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ZHU, ZHENGYANG. "TOWARDS A JAPANESE ARCHITECTURE." The University of Arizona, 1993. http://hdl.handle.net/10150/555401.
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Inoue, Hiroshi. "Japanese aesthetic principles & their application." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1116356.
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Japanese have been known to have a special notion toward the aestheticism which deals with human experiences. They are ingenious about finding subtle beauty within every little thing which exists in nature and apply that to their architecture. What are the secrets behind all this? This thesis focuses on the research of Japanese aesthetic principles to find out the way for application in the architecture in the United States.Department of Architecture
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Sá, Vitor Hugo Gilde de. "Boundaries in Architecture. The Japanese transitions." Master's thesis, Faculdade de Arquitetura de Lisboa, 2013. http://hdl.handle.net/10400.5/5830.
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Gonçalves, Mariana Pedro. "Time as formgiver in japanese architecture." Master's thesis, Universidade de Lisboa. Faculdade de Arquitetura, 2015. http://hdl.handle.net/10400.5/10598.
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Berns, Torben. "The paradox of a modern (Japanese) architecture /." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38463.
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This thesis analyzes the problems and contradictions inherent in modernity's levelling of the fabricative and political realms. Seeking a broader perspective on the origins of aesthetic culture and aestheticized politics, it examines the relation of architecture to technology, culture, and politics. The thesis examines the consequences of the Enlightenment and "Radical Enlightenment" (understanding the rise of the modern nation-state as a direct consequence of the 18th century's yoking of history and nature) from the perspective of Japan and its encounter with modernity. Japan as a modern nation-state, neither part of the European Enlightenment nor colonized by its instruments, was able to initiate a unique discourse around the question of history and the concomitant issues of identity and nihilism.The thesis tracks the discourse through architecture as the terms shift and become more and more indistinguishable from the Western manifestations from which the Japanese architects wished to claim distinction.
The discussion on difference and possibility---cultural identity and the creative project---as fundamental questions for a contemporary practice of architecture is undertaken through an analysis of the polar positions of Tange Kenzo and Shirai Sei'ichi.
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Min, Myungkee. "Japanese/American architecture : a century of cultural exchange /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/6237.
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Tsushima, Midori. "Comparative analysis of U.S. and Japanese lenders in U.S. real estate workouts : what have Japanese lenders learned?" Thesis, Massachusetts Institute of Technology, 1996. http://hdl.handle.net/1721.1/70278.
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EASTMAN, CHRISTOPHER EDWARD. "JAPAN CULTURAL FORUM ARCHITECTURAL SYNTHESIS THROUGH TRANS-CULTURAL STRATEGIES." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1053368953.
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Gomez, Leonardo. "Reconsidering Vernacular Japanese Architecture for Sustainable Ecological Design." Kyoto University, 2004. http://hdl.handle.net/2433/147721.
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Kyoto University (京都大学)0048
新制・課程博士
博士(人間・環境学)
甲第10963号
人博第250号
15||205(吉田南総合図書館)
新制||人||62(附属図書館)
UT51-2004-G810
京都大学大学院人間・環境学研究科文化・地域環境学専攻
(主査)教授 村形 明子, 助教授 ハヤシ ブライアン マサル, 助教授 ロバート ファウザー
学位規則第4条第1項該当
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Melay, Alexandre. "Temporalité et spatialité dans l'esthétique japonaise : Formes de l'architecture au Japon." Thesis, Saint-Etienne, 2015. http://www.theses.fr/2015STET2209.
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Cette thèse porte sur la question de l’identité de l’architecture contemporaine au Japon à travers l’esthétique traditionnelle, profondément ancrée dans l’ensemble de la culture ancienne de ce pays : un véritable cheminement passant à la fois par l’intellectuel, le spirituel et l’artistique. L’objet de cette recherche est donc d’analyser l’interrelation existante entre tradition et modernité ; d’établir une « filiation », une possible évolution et de comprendre aussi la transformation de l’architecture contemporaine et ses problématiques à travers les différents concepts, qui fondent l’ensemble de l’esthétique au Japon, entre temporalité et spatialité. Il est question d’apporter un éclairage sur les expressions de la tradition : une « nouvelle tradition », une japonéité, où la tradition devient la matrice de la modernité. La tradition est à comprendre alors comme un véritable catalyseur. L’objectif de cette thèse est de montrer que l’architecture japonaise a su résoudre la difficile adéquation de relier la tradition nationale et la modernité internationale. La tradition semble être aussi l’une des matrices du futur. En d’autres termes, il s’agit de comprendre les traditions culturelles japonaises comme de véritables leviers conceptuels pour la nouvelle génération d’architectes japonais. La tradition est un héritage du passé qu’il faut préserver pour garder une identité, et qui permet de donner un chemin et une perspective pour l’avenir. De la qualité du rapport avec la tradition dépend non seulement l’harmonie et la beauté du cadre de vie, mais aussi la richesse du message architectural à transmettre aux générations futuresThis thesis focuses on the question of the identity of contemporary Japanese architecture through Japanese traditions and aesthetics, deeply rooted from the cultural background of Japan : a real passage through both intellectual, spiritual and artistic fields. The purpose of this research is to analyze the interrelation existing between tradition and modernity ; to establish a filiation, or a lineage, a possible evolution, to understand the transformation of Japanese architecture through different concepts between space and time. It comes to shed light on the expression of tradition in Japanese architecture : a “new tradition”, a notion of japan-ness where tradition becomes the matrix of modernity. In other words, tradition could be understand as a true catalyst. The goal of this thesis is to show that Japanese architecture has resolved the difficult balance between National tradition and International modernity. The tradition seems to be also one of the matrix of the future. The tradition is not only architectural, but it includes spirituality, aesthetics, art, and the manner how culture is linking to space and time. In other words, it is important to understand the cultural Japanese tradition background as a true conceptual levers for the new generation of Japanese architects. The tradition is a legacy of the past which should be preserved to maintain an identity, which could give a path, and vision for future. The quality of the relationship with the tradition depends not only of the harmony and beauty of our living, but also from the wealthy architectural message transmitted to future generations
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DUNFIELD, LEE WARREN. "Dynamic Balance: Bringing Traditional Japanese Architecture to the 21st Century." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1212096223.
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Dunfield, Lee. "Dynamic balance bringing traditional Japanese architecture to the 21st Century /." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1212096223.
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Thesis (Master of Architecture)--University of Cincinnati, 2008.Advisors: Elizabeth Riorden (Committee Chair), Tom Bible (Committee Chair). Title from electronic theses title page (viewed Sept. 7, 2008.). Includes abstract. Includes bibliographical references.
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von, Wiedersperg Carolina Sophie. "Kyoto art in nature habitat /." Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/von_wiedersperg/von_WiederspergC0509.pdf.
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The purpose of this thesis is to find architectural solutions which apply the theoretical findings centered around the biophilia hypothesis. The principles resulting from this investigation should help architecture to soften the separated conditions of the natural and the man-made environment. The application of these principles will then result in the design development of an Art in Nature Habitat in Kyoto, Japan.
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Ellis, Charles. "Direct Radical Intuition: toward an 'Architecture of Presence' through Japanese ZEN Aesthetics." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1306498199.
