed so widely in order to protect windows from rain, as summers in Japan bring much of it. Intricate and symbolic kawara (瓦屋根), traditional roof tiles of Japan) commonly adorn eaves, also protecting from rain. Many Japanese delight in opening their windows for the fresh air and calming pitterpatter of the downpour during the summer, well protected by their roofs.

“Traditional Japanese architecture” typically refers to buildings built during the Edo period, which was during the 17th to mid-19th centuries. Japanese Medieval architecture was somewhat comparable to Medieval European architecture at the time due to the prevalence of castles, but it was much simpler than its European counterpart. Following this period, Japanese architecture started to adopt more Western influences.

Verandas:

In his book From Shinto to Ando, Dr. Gunter Nitschke clearly remarks that Japan, as an island country, has historically always had “too little space” for its ever-growing population. In response, the Japanese have always had a tendency to use space very intensely. Because of this scarcity of space, life in Japan as Nitschke describes it, becomes a “space-structured experience of time.” People take their time to create, contemplate, experience and appreciate what little space there is. The religion of Japan also supports this mentality. Buddhism is a religion intertwined with the ethnic Shinto belief, and is what is called an “eternity [philosophy]” where each individual has many lives and what is not achieved in the current life is postponed to the next incarnation (Nitschke). So time is limitless, but what is limited is space and the present moment, both highly valued by the Japanese. The United States on the other hand is a “large country with relatively [fewer] people”, life here, therefore, becomes a “time-structured experience of space.” Time is the currency, and free, leisure time is a luxury earned from time worked. When everything runs on time, a new, different, culture is generated, which is why concepts like fast food, express lanes, and time-sharing vacation programs often spring from countries like the US. Japan is more or less the polar opposite according to Nitschke’s point of view. Space is the more important component of an experience, and there are a series of techniques used in traditional architecture to warp our perception of space and time, for the optimal experience of limited space.

Older Japanese houses will usually have a wooden veranda (called an engawa) that runs around the outside of the house.

I. Time & Space The first technique is the manipulation of the visitor’s posture at arrival. This is most commonly seen in the form of what is called a Nijiri-guchi, a small door of a chashitsu tearoom that is made to intentionally make visitors bend low (in effect, bow) to enter the building. This has two functions: one, to make an environment where everyone is equal regardless of status (having all bowed upon entrance), and second, to make the claustrophobic room feel slightly larger than it is. To view the surroundings as larger than reality, one must reduce and humble oneself. Gates that are lower than the average person’s height can also have the same effect. The most extreme example is probably the gate folly called naka-kuguri at the Fushinan tea garden (Fig. 1, Nitschke), literally the “middle crawlthrough gate.” This forces the visitors to crouch down and at the same time, see the garden from that specific elevation, an experience choreographed by the garden designer. This same technique is used in Japanese Architect, Tadao Ando’s modern townhouse, the Azuma House (Fig. 2, Jodidio). The house itself is jammed between two existing buildings, making it a very small and narrow property. But the deliberately small entrance creates a contrast in experience, making the passing of that small threshold seem to open up to a much larger space than the house actually is. The size of the door in comparison to the rest of the facade (as well as the fact that it is the only opwening) further enhances this contrast and plays with the visitor’s spatial perception and experience within limited space.

Another technique used is described by Nitschke as a “space tunnel.” Space tunnels are corridors that are not too long, but long enough, and unadorned to intentionally instill a sense of boredom in the visitor. His example was the corridor at Shisendo (B, Fig 3, Nitschke). The corridor, which takes up a third of the complex, is lined with a bamboo grove that seems to repeat itself perpetually. This is boring, but this boredom is put into good use. For when

people are bored, time seems to be perceived as slower than clock time, and the “tunnel” therefore, seems longer, because the visitor feels like he strolled through it over a longer period of time than he actually had. This technique combined with the small door technique is used again, by Ando, in his Honpuku Temple (Fig. 4-5, Jodidio). The temple’s most striking exterior feature is indisputably the immense bowl that is the lotus pond. But one can only look at it from afar, because as you try to get closer to the center, you have no choice but to descend downwards, missing the view of the lotuses. This is the space tunnel. The contrast of the beauty of the lotuses and the liveliness of the humming bees against the stark blandness of the concrete creates the same if not more intense feeling of boredom as felt at Shisendo, and elongates the visitor’s journey downwards towards the entrance. At the end of the “tunnel” the visitor arrives at a humble door, again reduced in size by the immense wall that rises up to the surface of the pond above, creating an illusion of a larger space after passing through the threshold of that small door.

