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Journal articles on the topic 'Architecture, Japanese'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 March 2023

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1

Tamari, Tomoko. "Metabolism: Utopian Urbanism and the Japanese Modern Architecture Movement." Theory, Culture & Society 31, no. 7-8 (September 16, 2014): 201–25. http://dx.doi.org/10.1177/0263276414547777.

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The Fukushima catastrophe has led to important practical and conceptual shifts in contemporary Japanese architecture which in turn has led to a re-evaluation of the influential 1960s Japanese modern architecture movement, Metabolism. The Metabolists had the ambition to create a new Japanese society through techno-utopian city planning. The new generation of Japanese architects, after the Fukushima event, no longer seek evolutionally social change; rather, the disaster has made them re-consider what architecture is and what architects can do for people who had everything snatched from them by technology (nuclear power station) and nature (earthquake and tsunami). Drawing on the architectural projects of Tange Kenzo and Metabolists in the 1960s and Ito Toyo’s ‘Home-for-All project’ in 2011, the paper explores this major paradigm shift in Japanese architectural theory and practices.

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2

Hasegawa, Shiho. "A study of the biological concept in architectural thought: A comparison between 'Der raum als membran' (1926) and 'Metabolism' (1960)." SAJ - Serbian Architectural Journal 11, no. 3 (2019): 427–40. http://dx.doi.org/10.5937/saj1903427h.

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This study analyzes the biological influence on the architecture in the 20th century by focusing on two particular biological architectural thought; "Der Raum als Membran (Space as Membrane)" by Siegfried Ebeling in 1926 and "Metabolism" by a group of Japanese architects in 1960. First, I discuss "Der Raum als Membran". Ebeling saw architecture or space as a biological membrane, like skin or a cell, and he proposed a theory of biological architecture. He not only introduced into planning an environment this biological metaphor with its flexibility of a membrane but also incorporated a biological concept like Umwelt. Second, I investigate a manifesto by the name of "Metabolism", which was produced in 1960 by a group of Japanese architects. They thought buildings and urban designs had an existence and underwent metabolism, which is a basic function of living things, and proposed variable and proliferate architectures having dynamic time spans. By comparing these biological architectural concepts, I point out three main similarities: 1) the expansion of the biological concept into architecture; 2) the cell as a metaphor; and 3) dynamic buildings or urban design. Although the authors had different backgrounds, all of them introduced new architectural ideas in their own times.

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3

Tozer, Luke. "The Japanese House." Architectural Research Quarterly 21, no. 3 (September 2017): 203–7. http://dx.doi.org/10.1017/s135913551700032x.

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Western fascination with Japan and Japanese design is long established. The popularity of the recent exhibition The Japanese House: Architecture and Life After 1945 at London's Barbican illustrates that this fascination remains. This ‘blockbuster’ review of postwar domestic Japanese Architecture, supported by The Japan Foundation and previously hosted at MAXXI, National Museum of 21st Century Arts, Rome, responds to an enormous challenge: to try to account for the range and diversity of architectural approaches to domestic design within the broader contexts of traditional Japanese architecture and national life after 1945.The seven decades covered in the exhibition span postwar reconstruction, rapid economic expansion, bubble-era boom and bust, and deflationary stagnation, brought up to the present day. Material is organised ‘genealogically’ rather than chronologically, drawing together certain threads and traditions. It makes connections across time periods to suggest how the design of the Japanese house has dealt with sociological changes over this period, from the fracturing of the nuclear family and an increase in single-person households to an ageing population.

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Коновалова, Нина Анатольевна. "«WATERS ERA» IN JAPANESE ARCHITECTURE." ВОПРОСЫ ВСЕОБЩЕЙ ИСТОРИИ АРХИТЕКТУРЫ, no. 2(13) (June 5, 2020): 311–20. http://dx.doi.org/10.25995/niitiag.2020.13.2.015.