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Luo, Anna S. (Anna Sheng-Wei). "Creating demand through diversification : the evolving strategies of the large Japanese construction firms." Thesis, Massachusetts Institute of Technology, 1991. http://hdl.handle.net/1721.1/68260.
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Lee, Hyun Kyung. "Dealing with difficult heritage : South Korea's responses to Japanese colonial occupation architecture." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709101.
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Wendelken-Mortensen, Cherie. "Living with the past : preservation and development in Japanese architecture and town planning." Thesis, Massachusetts Institute of Technology, 1994. http://hdl.handle.net/1721.1/12003.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture and Planning, 1994.Includes bibliographical references (v 2., leaves 309-325).
The study examines the architectural preservation program as it has developed over the past century in Japan, and demonstrates how relics of the past have been manipulated and re-interpreted by individuals and communities seeking to define a modern identity. The study chronicles the development of preservation practice from a national perspective, followed by a local historical analysis of the town of Tsumago in Nagano Prefecture. It is proposed that a nativist and modernist construction of the common Japanese house has had a special place in the history of the modern movement in Japan which influenced the conceptualization, study and preservation of traditional architecture over the past century. Also, the legal tools and field practices of both the national preservation program and the grass-roots district preservation movement have been tied to ideological and political concerns which have affected building designation, restoration, and public presentation. The most important example of the grass-roots district preservation movement in Japan is Tsumago-juku in Nagano Prefecture, the first example of such a movement in Asia. It is demonstrated that Tsumago's place in the formation of Japan's modern national identity was of primary importance to the success of its preservation effort. Restoration work there resulted in important national legislation and created a conflict between the "living tradition" of local carpentry and community vs. professional preservationist. This centered on the nature of architectural tradition and definition of authenticity. As a result of the preservation effort, the town's history and traditions have been re-invented to suit the needs of the present, and its material historicity has been compromised in the name of a greater authenticity in the building process. Yet the modernist ideal of a structurally "honest" and materially "natural" Japanese house has made the acceptance of preservation intervention problematic in the architectural community, further demonstrating that the way old houses are preserved is as much a reflection of the architectural and political ideology of our time as they are a portrait of the past.
by Cherie Wendelken-Mortensen.
Ph.D.
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Kiura, Takayuki 1965. "Finance matters in the Japanese real estate market : interaction between finance and real estate ownership." Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/32189.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2000.Includes bibliographical references (leaves 105-107).
Finance does not matter in perfect and efficient markets. Based on neoclassical economics, financial capital is always perfectly priced, and all investments are completely valued in frictionless markets. In the real world, however, finance does matter, especially in the real estate market, which is relatively imperfect and inefficient. There are several phases through which funds flow into real estate. Among others, the interaction between the financial market and real estate investors is crucial. The financial market provides funds to investors. An efficient financial market will value real estate investments perfectly, but an inefficient financial market will not. Thus, the cost and availability of capital for investors are important factors that shape the real estate market of each country. The profile of real estate investors is also important. Inefficient investors can misdirect funds, even if the financial market is relatively perfect. The primary objective of this paper is to unveil the inefficient relationship between the financial market and real estate investors in Japan. This relationship is one of the reasons why land prices and space markets boomed and then collapsed in the late 1980's and early 1990's. Later in the paper, I will present an alternative model of the real estate market, and make several simulations under the model.
by Takayuki Kiura.
S.M.
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Dahlin, Kenneth C. "The Aesthetics of Frank Lloyd Wright's Organic Architecture| Hegel, Japanese Art, and Modernism." Thesis, The University of Wisconsin - Milwaukee, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13422325.
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The goal of this dissertation is to write the theory of organic architecture which Wright himself did not write. This is done through a comparison with GWF Hegel’s philosophy of art to help position Wright’s theory of organic architecture and clarify his architectural aesthetic. Contemporary theories of organicism do not address the aesthetic basis of organic architecture as theorized and practiced by Wright, and the focus of this dissertation will be to fill part of this gap. Wright’s organic theory was rooted in nineteenth-century Idealist philosophy where the aim of art is not the imitation of nature but the creation of beautiful objects which invite contemplation and express freedom. Wright perceived this quality in Japanese art and wove it into his organic theory.
This project is organized into three main categories from which Wright’s own works and writings of organic architecture are framed, two of which are affinities of his views and one which, by its contrast, provides additional definition. The second chapter, Foundation, lays the philosophical or metaphysical foundation and is a comparison of Hegel’s philosophy of art, including his Romantic stage of architecture, with Wright’s own theory. The third chapter, Formalism, relates the affinity between Japanese art and Wright’s own designs. Three case studies are here included, showing their correlation. The fourth chapter, Filter, contrasts early twentieth-century Modernist architecture with Wright’s own organicism. This provides a greater definition to Wright’s organicism as it takes clues from Wright’s own sense of discrimination between the contemporary modernism he saw and his own architecture. These three chapters lead to the proposal of a model theory of organic architecture in chapter five which is a structured theory of organic architecture with both historical and contemporary merit. This serves to provide a greater understanding of Wright’s form of the organic as an aesthetically based system, both in historic context, and as relevant for contemporary discourse.
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Traganou, Georgia. "The transformations of the Tôkaidô from the Edo to the Meiji Period." Thesis, University of Westminster, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286123.
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Nute, Kevin Horwood. "The role of traditional Japanese art and architecture in the work of Frank Lloyd Wright." Thesis, University of Cambridge, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.281969.
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Yang, Jing. "Weak tectonics : the ambiguous role of materiality in the work of contemporary Japanese architects SANAA." Thesis, University of Nottingham, 2018. http://eprints.nottingham.ac.uk/48944/.
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As the overlap of real and virtual spaces takes place more and more frequently in our daily lives, it could be said that our sensibility towards embodied physical space is being affected by our experience of the virtual world. This raises the question of how architecture should respond to these changes. It seems there is a confrontation between the necessarily material dimension of architecture and the increasingly immaterial nature of the information age. A new strand of Japanese architects is pushing the limits of the dematerialisation of architecture, which has been called, by some critics, “weak architecture”. Some of the distinctive features of this weak architecture are simplicity, transparency and formal austerity, as well as a peculiar ambiguity in the expression of materiality. Through a detailed case-study of the work of SANAA – an internationally significant and prize-winning firm of architects whose works seem to exemplify this kind of weak architecture – the thesis investigates the meaning of the term “weak” in the context of architecture, and the role that materiality plays in realising such weakness, focusing primarily on three key material features that have been identified in their work: transparency, thinness, and whiteness. The project draws on Gianni Vattimo’s theory of weak thought, Gilles Deleuze’s concept of smooth space, the concept of liminality, and the idea of weakness in Taoist philosophy, to develop a new framework in which three themes of SANAA’s weak architecture are developed: 1. Diagram architecture 2. Architecture as landscape 3. Smooth architecture A more comprehensive understanding of the distinctive role of materiality in SANAA’s work has been established through the new theoretical framework and the case analysis of the Rolex Learning Centre and Louvre-Lens Museum. Materiality turns out to be a vital tool in the creation of ambiguous boundaries in three key areas: between conceptual and physical manifestations of architecture; between the building and its landscape setting; and between spaces and the functions they accommodate. To consolidate those meanings, the notion of “weak tectonics” is proposed. The ambiguity of “weak tectonics” leads to, among other things, a degree of uncertainty in visual perception which encourages active bodily exploration of space. The space becomes a liminal space between the real and the virtual. The meaning that SANAA’s architecture tries to convey by means of “weak tectonics” might ultimately be a reflection of the ambiguity and paradoxes of contemporary society.