Lastly, meandering paths, and unexpected surprises are also used in response to limited space. The Japanese have a tendency to form zigzag paths or surprising elements that contrast the previous space tunnel idea to make for a more interesting journey where a new object or scene is admired at every turn. “A straight passage is the shortest, but not necessarily the most pleasurable” says Nitschke. He mentions a story of Sen no Rikkyu, the father of the Japanese tea ceremony, and his last tea house in the mountains overlooking a bay. After a laborious climb, and meandering through a meticulously crafted

garden, his visitors were disappointed as the elderly Rikkyu had completely covered the view of the inland sea. Upon entrance of the tearoom, however, each guest was made to rinse their hands and mouths. But before bending down and just above the basin a slit in the hedge gave a full view of the sea. The same level of mastery is done at Ando’s modern church on the Rokko mountains overlooking the Osaka Bay (Fig.6, Jodidio). The entrance sequence is the iconic monotonous space-tunnel corridor completely enclosed, but at the very last moment before turning right into the chapel, a narrow vertical slit between the corridor and the concrete chapel allows a glimpse of the sea through a filter of shrubs. Just when the visitor is becoming disoriented in the enclosed corridor before entering the chapel, he/she is reminded of the beautiful landscape that lies beyond the complex. Through these examples from Tadao Ando’s work alone, we can see how modern architecture successfully incorporates aspects of traditional design and planning into modern buildings for modern use by revisiting age-old tricks that make Japanese architecture unique.

KAT E BU SH

full name: Catherine Bush profile: Highly distinctive singer/songwriter, born July 30th, 1958.

Bush was signed to E MI at age 16 after David Gilmour heard her work and helped her produce a demo tape. In 1978 (at age 19), her debut single “Wuthering Heights” reached #1 in four countries.

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II. Shinto Sensabilities

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Shinto is an ethnic religion indigenous to Japan with a strong connection to the natural world and involving a myriad of rituals that are meticulously carried out to connect modern day Japan with its past. Shinto is a compound of two characters 神道. Shin, (pronounced kami when used alone) means “spirit or god”, and to means “the way of.” In essence, it is the way of the spirits and gods of the natural world. Kami, the spirits of this religion, reside in all things, but especially in natural places considered to house sacred spirits. These often are unusual rock formations, mountains, trees, rivers, waterfalls and other natural features that become objects of worship. With this Shinto sensibility, it goes without saying, that all natural objects and materials (especially those their most natural condition) are treated with the utmost respect by the Japanese as a form of saying thanks for all the provisions of mother nature. This same sensibility is, of course, found in the construction of all Shinto shrines, the most famous and sacred of which, is Ise Jingu.

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Ise Jingu is a group of two shrine complexes, the Naiku (Inner shrine) and the Geku (Outer shrine), comprised of nearing 120 separate shrines and small sanctuaries offered to benign deities of lower status in the forms of rocks, streams and springs. The main shrine of the Naiku, considered the supreme Palladium for all of Japan, houses the tutelary sun deity Amaterasu Omikami in the form of a mirror (Coaldrake, Ise ) The architecture of the main shrine is in a prehistoric style dating from before the Heian period (794-1185) and modeled on granary architecture of the Yayoi period (300 BCE-300 CE). It was logical for the agrarian Japanese to choose a granary building type used for the storage of invaluable grains. The building type is functional and rustic in style. It is bare, without paint, finishing, or intricate adornments, and is elevated on sunken stilts, creating a piano nobile of sorts, removed from the impurities of the raw earth and from rats and other pests that would damage the harvest. This vernacular style was used as the basis of the building that enshrines the sacred mirror of Amaterasu and the spirit of Toyouke It is an appropriate application for a shrine of the Shinto religion which focuses on the importance and sacredness of nature in its untampered form. As a reenactment of the natural cycles of rebirth and renewal, the main shrines are reconstructed every 20 years (Coaldrake, Ise).

(Fig. 7, Ise) The main shrine of Amaterasu at Ise is without paint, coating, or cladding on the wood. Everything is exposed in its most natural form. From a glance, this might be the image of a poor, rustic hut, but its opulence lies in the valuable material of Japanese cypress, the site’s cleanliness and absolute geometrical perfection of the construction. These are the hallmarks of the original, traditional Shinto architecture indigenous to Japan. In later Shinto shrines, it is common to see wood painted in vermillion lacquer. The color red is associated with certain deities in both Shintoism and Buddhism and is believed to ward off “demons and illness” (Schumacher). But bare wood and simple, perfect geometry continues to be used in both palatial and residential architecture, and is adapted and reinterpreted in modern day architecture. In all of Tadao Ando’s architecture, this comes in the form of exposed wood used in his Japan Pavilion at the ‘92 Expo, the furniture at his Church of Light, and exposed concrete structures that traditionally would be masked with a gentle finish (Fig. 8-13, Jodidio). Ando uses his own personal recipe for perfect concrete finish that he developed through tireless experimentation (Ando). Other practices like Kengo Kuma and certain projects from Atelier Bow Wow also pay tribute to this tradition of exposing the material of wood, as seen in the Crane House by Atelier Bow Wow below (Fig. 14, Tsukamoto). Although this may seem to be a common practice, the profuse use of exposed material, and the high level of dedication and impeccable perfection and finish shows the height of respect that the Japanese have for materials.

II.