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В первые десятилетия эпохи Мэйдзи, после прекращения самоизоляции Японии в 1868 г., глобальный процесс модернизации охватил все сферы жизни государства и общества. Архитектура в этом процессе играла одну из ведущих ролей. Контакты в сфере архитектуры в этот период у Японии шли прежде всего с Великобританией. Для того чтобы быстрее и качественнее освоить западные стили и методы строительства, японцы стали приглашать в страну консультантов из европейских стран.Томас Джеймс Уотерс, британский инженер-строитель и архитектор, стал одним из первых иностранцев, нанятых новым правительством Мэйдзи (после открытия страны в 1868 г.) на государственную службу. Им был спроектирован и построен ряд ключевых зданий и инженерных сооружений в городах Японии, он проводил обучение японских архитекторов и выполнял многочисленные частные заказы.Проработав на новое правительство 10 лет, Уотерс покинул Японию, столкнувшись с конкуренцией многочисленных иностранных архитекторов, приезжающих в Японию в качестве иностранных консультантов. Главным образом конкуренцию ему составил Джошуа Кондер, получивший серьезные должности и крупные правительственные заказы. Безусловно, вклад Дж. Кондера в развитие современной японской архитектуры был больше, чем кого-либо из иностранцев, и поэтому так хорошо исследован. Однако 10 лет, которые Т. Дж. Уотерс провел на государственной службе в Японии, оказали настолько заметное влияние на введение в стране западной архитектуры, что их называют «эрой Уотерса». In the first decades of the Meiji era, after the end of Japan’s self-isolation in 1868, the global process of modernization covered all spheres of life of the state and society. Architecture played a leading role in this process. As for contacts in the field of architecture in this period, Japan went, first of all, with the UK. In order to quickly and efficiently master Western styles and methods of construction, the Japanese began to invite consultants from European countries, primarily from the UK. Thomas James Waters, a British civil engineer and architect, was one of the first foreigners employed by the new Meiji government (after the country’s opening in 1868) in public service. He designed and built a number of key buildings and engineering structures in Japanese cities, trained Japanese architects, and carried out numerous private commissions. After working for the new government for 10 years, Waters left Japan, facing competition from numerous foreign architects coming to Japan as foreign consultants. His first competitor was Joshua Conder, who received a serious positions and large government commissions. Of course, the contribution of J. Konder in the development of modern Japanese architecture was greater than that of any of the foreigners, and therefore so well researched. However, the ten years that T. J. Waters spent in public service in Japan had such a prominent role in the introduction of Western architecture in the country, that they are called the “Waters era”.

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5

On, Yunjung. "Social History of Postwar Japanese Architecture : Cho Hunjung, Postwar Japanese Architecture (Mati, 2021)." Journal of Korean Modern & Contemporary Art History 41 (July 31, 2021): 275–78. http://dx.doi.org/10.46834/jkmcah.2021.07.41.275.

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6

Awano, Takashi. "A study on the preservation situation and spatial characteristics of Japanese style garden built in Taiwan during the Japanese rule." Impact 2020, no. 6 (November 16, 2020): 70–72. http://dx.doi.org/10.21820/23987073.2020.6.70.

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Japanese well developed cultural and aesthetic styles have influenced architecture, décor and landscaping around the world. Japanese influence has been particularly marked in eastern Asian countries such as Taiwan, where the nation's colonisation efforts between 1895 and 1945 led to a trend for garden design and landscaping at the time to demonstrate strong characteristics of Japanese style. The gardens created during this time showed a unique blend of Japanese and Taiwanese influences not otherwise found in landscape architectural history. Associate Professor Takashi Awano, from the Department of Landscape Architecture Science at Tokyo University of Agriculture, leads a study that looks into the preservation status, the construction and design processes and the characteristics of land allocation and design of Japanese gardens in palaces, official residences and other key locations during the Japanese occupation of Taiwan

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7

Fridh, Kristina. "From Japanese tradition towards new subjectivity in the architecture of Kengo Kuma and Toyo Ito." Architectural Research Quarterly 21, no. 2 (June 2017): 113–30. http://dx.doi.org/10.1017/s1359135517000252.