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Takenaka, Akiko. "The construction of a war-time national identity : the Japanese Pavilion at New York's World's Fair, 1939/40." Thesis, Massachusetts Institute of Technology, 1997. http://hdl.handle.net/1721.1/10403.
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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1997.Includes bibliographical references.
The period between the mid-nineteenth century and World War II was the age of international expositions for the countries of the European and American continents. Events were launched every few years in various cities, in order to demonstrate the level of cultural sophistication or technological advancement. The predominate ways in which these events have been studied are: as stages for the display of technology and design; as sites for the manifestation of imperialism and colonial authority; and as vehicles for studying culture of the host and participating countries. Little has been written from the political point of view concerning governmental strategies in foreign relations, which is surprising given the international nature of the events. This thesis examines one particular national pavilion presented by Japan at the New York World's Fair 1939140 from multiple perspectives, to reveal different intentions behind its planning and design. By drawing upon archival records and the condition of pre-war foreign relations, it argues that the pavilion design was a result of the political strategy of the Japanese government in apprehension of World War II. The pavilion is not the work of an acclaimed architect, and has been considered of little significance in the history of modem Japanese architecture. This thesis explores the reasons for this negative reception through an examination of movements and debates among architects of the 1930s - a decade in which the entire intellectual climate of Japan was focused upon the search for a modem Japanese identity. This thesis attempts to bring to light the significance of an architectural work usually neglected in historical texts often written in a way which laud the architect as the fountainhead of architecture. Other forces which come into play in the creation of architecture demonstrate that, in interpreting a single building, various perspectives yield a fuller picture. My emphasis is on the political perspective - on the strained international situation in the years when the New York World's Fair was held.
by Akiko Takenaka.
M.S.
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BHIMANI, SHEFALI. "AN INQUIRY INTO THE MAKING OF JAPANESE ARCHITECTURE THROUGH THE STUDY OF TEA HOUSES." Thesis, The University of Arizona, 1995. http://hdl.handle.net/10150/555233.
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Bondesan, Carlotta <1997>. ""How Will We Live Together?": The Japanese Answer to the 2021 Venice Architecture Biennale." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21336.
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Questo progetto di ricerca considera la partecipazione nazionale del Giappone alla Biennale di Architettura di Venezia del 2021 a tema “How Will We Live Together?”. La mostra “Co-Ownership of Action: Trajectories of Elements”, curata da Kozo Kadowaki, è qui approfondita per discutere fino a che punto oggi gli eventi di architettura, come la Biennale di Venezia, forniscano sempre più un'ampia consapevolezza sociale, ecologica e un'importante collaborazione diffusa. Il concept di Kadowaki, basato infatti sullo smontaggio e rimontaggio di una normale casa in legno di Tokyo a Venezia, pur essendo profondamente radicato nella tradizione e nella cultura del Paese orientale, è in grado di fornire non solo una possibile soluzione ad un problema locale come come quella delle “case vacanti” a Tokyo, ma anche una significativa risposta globale alla domanda “How Will We Live Together?”. Per sostenere questa tesi è stato condotto un cospicuo studio di saggi e articoli e sono state realizzate interviste agli organizzatori del padiglione giapponese.
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Cheng, Terry Hsu-Huang. "Bonsai." AUT University, 2009. http://hdl.handle.net/10292/964.
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This thesis includes an introduction to my bonsai container design along with a history of bonsai, discussion of the philosophies of key bonsai masters, the details of two bonsai containers based on Japanese courtyard culture and Japanese architectural philosophy. It also documents the design process of all 1:1 scale Bonsai containers and the exhibition space, which includes bonsai planted in each container on the presentation day.
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Sfakiotaki, D. (Despina). "Analysis of movement in sequential space:perceiving the traditional Japanese tea and stroll garden." Doctoral thesis, University of Oulu, 2005. http://urn.fi/urn:isbn:9514276531.
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Abstract
The research aims to investigate the spatiality of the sequential Japanese tea (roji) and stroll garden (kaiyûshiki), whose appearance reached its peak during the Feudal period in Japan (1573–1868), in relation to the perceiver's locomotion. The desire of that era to go beyond sensual beauty and to make a philosophical statement, led to the development of a garden where the moving participant perceives a series of successive fragmentary views. Such a concept of space, with the principle of successive observation, is a distinct feature of Japan, and can also be observed in urban design, architecture, painting and literature.
This research is about the necessity of incorporating movement in the design of gardens, as a prerequisite for fully perceiving space. It thereby shows how through analysing those two distinct types of sequential spaces, the Japanese tea and stroll gardens, one arrives at patterns of spatial configurations that encourage active participation on the subject's part. Emphasising the environment-person transaction, the research aims to study the structure and features of the Japanese tea and stroll gardens as sequential spaces, with reference to the affordance possibilities they provide for an individual, as developed by the late James J. Gibson. Although not confined solely to it, the analysis used at the core of this research, is based on Gibson's ecological approach and on Harry Heft's contribution to ecological psychology. The empirical part of the research uses a variety of gardens as examples, as well as the case studies of a model teagarden and the garden of Shisendô (situated in the city of Kyoto).
The research aims to acquire accounts of knowledge of techniques and spatial formations that do not ignore or minimise the central importance of the subject's movement, but on the contrary, fortify and take advantage of it. This body of knowledge can be an initial approach to designing sequential spaces in domains that lack the specific socio-cultural practices by showing some opportunities and potential affordances that every perceiver can pick up using his own background and cultural context.
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Coffey, Shaun C. "The 21st Century Cancer Care Wellness Facility: A Study, Interpretation, and Application of 16th Century Japanese Tea-house Themes." Thesis, Virginia Tech, 2016. http://hdl.handle.net/10919/64515.
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Buildings which address space through all the senses, rather than being dominated by ocular centric considerations solely, have become the minority within the discipline of Architecture. This can create an imbalance, perceivable as feelings of estrangement and detachment for the inhabitant. Estrangement is particularly evident within health care architecture, which owes much of its current form to ideas developed during Modernism. In response to this imbalance, Architecture from the past may have lessons which can be applied. This thesis investigates the potential of applying spatial techniques and approaches learned from the 16th century Japanese tea-house. A health care building which benefits from the same kind of
reflective and contemplative spaces inherent in the tea-house includes counseling facilities, and therefore an outpatient cancer care center was chosen to apply these lessons. Among the techniques researched and applied, the use of a sequential vision of spatial experience, which reveals the building in stages and facilitates spaces for pause and reflection, was particularly
powerful. The result is a building with spaces that take on an almost sacred tone, where one can be at peace with the realities of their current situation, and begin thinking about the path forward.Master of Architecture
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Klouse, Fuentes Amy. "Reconciling sustainable and resilient design in cities| Cross laminated timber and the future of Japanese wooden buildings." Thesis, Indiana University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1596465.