Japanese Pilgrimage originated in Hase temple. Niōmon Gate of Murouji at Uda, Nara, Japan. Place:Murou Uda, Nara Pref. Japan

The founder of Hase temple, a priest Tokudō Shōnin (656-735), met Enmaō, or the Lord of Death in his dream while the priest was nearly dying due to a severe illness. In his dream the Load of Death did not allow him to die and ordered him to set up the Kannon Pilgrimage to 33 Sites that became the first pilgrimage in Japan. Since then many pilgrims have visited this temple and offered prayers to Kannon.

Niō-mon, or Niō Gate The main features are two “Niō guardian” statues on both sides of the gate. Niō guardians with fierce expressions and holding a tool of the Esoteric Buddhism in their hands protect the world of Buddhism. The present Niō Gate was rebuilt in 1894. Important Cultural Property English

Niōmon Gate of Murouji at Uda, Nara, Japan. Place:Murou Uda, Nara Pref. Japan

Japanese Pilgrimage originated in Hase temple. by Andy Gill Thursday 24 November 2016

III. Garden as Architecture Garden and architecture in Japan are one. A common technique adopted from China is called Shakkei, or borrowed scenery. The ideal Japanese house always borrows scenery when they can and this allows for the enlargement of one’s experience of space. An example is Jiko-in temple in Nara prefecture (Fig. 15, Futagawa). The limited space of the building would feel confined with walls. But when walls are removed, a panoramic view of the city is revealed that enlarges the spatial perception of the room. In tight urban areas, it is common to also see fusuma paintings of buildings, gardens, and landscapes as an illusion to attempt to achieve the same effects of scenery borrowing.

The scene borrowing technique is an outward-looking use of greenery. Another aspect of Japanese gardens is to look inwards and experience something greater. This is the creation of microcosms of landscapes and even the cosmos within the limited confines of a garden. This is most commonly seen in Japanese rock gardens composed of exotically shaped rocks, and gravel that masks the entire ground surface. Gravel is raked into abstract patterns, representing

the flow of water (or of the universe depending on the interpretation), and the rocks usually represent mountains that imitate scenery found in traditional Chinese ink paintings (Inaji).

The art of the bonsai too is part of this same culture of miniaturization of landscapes in limited space. The images above (Fig. 16-17, Futagawa) of Ryoan-ji, perhaps the most famous of the Japanese rock gardens, also uses the previous technique of borrowing surrounding scenery beyond the walls of the complex to frame the view. The same two

techniques are used in Ando’s Lee Ufan Museum (Fig. 18, Jodidio). On a flat gravel ground, the only objects are trees, a rock, and a tall concrete column, recalling the Korean artist’s minimalistic style of painting and installation artwork. The site is also engulfed in greenery, and the borrowed scenery helps frame the building and rock garden.

The Lee Ufan Museum is an epitome of an architect’s masterful attempt to recall ancient techniques, styles and aesthetic sensibilities in a new, modern form. The geometric building is very simple. An open 30×30 meter plaza paved with cobblestone gravel welcomes the visitors, and leads them into a triangular courtyard enclosed by concrete walls. Three rectangular galleries form the main building. Each is buried into the ground and allows different lighting conditions as desired by the artist. A combination of both indirect natural light and artificial spotlights are used inside to illuminate the exhibits, further contrasting the artist’s boulder installations with the architect’s rectilinear building. “As in some of my previous architecture, the unity with nature and merging it into the landscape was the main theme of the design” says Ando himself, and this is very apparent. From inside the second, enclosed courtyard, the tall concrete walls frame the sky, but moving around, green foliage can be seen peeking in over the tops, a deliberate framing on the part of the architect (Jodidio).

Himeji Castle KAT E BU SH

full name: Catherine Bush profile: Highly distinctive singer/songwriter, born July 30th, 1958.

Bush was signed to E M I at age 16 after David Gilmour hLondon, her first concerts in decades. All performances of the show, called “Before The Dawn,” sold out in minutes. She was appointed Commander of the Most Excellent Order of the British Empire (CBE) in the 2013 New D I R E C T O R’ S C U T – fish people, 2011 5 0 WO R D S F O R SN OW – fish people, 2011 B E F O R E T H E DAW N – fish people, 2016

And Ode to Nature:

Connection to nature has always been an important feature of Japanese architecture. This can be attributed to Japan’s Shinto and Buddhist beliefs, which have had a significant influence on its architecture. This can be clearly seen in the focus on natural light and the use of raw wood as a building material, both on the exterior and in the interior.

COMMON FEATURES IN TRADITIONAL JAPANESE ARCHITECTURE WOOD

Himeji Castle (姫路城, Himejijō), also known as White Heron Castle (Shirasagijo) due to its elegant, white appearance, is widely considered as Japan’s most spectacular castle for its imposing size and beauty and its well preserved, complex castle grounds. The castle is both a national treasure and a world heritage site. Unlike many other Japanese castles, it was never destroyed by war, earthquake

or fire and survives to this day as one of the country’s twelve original castles. The castle recently underwent extensive renovation over several years and was fully re-opened to the public in 2015. Himeji Castle lies at a strategic point along the western approach to the former capital city of Kyoto. The first fortifications built on the site were completed in the 1400s, and were gradually enlarged

Movable screens (shoji) and sliding doors (fusuma) were used in many old Japanese houses. The screens were typically made from paper, to allow light and shadows to pass through.

over the centuries by the various clans who ruled over the region. The castle complex as it survives today is over 400 years old and was completed in 1609. It is made up of over eighty buildings spread across multiple baileys, which are connected by a series of gates and winding paths.