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The Japanese architects Kengo Kuma and Toyo Ito work with the formation of mental processes, which include spatial perceptions, but also haptic experiences. In this regard, they both connect to the Japanese architectural tradition. Therefore, it is interesting to compare their work, especially since visually the architecture of these two architects differs. However, through staged, unexpected and changeable experiences of materiality and spatial organisation – interacting in dynamic flow with the surroundings – similar mental processes are evoked when conceiving and perceiving their architecture that are an integral part of the ongoing processes to transform their architecture into ‘abstractions’. The point of departure for being involved in these similar, processual stage-settings is the creation of uncompleted experiences of wonder; a void, which is recognised from the traditional Japanese expressions for beauty – shibui and yugen – and described by Soetsu Yanagi as a hidden, subjective beauty. This in turn leads to a new subjectivity in connection with traditional Japanese conceptions of space, where space is a subjective perception and a changeable process in the mind of the beholder, and not an outside object. The references to the architectural tradition include the villa and the garden of Katsura and the architect Kazuo Shinohara, who opposed and criticised Western Modernism with the basis in his own Japanese tradition.

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8

Sutemi, Horiguchi, and Robin Thompson. "“Japanese Taste” in Modern Architecture." Art in Translation 4, no. 4 (January 2012): 407–34. http://dx.doi.org/10.2752/175613112x13445019280817.

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9

Ißler, L., A. Winter, K. Takabayashi, and F. Jahn. "Comparing a Japanese and a German Hospital Information System." Methods of Information in Medicine 48, no. 06 (2009): 531–39. http://dx.doi.org/10.3414/me09-01-0023.

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Summary Objectives: To examine the architectural differences and similarities of a Japanese and German hospital information system (HIS) in a case study. This cross-cultural comparison, which focuses on structural quality characteristics, offers the chance to get new insights into different HIS architectures, which possibly cannot be obtained by inner-country comparisons. Methods: A reference model for the domain layer of hospital information systems containing the typical enterprise functions of a hospital provides the basis of comparison for the two different hospital information systems. 3LGM2 models, which describe the two HISs and which are based on that reference model, are used to assess several structural quality criteria. Four of these criteria are introduced in detail. Results: The two examined HISs are different in terms of the four structural quality criteria examined. Whereas the centralized architecture of the hospital information system at Chiba University Hospital causes only few functional redundancies and leads to a low implementation of communication standards, the hospital information system at the University Hospital of Leipzig, having a decentralized architecture, exhibits more functional redundancies and a higher use of communication standards. Conclusions: Using a model-based comparison, it was possible to detect remarkable differences between the observed hospital information systems of completely different cultural areas. However, the usability of 3LGM2 models for comparisons has to be improved in order to apply key figures and to assess or benchmark the structural quality of health information systems architectures more thoroughly.

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Думнова, Эльнара Михайловна. "VISUALIZATION OF TRADITIONAL AESTHETIC PRINCIPLES IN MODERN ARCHITECTURE OF JAPAN." ΠΡΑΞΗMΑ. Journal of Visual Semiotics, no. 4(34) (December 8, 2022): 82–101. http://dx.doi.org/10.23951/2312-7899-2022-4-82-101.