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In countries particularly susceptible to environmental disturbances like Japan, discourse has centered on resilient design: seeking building materials that withstand natural forces to protect populations while being the most up to date with international trends in technology and science. As a culture with a long history of wood use in buildings, the sudden surge in stone, concrete, masonry, and steel production and use in building applications following the Meiji Restoration of 1868 signaled a momentous shift in Japanese architectural practices and customs. While a preference for these “modern” materials generally continues today, the properties and characteristics of wood and wood-derived products are being reexamined in light of worldwide ecology movements and perspectives in sustainable design that had not existed prior to the mid-twentieth century.
Using the subject of material culture as a lens through which Japanese urban architectural history and political debates are brought into sharper relief, this thesis argues that manufactured engineered wood products like cross laminated timber (CLT) are a part of the larger ongoing discussion on how to solve urban problems and offer the ability to connect sustainable and resilient building design agendas in cities. In addition, if CLT and other wood-based materials are domestically grown and responsibly manufactured on a larger scale than exists presently in Japan, industrial productivity of wood from local forests will recover after long periods of stagnant development, a move heavily invested by the present Prime Minister Shinzo Abe and his administration.
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Holm, Petter. "Onsen At Långholmen : Swedish Bath House Inspired by Japanese Bathing Culture." Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-223400.
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The idea for my Thesis project sprung from a trip I made last June around the Northernmost of the great Japanese islands, Hokkaido. Due to unexpectedly rough weather conditions we had to cancel many of the hikes and climbs that we had planned and instead immerse our bodies and senses in the wonderful onsen culture of Japan. These bathing institutions really lured my architectural interest and especially everything surrounding the actual bathing. The connectivity between architecture and nature, the almost profanely directed rituals, and the special relationship between water, space and materiality was just some of the aspects that originated this project. To create a contemporary bathhouse in Stockholm using the teachings around the onsen and traditional Japanese architecture.
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Kim, Myung-hwan. "A past adapts to the future : an old Japanese city will adapt to the future with preserving its past." Thesis, Massachusetts Institute of Technology, 1990. http://hdl.handle.net/1721.1/67388.
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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture; and, (M.C.P.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning, 1990.Includes bibliographical references (leaves 151-157).
Over the last quarter of a century, historic preservation has become a major component of urban revitalization in the US. Along with the cultural and economic benefits, the restoration of historic structures and environments has also produced a distinct improvement in the quality of life in several American cities. Japan, on the other hand, has only recently begun to recognize the potential contribution of historic preservation to urban revitalization; and, in general, its recent revitalization efforts, especially in several small cities, have not been well formulated or well executed. It is proposed here that small, declining Japanese cities can be revitalized, both economically and culturally, by making effective use of their historic resources. The concept of historic preservation as an urban revitalization tool is first discussed with emphasis on several major theories of preservation in an urban setting. Next, actual instances in which historic preservation was successfully integrated into urban revitalization programs are analyzed. Finally, a revitalization strategy for Otaru, a small declining city in northern Japan, is formulated based on the Urban Cultural Park concept implemented in the city of Lowell, Massachusetts.
by Myung-hwan Kim.
M.C.P.
M.S.
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Tyana, Santini Salzano. "ROBERT B. HALL'S GEOGRAPHIC STUDIES ON THE JAPANESE BUILT ENVIRONMENT." 京都大学 (Kyoto University), 2015. http://hdl.handle.net/2433/202808.
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Chang, Hui Ju. "Victorian Japan in Taiwan : transmission and impact of the 'modern' upon the architecture of Japanese authority, 1853-1919." Thesis, University of Sheffield, 2014. http://etheses.whiterose.ac.uk/7615/.
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This research assesses how contact with Europe and America from 1853 created a new notion of the modern in Japan and colonial Taiwan, through exploring the architectural expressions of Japanese architects. Taking a detailed look at relevant theories of the modern, and the geo-political, governmental and intellectual histories of Meiji Japan, I analyse how Japan used architecture in their nation-building process, and later the role of architecture in building colonial modernity in Taiwan. The study explores how colonial buildings crystallised Japan’s fledgling modernity, cumulating in an extensive case study of the Taiwan Governor-General’s Office, focusing on how the building spatially embedded hierarchical relationships, and how through mastery of European architectural forms it became an artefact of techno-cultural superiority. Through these analyses I find that whilst Japan’s modernity was genuine (in that it was rationally innovative and fashionably reflected up-to-date forms and technologies) the conditions that produced it were sufficiently different that Japan effectively created a split in the idea of what it meant to be modern. Whilst modernity in Europe occurred over a long period, driven by the Enlightenment and the growth of imperialism, in Japan the primary driver was the desire to be seen as civilised, which required instrumental utilisation of reason (and later colonisation) to achieve. Japan’s architectural modernity was intrinsically tied to the state’s drive towards Great Power status, dominance over East Asian neighbours and the reframing of a national Japanese cultural identity as intrinsically superior. These diverse aims led to a unique cultural gap between public and private life developing in Japan, and to Japan politically and culturally splitting off from East Asia. This thesis looks in detail at the story of kindai (modern) architecture in Japan, through exploring a number of themes. First, how translated concepts entered Japan through Josiah Conder, the first Professor of Architecture in Japan, who instituted a new ranking of building types that placed indigenous architecture below European masonry. Second, how political centralisation led to the creation of a modern Japanese architecture style promoted by Conder’s successor TATSUNO Kingo, which became a national style through its use first in Japan and later more extensively in Japan’s colonies. Third, due to the foundational splits in the basis for architectural education in Japan, new social boundaries were created through the Governor-General’s Office which allowed colonial architects to shore their sense of superiority whilst avoiding Orientalist rackets. In spite of this the building remains equivocal: the modern split between Japanese administration and residential architecture even applied to the Governor-General, and implied Euro-American authority remains through the necessary spatial and stylistic appropriations. As the first study that traces the formation of modern architecture in Taiwan to Japan and further back to Victorian Britain, this thesis provides a trans-disciplinary contribution to the field.
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Medema, Kara N. "Chiyo-ni and Yukinobu: History and Recognition of Japanese Women Artists." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3914.
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Fukuda Chiyo-ni and Kiyohara Yukinobu were 17th-18th century (Edo period) Japanese women artists well known during their lifetime but are relatively unknown today. This thesis establishes their contributions and recognition during their lifespans. Further, it examines the precedence for professional women artists’ recognition within Japanese art history. Then, it proceeds to explain the complexities of Meiji-era changes to art history and aesthetics heavily influenced by European and American (Western) traditions. Using aesthetic and art historical analysis of artworks, this thesis establishes a pattern of art canon formation that favored specific styles of art/artists while excluding others in ways sometimes inauthentic to Japanese values. Japan has certainly had periods of female suppression and this research illustrates how European models and traditions of art further shaped the perception of Japanese women artists and the dearth of female representation in galleries and art historical accounts.
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Basham, Anna Elizabeth. "From Victorian to Modernist : the changing perceptions of Japanese architecture encapsulated in Wells Coates' Japonisme dovetailing East and West." Thesis, University of the Arts London, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.442115.
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Ishii, Regiane Akemi 1986. "Tóquio no cinema contemporâneo : aproximações." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285307.