Winding paths connect the different areas of the castle Most visitors to Himeji Castle enter the castle via the Otemon Gate into the admission-free third bailey (Sannomaru). The Sannomaru contains of a large, cherry tree lined lawn, and is a popular spot for taking photos of the castle and for viewing cherry blossoms. A ticket booth can be found at the far end of the bailey, where the Hishi Gate marks the entrance to the paid area. The labyrinth-like approach from the Hishi Gate to the main keep leads along walled paths and through multiple gates and baileys with the purpose to slow down and expose attacking forces. At the heart of the complex stands the main keep, a six story wooden structure. It is one of only a handful castle keeps in Japan that feature wing buildings, adding complexity to its appearance.

The complex structure of Himejiâ&#x20AC;&#x2122;s castle keep Visitors enter the main keep through an entrance in the lower floor of the building and climb upwards via a series of steep, narrow staircases. Each level gets progressively smaller as you ascend. The floors are generally unfurnished and display just a few multilingual signs explaining architectural features such as portholes, rock chutes and concealed spaces as well as renovation efforts made over the years to preserve the structure. The topmost floor houses a small shrine and lets visitors peer out in all directions, down over the castle roofs, at the maze-like defenses below and out across the city of Himeji. You can also admire an up close view of the fish-shaped roof ornaments that are believed to protect from fire.

Inside the castle keep After exiting the keep, visitors can make their way back to the Hishi Gate. Before leaving the paid grounds, they have the option to explore one additional bailey, the west bailey (Nishinomaru) which served as the residence of a princess and provides views of the main keep from a different perspective. A long building with an enclosed corridor and multiple unfurnished rooms survives along the baileyâ&#x20AC;&#x2122;s walls and can be entered by visitors.

The Modernity in Japan Recent Times Recent Architecture

Byodo-in Temple Considered to be an excellent example of the Buddhist Pure Land style of architecture, Byodo-in Temple is a 10th century structure in Uji. Its most distinctive feature is a building called the Phoenix Hall, which has two phoenix statues sitting on the roof and is currently featured on the ten yen coins. The grounds of this Heian Period building also house a spacious garden and a treasure house that contains important artifacts from the templeâ&#x20AC;&#x2122;s thousand-year history.

Takayama Gassho-zukuri Farmhouse The gassho-zukuri farmhouses found in Takayamaâ&#x20AC;&#x2122;s Hida no Sato (or HIda Folk Village museum) were constructed during the Edo Period. They have thatched roofs that look like two hands joined together in prayer. Even though they were built without the use of nails or any other metals, they are able to withstand heavy snowfall every winter.

T O P 7 M U S T- SE E EX AMPLES OF T R A D I T IO NA L JA PA N E SE ARCHITECTURE full name: Catherine Bush profile: Highly distinctive singer/songwriter, born July 30th, 1958.

Bush was signed to E MI at age 16 after David Gilmour heard her work and helped

Metabolism Movement In Japan Kate Bush and I are chatting about girls. I’m telling her about my new favourite group Let’s Eat Grandma, two 17-year-old girls from Norwich blessed with an exploratory interest in spooky, unusual music. They may not be the only ones, Kate suggests. “I heard this thing where they were saying that young girls are very influential in how language is taken forward,” she says. “They tend to lead the way with new phrases and slang terms.” It wasn’t always the case. For decades, girls were effectively second-class citizens of the pop subculture, shadowy companions of ebullient male partners, until things changed towards the end of the Seventies. Punk was one liberation, but in another direction, Kate Bush herself freed female pop from its largely tear-stained, lovelorn constraints, by singing about things like art, philosophy and death, and by giving voice to a huge array of characters beyond the natural worldview of teenage girls. She certainly brought new language to pop, and has continued to do so throughout her career – one thinks of the inventive feat of her (literal) 50 Words For Snow, and of her musical realisation of ‘Pi’ to 80 places. And not just human language, either. On Before The Dawn, the new 3CD live album

of her extraordinary shows of 2014, there’s a passage in the suite A Sky Of Honey, from 2005’s Aerial, where she imitates the frolicsome chatter of birds. “I’ve always loved birdsong,” says Kate, “and I suppose that was the starting point for that piece on the record, speculation about whether it’s a language. The key idea was this connection between birdsong and light, that singing seems to be triggered by the breaking of light, and in the absence of light, they stop singing.” She pauses. “Though there’s a few exceptions – nightjars, reed warblers, blackbirds. And of course, the owl!” In that suite, an artist appreciates the changing light from sunrise through sunset into night, a progress musically evoked in green and golden tones and timbres. It’s balanced in the show by another suite, The Ninth Wave, from 1985’s Hounds of Love, which presents the drifting ruminations of a woman slowly drowning, alone in the ocean at night. The extraordinary staging for the work involved the skeleton ribs of a boat’s hull, a floating buoy, a helicopter, and a Caligari-esque room of odd angularity, while a huge back-projection of a life-jacketed, singing Kate presented her and her crew with one of the production’s more dif-