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Представлен результат исследования соотношения традиций и новаций в современной архитектуре Японии. Уникальность современной японской архитектуры состоит в эффективной экспликации традиционных эстетических принципов в визуальном искусстве, развитие которого неизбежно детерминировано социально-историческим контекстом. Прослежена экспликация эстетических принципов (моно-но аварэ, югэн, ваби, саби), сформированных в эпоху Средневековья, в современном социокультурном пространстве Страны восходящего солнца. Эти принципы сохраняют себя в качестве элементов современной эстетической парадигмы, на основе которой происходит развитие архитектуры, и детерминируют формирование кодов архитектурного пространства. Продемонстрировано развитие новых направлений в современной японской архитектуре. Обосновано, что среди них доминирующее значение получили минимализм и метаболизм. Несмотря на влияние западных архитектурных образцов, их представителям удалось сохранить архитектурную самобытность, сформировав новые архитектурные стили. Это оказалось осуществимым благодаря гибкому балансированию между традициями и новациями, а также их эффективному синтезу; современная японская архитектура становится одним из способов сохранения культурной самобытности в контексте влияния западных архитектурных образцов. Выявлены основные архитектурные приемы, являющиеся проводниками традиции в современной архитектуре: позиционирование архитектуры как продолжения природы, чем обусловлено формообразование; воплощение традиционных эстетических принципов посредством элементов архитектурного пространства (пустота–промежуток–тень); использование сочетаний традиционных и современных материалов. The article analyzes the problem of the correlation of traditions and innovations in modern architecture in Japan. The problem of preserving architectural identity has become especially relevant in the context of globalization. The uniqueness of modern Japanese architecture consists in the effective explication of traditional aesthetic principles in visual art, whose development is inevitably determined by the socio-historical context. The traditional aesthetic principles which were formed in the Middle Ages and have preserved their significance and influence on the modern socio-cultural space of the Land of the Rising Sun are considered. Among them are the principles of mono-no avare, yugen, wabi, sabi. These principles reflect the traditional Japanese worldview and peculiarities of thinking, since they go back to the traditional religious and philosophical teachings that have spread in Japan. Their visualization by means of architectural techniques is especially significant because it allows us to maintain socio-cultural continuity and the connection of times. They are the elements of the modern aesthetic paradigm on the basis of which architecture develops, they determine the formation of codes of architectural space. The most important is the aesthetics of wabi-sabi, which has combined two principles. It defines moral qualities as well as their visualization in material culture, particularly in architecture. It underlies the simplicity and incompleteness of forms close to emptiness, proximity to nature, appeal to the inner essence of things that are inconspicuous externally, the value of damages reflecting the course of time and events in the past. Japanese minimalism originates in the aesthetics of wabi-sabi. Taken together, these aesthetic principles form the quintessence of the Japanese worldview, which is notable by contemplation and positioning of nature and man as a unity. Visualization of this aesthetics in architecture has proved to be achievable through the use of natural materials (wood, bamboo, rice paper) and planning of residential space. New trends have been developed in modern Japanese architecture, including minimalism and metabolism. Despite the influence of Western architectural patterns, representatives of the trends managed to preserve architectural identity by forming new architectural styles. This turned out to be feasible due to the flexible balancing between traditions and innovations, and their effective synthesis. The main architectural techniques that are the conductors of tradition in modern architecture are considered: (a) positioning of architecture as a continuation of nature, which is the reason for special shaping; (b) embodiment of traditional aesthetic principles through elements of architectural space – emptiness–gap–shadow; (c) combination of traditional and modern materials. The article presents a semiotic analysis of several architectural objects: the Museum of Modern Art, Hiroshima, architect Kisho Kurokawa; Global Loop, EXPO 2005, Aichi, architect Kiyonori Kikutake; Church of the Light, Ibaraki, architect Tadao Ando; the Water Temple, Awaji, architect Tadao Ando. The analysis demonstrates some spatial codes that reveal the deep iconic and symbolic wholeness of architectural objects, reflecting the amalgamation of traditional and modern consciousness of the Japanese.

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11

Yin, Wei Ling. "Talk about the Soft Tradition in Architecture." Advanced Materials Research 255-260 (May 2011): 1449–53. http://dx.doi.org/10.4028/www.scientific.net/amr.255-260.1449.

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Building with the times, the traditional architectural form obviously cannot meet the need of modern social life. After the "international style ", modern architecture has been exploring its new features of the times. In which the new regional characteristics is a topic of the times of the building, which relates to the succession of traditional architecture. This article focuses on talking about the soft traditional in Chinese and Japanese architecture and its influence over the modern architecture.

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12

Golosova, Elena. "JAPANESE GARDEN AS ECOLOGY AND MYSTICISM SYNTHESIS." LIFE OF THE EARTH 42, no. 4 (November 25, 2020): 443–50. http://dx.doi.org/10.29003/m1773.0514-7468.2020_42_4/443-450.