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Orientador: Gilberto Alexandre SobrinhoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-27T22:55:13Z (GMT). No. of bitstreams: 1 Ishii_RegianeAkemi_M.pdf: 6759325 bytes, checksum: 58e1d65d408f67ebcc4a99ad2a50af31 (MD5) Previous issue date: 2015
Resumo: Este trabalho propõe a análise de investimentos espaciais e processos de significação em filmes realizados em Tóquio por diretores não japoneses, na década de 2000. Nosso interesse recai sobre a relação entre cinema e cidade, tomando como principal aporte teórico as ideias de Giuliana Bruno, em Atlas of Emotion ¿ Journeys in Art, Architecture, and Film (2007). Assim, debruçamo-nos sobre as jornadas singulares dos títulos selecionados, analisando como cada filme, ao tomar como ponto de partida o espaço real de Tóquio, atualiza um novo espaço fílmico. Evidenciando as marcas de enunciação destes filmes, também investigamos como o espectador é convocado a confrontar uma emoção geográfica. No início, refletimos sobre a ligação entre o cinema, a arquitetura e a viagem, e fazemos um breve histórico de títulos que se dedicaram a filmar Tóquio. Em seguida, são analisados os três filmes que compõem o corpus da pesquisa: Encontros e Desencontros (Lost in Translation, 2003), de Sofia Coppola, Babel (2006), de Alejandro González Iñarritu, e Enter the Void (2009), de Gaspar Noé
Abstract: This work proposes the analysis of spatial investments and processes of meaning in films made in Tokyo by non-Japanese directors, in the 2000s. Our interest is focused on the relationship between cinema and city, taking as main theoretical contribution the ideas of Giuliana Bruno in Atlas of Emotion - Journeys in Art, Architecture, and Film (2007). Thus, we address to the singular journeys of selected titles, analyzing how each film, by taking as starting point the real space of Tokyo, updates a new filmic space. Having as evidence the marks of enunciation of these films, we also investigate how the viewer is called upon to confront a geographic emotion. At first, we reflect on the link between cinema, architecture and travel, and do a brief historical review of titles that were dedicated to film Tokyo. Then, the three films that make up the corpus of the research are analyzed: Lost in Translation (2003), by Sofia Coppola, Babel (2006), by Alejandro González Iñarritu, and Enter the Void (2009), by Gaspar Noé
Mestrado
Artes Visuais
Mestra em Artes Visuais
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GLOAGUEN, Yola. "TOWARDS A DEFINITION OF ANTONIN RAYMOND'S "ARCHITECTURAL IDENTITY" : A STUDY BASED ON THE ARCHITECT'S WAY OF THINKING AND WAY OF DESIGN." 京都大学 (Kyoto University), 2008. http://hdl.handle.net/2433/57260.
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This thesis presents a study on the way of thinking and way of design of the Czech born architect Antonin Raymond (1888-1976). The data used for this study was a series of lectures and articles written by Raymond between 1935 and 1967 and original architectural drawings and photographs. These documents were all collected personally by the author at Raymond’s former studio in Karuizawa and Architectural Office in Tokyo. These documents provide a new source of information on Raymond’s residential work and have been compiled in an electronic database available with the thesis. The database includes architectural drawings, original and contemporary photographs, and general information on a majority of the residential works designed by Raymond between 1920 and 1938. The aim of this thesis is to answer the following question: what is the core quality or concept that identifies a work of architecture as Raymond’s? In order to answer this question, the thesis presents a study on the identity of Antonin Raymond as an architect, which the author has chosen to refer to as “Architectural Identity”. The essential quality of Raymond’s “Architectural Identity” is defined through the study of the architect’s way of thinking, way of design, and the relationship between the two. These three elements are considered by the author as the three components of “Architectural Identity”. For the study of Raymond’s way of design, the thesis focuses on one residential project, which is Raymond’s own summer house, built in Karuizawa in 1933.Kyoto University (京都大学)
0048
新制・課程博士
博士(工学)
甲第13809号
工博第2913号
新制||工||1430(附属図書館)
26025
UT51-2008-C725
京都大学大学院工学研究科建築学専攻
(主査)教授 髙松 伸, 教授 前田 忠直, 教授 門内 輝行
学位規則第4条第1項該当
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Hijioka, Akemi. "Minka - Casa dos imigrantes japoneses no Vale do Ribeira." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/102/102131/tde-12012018-101224/.
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A casa dos imigrantes japoneses é estudada nesta tese do ponto de vista qualitativo, sendo as construções analisadas não como objetos, mas focadas no processo que decorre das implicações culturais, sociais e técnicas. As moradias construídas em uma área de imigração ainda inexplorada como fronteira agrícola, situada na região do Vale do Ribeira ao sul do estado de São Paulo, surgiram com as famílias que deparavam com a mata virgem. A despeito da situação de pioneirismo e das dificuldades enfrentadas pelas famílias, formou-se um acervo de mais de 500 casas no auge da prosperidade, todas construídas com material local: a terra e a madeira. Partindo do contexto histórico em que se iniciaram a colonização da região e os condicionantes que possibilitaram a criação da colônia, o trabalho analisa os modos de construção de suas moradias e as vicissitudes que possibilitaram a realização desse conjunto arquitetônico. Uma arquitetura espontânea que representa uma categoria expressiva e variada sob os aspectos construtivo, tipológico e programático. Como construíram, quem eram os responsáveis, quais eram os saberes trazidos do oriente e quais eram os saberes locais? O que propiciou sua durabilidade por mais de um século? Respostas a estas questões são buscadas ao longo da pesquisa, a qual também verifica a mescla da técnica japonesa com a influência cabocla e quilombola e investiga os processos originais japoneses para cotejar com os exemplares construídos no Vale do Ribeira. O estudo põe em foco o Tsuchikabe, palavra que literalmente significa parede de terra e que é uma técnica correspondente à taipa de mão no Brasil. Os dados científicos e históricos de caracterização correspondentes serão cotejados para verificar em que medida os saberes orientais foram adotados, adequados e ajustados à realidade brasileira. A relevância da pesquisa está na apresentação dos processos singulares e plurais que ocorreram há um século atrás, na abertura de novas frentes de investigação sobre o tema e na sistematização de informações que podem contribuir tanto na manutenção futura dos patrimônios tombados, como subsidiar a construção de casas mais sustentáveis e duráveis tão demandadas na atualidade.The Japanese immigrants houses will be studied on this thesis by the qualitative point of view, and the buildings won´t be analyzed as objects, but as processes that occur from cultural, social and technical contexts. The housing built in a yet unexplored area as agricultural frontier, located in Vale do Ribera, in the south of São Paulo State, began with families that faced rain forest. Despite the pioneerism and the inherent difficulties faced by de families, there was an amount of more than 500 houses during the height of prosperity, each of them built with local materials such as wood and earth. Beginning with the historical context when the colonization started, and studying the conditions that allowed the colony settlement, this assignment will analyze the way of building their houses, and the events that propitiate the construction of that spontaneous architectural set representing an expressive and varied category, under a constructive, typological and programmatic aspect. Who built, who was the responsible, what was the knowledge brought from East, and what was the knowledge from the local population? What allowed an over a century staying? The answers to those questions are sought alongside the research, which also analyzes Japanese techniques mixed with Caboclo and Quilombos influences, investigates the Japanese original process in order to compare with the samples found in Vale do Ribera. This study focuses on a technique called Tsuchikabe, that literally means mud wall, which is similar to the Brazilian technique called Taipa de mão (wattle and daub). The scientific and historic data with corresponding characteristics will be collated to measure how much the Eastern knowledge was used, suited and adjusted to the Brazilian reality. The research relevance is to present these singular and plural processes that happened a century ago, to start new work fronts about this theme, to dispose information that could help with the future maintenance of the listed buildings, as well as subsidize the building of more sustainable and durable houses that are so demanded nowadays.