n 1952, Japan faced newfound autonomy. The American ccupation following World War II ended, and as the decade progressed, the devastating effects of the atomic bomb -- both physical and psychological -- began to recede into the country’s past. Japanese architects saw exciting new possibilities for rebuilding. As they learned about the Western, modernist principles that were beginning to enter their schools, these architects also considered how to preserve their own pre-war culture. A new movement, Metabolism, emerged from this paradox. Tadao Ando: The Japanese boxer turned Pritzker Prize winner who buried the Buddha In their conceptual manifesto, “Metabolism 1960: Proposals for a

New Urbanism,” the Metabolist founders used biological metaphors to call for buildings capable of regeneration. The group included architects Kiyonori Kikutake, Kisho Kurokawa, Masato Otaka, and Fumihiko Maki, and critic Noboru Kawazoe. “We regard human society as a vital process -- a continuous development from atom to nebula,” they wrote. “The reason why we use such a biological word, the metabolism, is that we believe design and technology should be a denotation of human vitality.” They thought of different building elements as cells and considered the DNA of their own projects.

“Seen from a contemporary perspective, the movement’s foremost concern was cultural resilience as a notion of national identity,” architecture scholar Meike Schalk wrote in a 2014 essay. Metabolism asserted that architecture should be adaptable and able to respond to disasters both natural and man-made, be it a tsunami or an atom bomb. Schalk even calls the group one of the earliest proponents of sustainable architecture. The Metabolist architects debuted their new ideas at Tokyo’s 1960 World Design Conference. Kenzo Tange, who was influenced by Le Corbusier and mentored many figures in the group, also proposed a new design to expand Tokyo’s housing: a series of interlocking loops of highway that would extend across Tokyo Bay and increase mobility. Pritzker Prize 2019: Arata Isozaki wins ‘Nobel of architecture’

Though Tange’s design was never realized, scholar Hyunjung Cho has written that it was radical because of its concept of the city “not as hardware but as software in preparation for the nascent information society.” Tange’s design focused more on mutability and less on a finalized structure: His decentralized plan was just a starting point -- his loops would support future housing projects without congesting a city center. No project was too large or too small for the Metabolists. Through 1970, they developed ideas for individual homes, apartment buildings, expo pavilions and entire metropolises. While the Metabolists executed a handful of designs, including a broadcasting tower by Tange, the Osaka Expo of 1970 was considered the group’s apotheosis: There, Kikutake and Kurokawa created pavilions that evoked cells and genetic material.

Photograph of the Toshiba-IHI Pavilion, designed by Kisho Kurokawa, in the Osaka Expo, 1970. Image via Wikimedia Commons.

Can buildings actually grow? “As a floating capsule of civility the house embodied the dawn of a new era,” Florian Idenburg, a partner at the New York architecture firm SO-IL has written. “It showed Japan could rise again, towards a new Modernity which incorporated the national spirit; essential for the tarnished Japanese soul.”

Julius Hui Li Zhiqian

Extending the biological metaphor, and taking inspiration from James Watson and Francis Crick’s discoveries about DNA, Kurokawa created a model for a Helix City in 1961 that was never realized. Bridges were meant to provide interconnectivity, linking spiral structures. Kikutake’s own home, Sky House (1958), was grandfathered into the Metabolist program. Elevated on long, thin columns, the angular home looks like a box walking on stilts. It features a permanent, open living space surrounded by temporary spaces, such as the kitchen and children’s rooms. It still stands, but it is now part of a more modern neighborhood, and its soaring character has been diminished.

Fumihiko Maki, Spiral House, 1985. Image via Wikimedia Commons. Kurokawa extended the idea of living-space-as-capsule to a multiunit dwelling. His Nakagin Capsule Tower (1972) has become a tourist destination in Tokyo. The architect created a 14-story-high central core for the building, then plugged in 140 individual capsules, which had been transported in shipping containers. Each has one large, circular window and serves as a minimalist home or alternative space -- for storage or a meeting place, for example. The rooms were so small that the architect initially targeted bachelors as potential buyers. The result looks like a series of bricks poking out from a brown tower, each overlooking the city with its own cyclops lens.

PARALLEL JAPAN (1996-2006) ‘Parallel Japan’ - Contemporary Japanese Architecture 1996-2006

Modern Japanaese

time: 19.07.2011. - 06.08.2011. place: NO Gallery - Museum of Contenporary Art, Zagreb, Croatia With the cooperation of the Japan Foundation, the Architectural Institute of Japan and Embassy of Japan in Croatia, the Museum of Contemporary Art is holding an exhibition that looks at more then hundred works of contemporary architecture while comparing them to the state of society. The exhibition will be on view from July 19 through August 6, 2011. Exhibition shows how Japanese architecture has evolved from the the so-called ‘bubble’ period to the ‘post bubble’ period.

Japanese-Australian architect Koichi Takada also continues to alter our skylines, bringing a Japanese feel to some of our new developments rather than focusing on a particular “look”. This can be seen in Mastery, currently under construction in Waterloo, where there is a focus on human connection and the use of natural materials such as timber and stone.

Accordingly, these exhibitions intend to compare and showcase these various architectural efforts by means of four thematic sections: City, Life, Culture and Dwelling. In fact by contrasting architectural designs in relation to this cross-sectional view of the Japanese society, we get a more accurate picture of the seemingly disparate

realities of Japanese architecture today; we come to a better grasp on the facts that have shaped such diverse and dynamic buildings, the conflux of background factors-real state and finance, cultural agendas and regional governance, technological developments and information systems- addressed by Japanese architects and engineers as they go about deftly transforming social programs. Architecture is a force that informs society through its focused accumulation ok knowledge.

Museam Of Conpemtorary Art

Architecture offers perhaps the most concrete index of a given country or region’s social circumstances and cultural maturity. Starting from dwellings, the most basic unit for human subsistence, then expanding to schools, hospitals and various other public facilities, to offices and shops, and even further to parks and plazas, architecture takes up an increasingly vast range of projects whose construction and use may be understood to relate to that town or region’s vision in social design. In order to clarify such relations between society and architecture, this Parallel Japan exhibition looks at buildings completed on Japanese soil over the last decade as well as at buildings realized by Japanese architects abroad. These years have seen structural changes in Japanese society in response to the shift from so-called ‘Bubble’ to ‘Post-Bubble’ economies; likewise, as policy making veered away from the twentieth-century expanding city toward a twenty-first century continuous-city model, the move has been to effectively draw upon whatever attributes of long-standing heritage to the pursuit of new directions in value creation.

Tange Kenzo No article about modern Japanese architecture would be complete without the mention of Tange Kenzo (1913-2005). He was instrumental in the early days of postwar city planning. Tange was familiar with both the Metabolist and Brutalist movements and later set his sights on building mega structures that would encompass large areas instead of single buildings.

Fuji Television Building in Odaiba, Tokyo

Tokyo Metropolitan Government Building

Like many of the early modern architects, Tange was highly influenced by Swiss-French architect Le Corbusier and also chose concrete as his preferred medium. As a forerunner of modern Japanese architecture, Tange taught a number of prominent future architects as university professor, and his works continue to inspire budding architects to his day. He was the first Japanese architect to receive the prestigious Pritzker Architecture Prize in 1987.

Maki Fumihiko No article about modern Japanese architecture would be complete without the mention of Tange Kenzo (1913-2005). He was instrumental in the early days of postwar city planning. Tange was familiar with both the Metabolist and Brutalist movements and later set his sights on building mega structures that would encompass large areas instead of single buildings. Like many of the early modern architects, Tange was highly influenced by Swiss-French architect Le Corbusier and also chose concrete as his preferred medium. As a forerunner of modern Japanese architecture, Tange taught a number of prominent future architects as university professor, and his works continue to inspire budding architects to his day. He was the first Japanese architect to receive the prestigious Pritzker Architecture Prize in 1987.

Makuhari Messe

Museum of Modern Art Kyoto

Shimane Museum of Ancient Izumo

Ando Tadao

Hyogo Prefectural Art Museum

Benesse House in Naoshima

Ando Tadao (1941-) was part of the design team behind the Expo 70 and is one of the forerunners of contemporary Japanese architecture. Ando employs the use of concrete heavily in his works, many of which look very stark in contrast to their surroundings. He is the third Japanese to win the prestigious Pritzker Architecture Prize in 1995, and well known for his works on Naoshima Island.

Akita Museum of Art

21_21 Design Sight in Tokyo Midtown

Kikutake Kiyonori A prominent member of the Japanese Metabolist movement, Kikutake Kiyonori (1928-2011) was influential in the development of the Metabolist ideals and how they translate into architectural design. Many of his designs reflected the ideals of temporary and permanent space, where rooms could be adjusted and tweaked depending on their current purpose. He was also heavily influenced by Le Corbusier and trained a number of emerging architects in his firm.

Edo Tokyo Museum

Kyushu National Museum

Kurokawa Kisho Kurokawa Kisho (1934-2007) was another of the architects involved in the Expo 70 and the Japanese Metabolist movement. Concrete was often his medium of choice, and his designs tend to contain lots of lines, symmetry and repeated patterns, as well as modular spaces.

National Art Center in Roppongi, Tokyo

National Bunraku Theater in Osaka

Fukui Dinosaur Museum

Ito Toyo Ito Toyoâ&#x20AC;&#x2122;s (1941-) use of curves and glass makes his buildings eye-catching. Seemingly unconventional, Itoâ&#x20AC;&#x2122;s architectural style tends to be an impossible marriage of reality and the virtual world, pushing the boundaries of architectural design. He received the Pritzker Architecture Prize in 2013.