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Steuer, Carl P. "An architectural investigation into some aspects of ancient Japanese metaphysics and their application in the design of a crematorium in an allegedly haunted building in Savannah, Georgia." Thesis, Georgia Institute of Technology, 1995. http://hdl.handle.net/1853/23017.
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Swan, Marilyn Rose. "HAYASHI YASUO AND YAGI KAZUO IN POSTWAR JAPANESE CERAMICS: THE EFFECTS OF INTRAMURAL POLITICS AND RIVALRY FOR RANK ON A CERAMIC ARTIST’S CAREER." UKnowledge, 2017. https://uknowledge.uky.edu/art_etds/15.
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The use and firing of clay to make art instead of vessels was a revolutionary concept in Japan when it first was introduced by Hayashi Yasuo in 1948 with Cloud, and expanded upon by Yagi Kazuo in 1954 with Mr. Samsa’s Walk. Although both avant-garde artists were major forces in the advancement of abstract, nonfunctional ceramics, Yagi is usually given sole credit and occupies a prominent place in the literature, while Hayashi’s name can scarcely be found, despite his numerous international awards, large body of work and career spanning seven decades. This thesis seeks to identify the factors that influenced the direction of their careers and the unbalanced reception of their work. It compares their backgrounds, personality traits, avant-garde affiliations, and positions on art and ceramics, in relation to the norms and prerequisites for success in Kyoto’s deeply stratified, convention-bound ceramic community. The pervasive practice of rating and society’s emphasis on affiliation and rank were significant forces in this situation, as were issues that divided Japan’s art world -- the separation and unequal ranking of fine art and traditional craft, or the value of individual expression versus technique and tradition. Ultimately, this study reveals an insular world during a decade (1946–56) of crisis and transition that is rarely studied in the West from the perspective of ceramic art.
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Veal, Alexander. "Influence and architecture : a study of Japanese and 'Oriental' influence in European modernism, with particular reference to the work of Ludwig Mies van der Rohe and Alvar Aalto." Thesis, Cardiff University, 2007. http://orca.cf.ac.uk/55740/.
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This thesis examines the influence of traditional Japanese culture and related 'Oriental' concepts in European Modern architecture, with particular consideration of the work of Ludwig Mies van der Rohe and Alvar Aalto. The study is organised into six chapters, the first of which addresses the concept of influence, its direct and indirect modes of operation in architecture and the issues associated with Far Eastern sources. In the second chapter, the availability of information on Japanese architecture in Europe from the mid-nineteenth century through to the start of the Second World War is discussed, with reference to publications, exhibitions and architectural theory. In the following two chapters, the work of Mies is considered in the light of this available material. Although commentators have frequently referred to similarities between his buildings and Japanese precedent, direct connections have rarely been proposed. Consideration of the context in which he practised, however, reveals the availability of significant material related to the philosophical and conceptual basis of Japanese architecture, which, it is argued, finds various forms of expression in his work. In the case of Aalto, whose work is discussed in the final two chapters, parallels with Japanese precedent have been more readily identified by critics, with further examination of his context revealing an active interest in Japanese architecture and culture. Unlike Mies, who appears to have referred predominantly to conceptual sources, a more direct assimilation of the physical characteristics of Japanese buildings may be identified in Aalto's work. On the basis of this research, further conclusions have been drawn regarding the nature and effect of influence in architecture, most notably in relation to the 'anxiety' of influence experienced by practising architects, the significance of context, and the tension between traditional notions of influence and the broader understanding of 'intertextuality'.
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Wang, Hai. "A case study of Tadao Ando's Church of the Light and the Eychaner/Lee : the traditional Japanese sense of 'Ma' and 'Oku', dnd its reinterpretation in contemporary architecture." Kansas State University, 2003. http://hdl.handle.net/2097/36086.
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Távora, Maria Teresa Caldeira Rodrigues de Mendonça Falcão e. "(In) Visibilidades da tradição japonesa no olhar de Távora." Master's thesis, Universidade de Évora, 2015. http://hdl.handle.net/10174/18211.
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Resumo introdutório: Nesta tese, procuramos explorar diversos momentos de uma constelação de sentidos que não é senão o reverso teórico da multiplicidade de pontos pelos quais se constituiu, em tempos idos, a viagem do mestre Fernando Távora pelo Japão - o zénite de todos os locais que percorreu, por isso tão amplamente abordado - e procura tornar visível não somente aquilo que já seria um trabalho de monta, a saber, as fortes influências arquitectónicas - i.e., as componentes especificamente técnicas e visuais assaz tratadas ao longo do texto - que Távora recebeu ao longo do seu percurso pelo Japão, mas, igualmente e com ainda maior relevo, a possibilidade de o Japão ter sido, para Távora, mais do que um espaço físico tridimensional onde beber e digerir pontos de vista alternativos do que é construir e habitar, um espaço mental, onde Távora, enquanto pensador da arquitectura, et pour cause, da vida, encontra, paradoxalmente, do outro lado do mundo, a sua casa de ideias. A coluna vertebral desta hipótese - por ora chamemos-lhe assim - assenta na forma como Távora recebe a ideia de mundo moderno e de arquitectura Moderna, muito especialmente pela figura omnipresente de Le Corbusier, e como o fascínio púbere pelo movimento moderno se vai dissolvendo face ao espírito crítico de Távora, que não concebe uma arquitectura impessoal e universal, embevecida pela ideia dela própria e cada vez mais afastada das pessoas que visa dar guarida. O auto-erotismo da modernidade, que acaba por estar presente em todas as artes que gradualmente se convertem ao questionamento crítico das suas bases, âmbitos e propósitos (a própria ideia de moderno) é, para Távora, a par de uma ampliação generosa do património de adquiridos, um momento de auto-asfixia. O mestre não concebe uma arquitectura só e somente apaixonada pela ideia de si própria e dos seus desígnios, mormente da ideia motriz segundo a qual a natureza é finalmente vencida (e, desde logo, tristemente abandonada) e, incapaz de voltar para trás (não se pode viver no passado sob pena de fazer parte dele) Távora acaba por tomar em mãos a dura tarefa de encontrar um sentido pelo qual os pólos opostos e aparentemente irreconciliáveis da modernidade e da tradição possam dar corpo e expressão a uma nova arquitectura. O Japão, o país dos oximoros, acaba por ser o espaço mental onde Távora madurece definitivamente a sua ideia de arquitectura. A forma de estar, construir e habitar dos japoneses, profundamente enraizada na tradição e espraiando as suas composições no solo fértil da modernidade, é a chave através da qual Távora vai sanar as diversas dificuldades que o movimento moderno apresentava. A viagem de Távora é mais do que a soma dos múltiplos pontos pelos quais passou; é, na verdade, uma totalidade sintética anterior à constituição dos seus momentos, é uma ideia. E essa ideia, com que Távora vai tendo vários níveis de contacto, do sub-reptício ao concreto da evidência, revela-se com todo o seu esplendor no Japão das contradições, onde Távora, pela primeira vez, se consegue ver inteiramente ao espelho; lntroductory summary: ln this thesis, we try to explore various moments of a constellation of meanings that represents the theoretical reverse of the multiplicity of points through which took place the journey of master Fernando Távora in japan, in the sixties - the zenith of all the places he travelled to, therefore so extensively