National Bunraku Theater in Osaka

Za Koenji in Tokyo

Kuma Kengo Kuma Kengo (1954-) is currently one of architectureâ&#x20AC;&#x2122;s hottest commodity. He and his firm seem to design every other new prominent building opening across Japan. Wood and lattice structures are widely used in his current designs, of which many are inspired by the areaâ&#x20AC;&#x2122;s local history and surroundings.

Olympic Stadium in Tokyo

Akagi Shrine in Kagurazaka

Nezu Museum in Tokyo

Toyama Kirari Glass Art Museum

Ban Shigeru Ban Shigeru (1957-) made waves for designing temporary, modular emergency shelters that are cheap and quick to set up. Ban utilized hollow, circular cardboard tubes and tarp to create shelters for disaster victims in Japan, New Zealand, Nepal and elsewhere. Indeed, many of Ban Shigeruâ&#x20AC;&#x2122;s designs utilize material that can be reused, like shipping containers, paper tubes and renewable resources like wood. Ban was awarded the prestigious Pritzker Architecture Prize in 2014.

Oita Prefectural Art Museum

Mimoca Art Museum in Marugame

Onagawa Station

Taniguchi Yoshio

Yet another darling of the Japanese architectural world, Taniguchi Yoshio (1937-) is best known for his designs incorporating straight lines that seem to disappear into the surroundings and for buildings whose angles make them appear two-dimensional. He is the son of another leading architect, Taniguchi Yoshiro.

Horyuji Homotsukan at the Tokyo National Museum

Mimoca Art Museum in Marugame

SANAA SANAA is made of the architecture duo Sejima Kazuyo (1956-) and Nishizawa Ryue (1966-). They received the Pritzker Architectural Prize in 2010. Their works are designed to blend into their surroundings and often have multiple access points. Sejima and Nishizawa are also active as solo architects, designing various iconic buildings across the country in addition to their work as a duo.

Senju Museum by Nishizawa Ryue in Karuizawa

Mimoca Art Museum in Marugame

Sumida Hokusai Museum by Sejima Kazuyo in Ryogoku, Tokyo

Towada Art Center by Nishizawa Ryue

Teshima Art Museum by Nishizawa Ryue

Hara Hiroshi

Hara Hiroshiâ&#x20AC;&#x2122;s (1936-) preferred medium is steel, glass and brushed steel surfaces, as seen in some of his more famous works. He is also an author on architecture and has published several essays on that topic.

Mimoca Art Museum in Marugame

Kyoto Station

Umeda Sky Building in Osaka

The Modernity in Japan Recent Times Recent Architecture

KAT E BU SH

full name: Catherine Bush profile:

I’M NOT SURE YOU’RE EVER REA LLY HAPPY WITH WHAT YOU CREATE by Andy Gill Thursday 24 November 2016

Highly distinctive singer/songwriter, born July 30th, 1958.

Bush was signed to E M I at age 16 after David Gilmour heard her work and helped her produce a demo tape. In 1978 (at age 19), her debut single “Wuthering Heights” reached #1 in four countries. She has maintained a large cult following ever since.

Bush’s most prolific creative period was between 19 7 8 to 1 9 9 3 , with a release of new material and new albums every few years. After the 1 9 9 3 release of “The Red Shoes,” she began an extended break from public view, and devoted time to her family. “Aerial,” Bush’s first album in w12 years, was released in November 2005, preceded by the single “King Of The Mountain”. In 2011, two Kate Bush albums were released: “Director’s Cut,” a reworking of several songs from “The Sensual World” and “The Red Shoes,” and “50 Words for Snow,” an album of new music. In 2014, Bush performed in a series of live concerts in

By the late 19th century, this carefully calibrated system was coming apart. Under the Tokugawas, Japan developed a thriving domestic economy. But over time, merchants gained the upper hand, and many samurai, who received their pay in rice, found themselves impoverished by the shift to a cash-based economy. The frustrated younger samurai sought to break the shackles that bound them, while the newly rich merchants chafed at the constraints which kept them from wielding any real political power or marrying into the warrior caste. Into this fervid environment sailed the American Commodore Matthew Perry, who was dispatched to Japan in 1853 to compel it to allow U.S. ships to land at Japanese ports. He was but the first in a long line of Western military leaders and diplomats to force Japan to accept trade treaties that undermined the authority of the Tokugawas. Gradually, powerful domains hostile to Tokugawa rule merged with dissatisfied samurai to form an active opposition. Soon, their slogan of “expel the barbarian, revere the emperor” morphed into a call to overthrow the Tokugawa. After an upheaval marked by terrorism, shifting political alliances, and limited battle, the palace coup of January 3, 1868, marked a largely bloodless end to a decade of instability. Since the morning of January 3, 1868, Japan has struggled to answer one question: What does it mean to be modern and Japanese? It was on that date that a group of

mid-level samurai and imperial courtiers announced the formation of a new government to be ruled by the 16-year old Meiji emperor, thus ending two-and-a-half centuries of control by the Tokugawa samurai family.