discussed. We intend to make visible not only what would be a demanding work, namely the strong architectural influences - i.e., the specific technical and visual components quite addressed along the text - that Távora received throughout his japanese route, but also and with even greater emphasis the possibility that japan has been more than a three-dimensional space where he absorbed and assimilated alternative views of what means building and inhabiting. Beyond that, it was a mental space where Távora, while philosopher of architecture et pour cause of life, paradoxically finds, on the other side of the world, his home of ideas. The backbone of this hypothesis - Iet us say so for now - depends on how Távora gets the idea of the modern world and modern architecture, especially the omnipresent figure of Le Corbusier, and how the pubertal fascination for the modern movement starts dissolving against the critical spirit of Távora. Indeed, he does not conceive an impersonal and universal architecture, enraptured by its own idea and increasingly detached from the people it aims to give shelter. The autoeroticism of modernity, which turns out to be present in all the arts that gradually convert to the critical questioning of their bases, scopes and purposes (the very idea of modern), is, along with a generous expansion of the acquired heritage, a moment of self-asphyxiation for Távora. The master does not conceive a kind of architecture only passionate about the idea of itself and its purposes, especially the driving idea according to which nature is ultimately defeated (and, hence, sadly abandoned). Thus, unable to turn back (you cannot live in the past under penalty of being part of it), Távora eventually takes on the daunting task of finding a sense in which the seemingly irreconcilable opposites of modernity and tradition can give body and voice to a new architecture. Japan, the country of oxymoron’s, turns out to be the mental space where Távora matures definitely his idea of architecture. The Japanese way of being, building and inhabiting, deeply rooted in tradition and spreading its compositions in the fertile soil of modernity, is the key through which Távora will remedy the difficulties presented by the modern movement. His journey is more than the sum of multiple points he went through, it is indeed a synthetic wholeness preceding the unravelling of its moments, it is an idea. And this idea, with which Távora has various levels of contact, from the surreptitious to the concrete evidence, reveals Itself in all its splendor in the contradictions of Japan, where Távora, for the first time, can see himself fully in the mirror.
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FURUOYA, Tomohiro, and 知浩 古尾谷. "古代の漆工." 名古屋大学文学部, 2014. http://hdl.handle.net/2237/19775.
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Carmo, Filipe Miguel Brandão do. "O ideal e o real." Master's thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2018. http://hdl.handle.net/10400.5/18027.
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Dissertação de Mestrado Integrado em Arquitetura, com a especialização em Arquitetura apresentada na Faculdade de Arquitetura da Universidade de Lisboa para obtenção do grau de Mestre.O Japão é um lugar único no mundo. Devido à sua insularidade desenvolveu aspectos culturais singulares. Neste trabalho propomo-nos a estudar as características que definem a sua arquitectura e cidades. Para tal recuámos ao momento da sua concepção e idealização para percebermos os seus elementos e as dinâmicas que as compõem. Recorrendo a uma metodologia comparativa e a uma análise histórica, percorremos a evolução da cidade de Quioto desde a sua fundação como capital imperial, à sua maturação como modelo de urbanidade no Japão. A cidade de Quioto, quando analisada morfologicamente e tipologicamente, constitui-se como um manual da formação das cidades japonesas e da forma das suas residências. Idealizada sob a forte influência das capitais chinesas, analisámos como os acontecimentos históricos e as suas personagens moldaram o cenário da cidade, transformando e adaptando o que era um plano ideal, concebido para o ritual imperial, para uma cidade que respondia às necessidades dos seus residentes. Passando por destruições constantes, Quioto renasceu constantemente, revelando sempre as intenções dos responsáveis pela reconstrução. Por ter sido o palco político de todo o Japão, Quioto foi também o local de experimentação e surgimento de novos estilos arquitectónicos. Pela importação de modelos e mutação de existentes, a arquitectura japonesa foi evoluindo para uma identidade que dialoga inequivocamente com a cidade. O estudo das duas escalas tornou-se incontornável para um resultado completo. Por último, analisados os fenómenos arquitectónicos e urbanos, apontámos alguns aspectos importantes, que, revelando-se em certos momentos da história da cidade, são definidores do pensamento urbano e arquitectónico japonês e indispensáveis àquele que se propuser a intervir no espaço japonês.
ABSTRACT: Japan is a unique occurrence in the world. Due to its insular character, it developed singular cultural particularities. In the present work we set to study the characteristics that define its architecture and cities. For such we reverted to the moment of its conception and conceptualization to understand its elements and the dynamics that are part of it. By way of a comparative methodology and a historical analysis, we range through the evolution of the city of Kyoto from its foundation as the Japanese capital, until its maturation as an urban model of Japan. The city of Kyoto, when analyzed morphologically and through the types of its residences, becomes a manual on the formation of the Japanese city and of the form of its residences. Relying heavily on the influence of the influence of the Chinese capitals, we observed as the historical developments and its characters shaped the city scenario, transforming and adapting what was an ideal plan, thought for imperial pageantry, to a city that tackled its habitants needs. Going through razing several times, Kyoto rebirthed every time, revealing each time the intentions of those responsible for its reconstruction. Having been the political stage of all Japan, Kyoto was also the place for experimenting and emergence of new architectural styles. Through the importation of outside models and mutation of existing ones, Japanese architecture evolved to an identity that unequivocally dialogues with the city. This two-sided study was indispensable for a complete result. At last, having analyzed the architectural and urban phenomena, we concluded some important aspects, that, revealed at certain historical moments of the city, define the Japanese urban and architectural thought and are indispensable for those wanting to intervene in the Japanese space.
N/A
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Massip-Bosch, Enric. "Five forms of emotion : Kazuo Shinohara and the house as a work of art." Doctoral thesis, Universitat Politècnica de Catalunya, 2016. http://hdl.handle.net/10803/393940.
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This research presents the work of the Japanese architect Kazuo Shinohara (1925-2006) and studies five of his residential designs as epitome of his oeuvre. lts development is understood as a continuous quest to reconcile two key elements, the house and the city, in order to put emotional the heart of domestic space. These two elements were present in his preoccupations from the beginning of his career but he only managed to merge them in his last designs.
lt is based on the assumption that this is one of the first in-depth research studies developed beyond the conventional segmentation and explanation of his work. lt thus considers it more important to open new perspectives on Shinohara's oeuvre than to foc us exclusively on one of them, a task that might be pursued later on.
Analyzing sorne of Shinohara's first writings and using as a starting point his simultaneous design of two very different houses, House in White and House of Earth (1964-1966), this thesis delineates a connecting line among three more choice projects's panning 20 years of practice, thus shedding a new light on Shinohara's design methods and helping explain their unity behind their apparent dissimilarities: Tanikawa House (1972-1974), House in Uehara (1975-1976) and House in Yokohama (1982-1984).