History

Of Modern Architecure In Japan

Japanese modern architectureModern architecture in Japan is divided into four periods. The first period was the period from 1955 to the 1964 Tokyo Olympic Games, and the society and organization were renewed. It was the time when society was beginning to stabilize, challenging not only architecture but everything. The second period is from 1965 to 1973. After this day’s Olympics, it has a reputation as an economic powerhouse, and a new level of architecture has begun. It was the time when the two sides were trying to show off their economic power while having a human life and leisure time, and the clash occurred. The most important social change of this era was the opening of the Shinkansen that matched the Olympics. As a result, the movement and distribution have improved dramatically and it has become possible to enter the world’s power. In addition, new housing and urban development projects were carried out to raise the level of residential living. The third period is from 1974 to 1985 and is called the ‘Age of Maturity’. The radical large-scale construction projects that took place during the first and second periods produced a number of problems such as air pollution, factory disposal and deterioration of the urban environment. In 1974, due to the oil crisis, economic slowdown, changes in living conditions, Changes in the industrial structure and production, changes in the service industry and distribution, and changes in the

structure of the society itself led to the transformation of the structure and maturity of the structure. Finally, the fourth period refers to the period after 1986, when there is a personality, and while pursuing globalization, it is time to recognize the tradition and Japan at the same time experiencing prosperity and bubble. It can also be said that the recognition of new possibilities and the reflection of the past age are required at the same time.

History of Japanese Architecture

Early History of Japanese Architecture Historically, architecture in Japan was influenced by Chinese architecture, although the differences between the two are many. Whereas the exposed wood in Chinese buildings is painted, in Japanese buildings it traditionally has not been. Also, Chinese architecture was based on a lifestyle that included the use of chairs, while in Japan people customarily sat on the floor. Methods for Buddhist architecture were introduced by two skilled workers from the Paekche kingdom in Korea in 577. The skills they introduced were used to construct Japanâ&#x20AC;&#x2122;s first Buddhist temple, Asukamura, in Asuka, Nara Prefecture. In the late 7th century four temples---Asukadera, Kawaradera,Yakushji and Daikandaiji, were built. They were financed by the government and built by skilled construction workers and sculptors formed into teams. Elite workers learned the latest architecture methods from delegates who traveled abroad on Kentoshi ships to Tang dynasty China.

In 710, when the capital of Japan was moved 18.4 kilometer from Fujiwara-kyo to present-day Nara city, a unprecedented construction boom ensued. Yakushji, Asukadera (now Gangoji) and Daikandaiji (now Daianji) were moved to new sites and Kofukiji was built by Fujiwara Fuhito, the nobleman who orchestrated the move to Nara. Nara city itself was modeled after Changan, the capital of Tang Dynasty China. The city was divided into a western capital and eastern capital, which together measured 4.9 kilometers from north to south and 4.3 kilometers from east to west. Geyoko, an extension of the eastern side of the eastern capital, was 2.1 kilometers from north to south and 1.6

“Japanese practice Gosize has combined an architects’ studio with a house in a concrete frame with large openings around a small courtyard with a simple pond in Hyōgo, Japan.”

F Residence Different spaces are split over three levels according to their function. The office occupies the ground floor, with a bedroom above and a large living, kitchen and space at second floor level with a terrace overlooking the street below. The ground floor of F Residence was conceived of by Gosize as a doma, an element of traditional Japanese architecture where a dirt floor extends from the entryway and can be walked on without removing your shoes. Here, the doma is polished stone floor, with the double-height courtyard and pond as a focal point.’ The courtyard is an open air extension of the indoor living space and is paved with rough stone that extends into the living space.

A minimalist, rectangular pond lined with black tiles occupies one side of the courtyard, which is planted with a single tree surrounded by the angled paving stones. The courtyard is an open air extension of the indoor living space and is paved with rough stone that extends into the living space. Where this courtyard meets the site boundary, a high concrete wall has been built to prevent overlooking from neighbours. “The spaces become increasingly open to the outside world as they move upwards, offering a chance to come into sync with nature and open oneself to the surrounding landscape,” said Gosize, which was founded by Go Fujita in 1999.

BIBLIOGRAPHY by Andy Gill Thursday 24 November 2016

Articles ADRESS LOCATIONS EXHIBTIONS NAMES https://www.japan-guide.com/e/e2111_architects. html BAY KOM IOU S

https://www.culturenet.hr/default.aspx?id=38583

E L M AG A R I SY

P u b l i s h e d b y Tu r n e r Company Copwwrite 2020 profile:

https://www.architectureanddesign.com.au/features/list/japanese-architecture-and-buildings# https://www.britannica.com/art/Japanese-architecture/The-Nara-period

Highly distinctive singer/songwriter, born July 30th, 1958.

https://www.rethinktokyo.com/2018/06/27/metabolism-architecture-guide-tokyo

Bush was signed to EMI at age 16 after David Gilmour heard her work and helped her produce a demo tape. In 1978 (at age 19), her debut In 2011, two Kate Bush albums were released: “Director’s Cut,” a reworking of several songs from “The Sensual World” and “The Red Shoes,” and – fish people, 2016

Japan’s Architecture Working towards a brighter future