After a general description of Shinohara's relevance and main ideas on tradition, domesticity and the city, it continues with the argumentation of why a certain group of projects has been left out of this research and analyzes the five projects of this evolution, pointing out their common traits and their consistency with the general exploration about the house as a work of art started by Shinohara in 1964.
Further original contributions of this thesis to the field of Shinohara's studies consist in the translation for the first time into English of a founding article, "The House is Art" (1961), and an abridged version of "Subjectivity of Residential Design" (1964), and the reproduction of a previously unpublished text by Shinohara, "A Discourse On Tokyo; From Tokyo, Via Kazuo Shinohara: An Objective" (1998). In a separate volume this thesis incorporates the original construction designs for the five houses, with English captions.Aquesta investigació presenta l’obra de l’arquitecte japonès Kazuo Shinohara (1925-2006) i n’estudia cinc dels seus dissenys residencials com epítom del seu treball. El seu desenvolupament s’entén com una recerca contínua que mira de conciliar dos elements clau, la casa i la ciutat, per tal de posar l’emoció al cor de l’espai domèstic. Aquests dos elements ja eren presents en les seves preocupacions des de l’inici de la seva carrera, però només va aconseguir fusionar-los en els seus últims dissenys. Es basa en la constatació que aquest és un dels primers estudis d’investigació en profunditat desenvolupats més enllà de la segmentació i explicació convencionals del seu treball. Per tant, considera que ara és més important obrir noves perspectives sobre l’obra de Shinohara que centrar-se exclusivament en un dels seus aspectes, una tasca que pot ser desenvolupada en el futur. Analitzant alguns dels primers escrits de Shinohara i utilitzant com a punt de partida el disseny simultani de dues cases molt diferents, la Casa en Blanc i la Casa de la Terra (1964-1966), aquesta tesi traça una línia de connexió entre tres altres projectes signifi cats, abarcant vint anys de pràctica, per tal de llançar una nova llum sobre els mètodes de disseny de Shinohara i ajudar a explicar la seva unitat darrere de les seves aparents diferències: la Casa Tanikawa (1972-1974), la Casa a Uehara (1975-1976) i la Casa a Yokohama (1982-1984). Després d’una descripció general de la rellevància de Shinohara i de les seves idees principals sobre la tradició, la domesticitat i la ciutat, continua amb l’argumentació de per què un determinat grup de projectes s’ha quedat fora d’aquesta investigació i l’anàlisi dels cinc projectes d’aquesta evolució, assenyalant els trets comuns i la seva coherència amb l’exploració general, iniciada per Shinohara el 1964, de la casa com una obra d’art. Altres contribucions originals d’aquesta tesi en el camp dels estudis de Shinohara consisteixen en la traducció per primera vegada en anglès d’un article fundacional, “La casa és art” (1961), i una versió abreujada de “Subjectivitat del disseny residencial” (1964), i la reproducció d’un text inèdit de Shinohara, “Un discurs sobre Tòquio; des de Tòquio, via Kazuo Shinohara: Un objectiu“ (1998). En un volum a part s’inclouen els projectes executius originals per a les cinc cases, amb traduccions en anglès de les principals llegendes.
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Chan, Amy Beth. "Trembling Earth." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1248.
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This thesis details the literary and visual influences in my work, the definition of American Gothic, and its connection it to my work. Literary sources such as Edgar Allan Poe and Fanny Kemble help spark a vision of the landscape. Visual influences include Japanese woodblock prints, scenic wallpapers, vintage postcards and Victorian mourning pictures. My regional explorations span the James River, Tidewater swamps and architecture within the city of Richmond.My work depicts local history and ecology inspired by Richmond and the surrounding region. Subtle Gothic elements add anxiety to the otherwise pastoral scenes. Gothic foreboding in the work questions our ecological future and the permanence of our human presence in the landscape.
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Ramos, Isabella. "Walking in The City: Koji Nakano’s Reimagining and Re-Sounding of The Tale Of Genji." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1037.
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Imagined Sceneries is a work written by composer Dr. Koji Nakano of Burapha University, Thailand for two sopranos, koto, light percussion, narrations, soundscapes recorded in Kyoto, Japan in December 2015, and digital projections of Ebina Masao’s 1953 print series Tale of Genji. Imagined Sceneries’ reimagining and “re-sounding” of Heian Kyoto relies on a balance between what is imagined and what is experienced in performance. Its many elements collectively explore multiple layers of Japanese histories, soundscapes, environments, and sensibilities. Using Michel de Certeau’s concepts of the city, this thesis journeys through Nakano’s imagined spaces.
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Anderson, Audrey Elizabeth. "Japanese architectural values through time : Frank Lloyd Wright's Usonian house and the creation of a modern Japanese-Usonian hybrid /." 2008. http://hdl.handle.net/10288/472.
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Chiang, Pei-Rung, and 江佩蓉. "The Study of Buddhist Architecture of Japanese Buddhism System in Taiwan Built during the Japanese Occupied Period." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/50410047283387784028.
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碩士國立成功大學
建築學系
89
The process of Buddhist architecture has developed for more than 300 years in Taiwan . The 50 years of Taiwan Japanese-occupied period （1895 to 1945）play a role as transplant and transform. As a result of the spread of Japanese Buddhism to Taiwan, there suddenly appeared a large number of “Japanese style” Buddhist architecture in Taiwan. Owing to the difference of the cultural background between Taiwan and Japan, these architecture were completely different to the traditional “Taiwanese style” Buddhist architecture in spatial organization and built form, and their interference pushed the traditional Taiwanese Buddhist architecture begin to change. But most of past studies on the Buddhist architecture in Taiwan area mainly focused on the traditional Min（ Fukien Province）style buildings since Taiwan was restored from Japanese colonization（1945）. Various types of Japanese Buddhist architecture which were spread during Japanese occupied period were seldom discussed. This thesis is the study on the Buddhist architecture of seven main Japanese Buddhism religious factions, constructed in Taiwan during the Japanese-occupied period. The contents of the paper are divided into four sections： 1、 The profile of Japanese Buddhism religious system and their spread and development in Taiwan. The general situation of seven main Japanese Buddhism factions including the Soto（曹洞宗）、the True Amitabha’s Vow（真宗本院寺派）、the True Daikoku（真宗大谷派）、the Lin-chi（臨濟宗）、the Pure Land（淨土宗）、the Shingon（真言宗）、the Nichiren（日蓮宗）. 2、The distribution situation of Japanese Buddhist architecture in Taiwan area. By way of textual study on documents and field research, to analyze the spread situation of Buddhist architecture about every Japanese Buddhism religious factions in Taiwan . 3、The study of spatial organization of Buddhist architecture for every Japanese Buddhism religious factions in Taiwan area, including the comparision of Japanese Buddhist architecture of every Buddhism factions between Japan and Taiwan. 4、The study of built form of Japanese Buddhist architecture in Taiwan area, including the comparision between the style, the vocabulary, the structure, the material of different factions. By way of above discuss process, this thesis tries to establish some spatial concept about Japanese Buddhist architecture in Taiwan area, and make more clear understanding about Japanese Buddhist architecture in Taiwan during the Japanese occupied period. The result can also become the foundation for further studies.