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The article examines a number of causal relationships, historical events and traditional beliefs directly influenced on the Japanese garden structure and layout. The data on the adaptation of the Chinese theory of Feng Shui by the Japanese ethnic group are presented. Based on the survey of 27 landscape architecture objects in Kyoto, created over 1000 years from the Heian period to the end of the Meiji period, the author concludes that one of the most important Japanise garden planning concept is the mountain and water polarity on the North-South axis in gardens.

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13

Yasunori Kitao. "The Importance of Invisible Local Industrial and Social Aspects on The Modern Architectural Project: Evaluating An Example of A Community Centre of The 1950s In Japan." Creative Space 5, no. 2 (January 1, 2018): 81–90. http://dx.doi.org/10.15415/cs.2018.52003.

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The purpose of this paper is to evaluate an example of modern architecture in Shiogama Japan. The evaluation is made in terms of the effect of local industry and local community movements in relation to the transformation of Japanese society in the post-war period. As the ultimate purpose of the Modern Movement in Architecture is to benefit the common people, the current paper is focussed on the Community Centres that were built after Japan’s defeat in the Second World War. At that time, the Japanese society changed rapidly from a military regime to a democratic one. The Community Centre that is dealt with, in this paper was built in the early 1950s, so one can expect to find some aspects of building a democratic society behind the actual building project. Further the invisible and the intangible value of this Community Centre has been discussed in the period when the Japanese government promoted interior resources development projects. The purpose of this research is to understand some hidden historical values of the Community Centre, which represent not only the social phenomenon of that period, the architectural expression and technical aspects of the building but, also, the local industrial heritage. The paper also describes the importance of sustaining support for the local peoples’ activities by conserving this Community Centre and, then, explains how the Municipality of Shiogama decided to renovate this historical piece of modern architecture. Now, the former Community Centre has been re-born as a Community Centre and a Museum of Art for a local painter.

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14

Sand, Jordan, and William H. Coaldrake. "The Way of the Japanese Carpenter: Tools and Japanese Architecture." Monumenta Nipponica 46, no. 3 (1991): 406. http://dx.doi.org/10.2307/2385227.

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15

ZGHEIB, Hani, and Hiroshi KATANO. "EVOLUTION OF CRITICS IN WESTERN MAGAZINES ON CONTEMPORARY JAPANESE ARCHITECTURE : Western analysis of contemporary Japanese architecture." Journal of Architecture and Planning (Transactions of AIJ) 65, no. 538 (2000): 259–67. http://dx.doi.org/10.3130/aija.65.259_3.

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16

Nurdiani, Nina. "Arsitektur Rumah Tinggal Jepang untuk Masyarakat Umum." ComTech: Computer, Mathematics and Engineering Applications 5, no. 1 (June 30, 2014): 290. http://dx.doi.org/10.21512/comtech.v5i1.2624.

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The form of Japanese residential architecture throughout its history shows its own uniqueness. The success of the Japanese government to provide housing for its citizens supports the study to know how Japanese residential architecture for the public society happened until today. The study of Japanese residential architecture for the public society was conducted by the descriptive approach. Data were collected through literature study from the history and development of Japanese residential architecture for public society and also done by field observations in Tokyo and surrounding cities. The study results the knowledge about many forms of residential architecture to public society since before the world war until now and provides knowledge relating to the successful provision of public housing so that it can be accepted by the occupants. The study is expected to provide inputs for the development of programs for public housing provision in urban areas in Indonesia.

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Amanai, Daiki. ""International" style architecture in the 1930s Japan: The vernacular and monumentality." SAJ - Serbian Architectural Journal 6, no. 1 (2014): 29–42. http://dx.doi.org/10.5937/saj1401029a.

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After mastering Western architecture in the 1910s, Japanese top architects have been confronted with two problems: creating their own style based on Japanese traditions and climatic or seismological conditions and educating common people on taste for architecture beyond superficial imitation of the Western one. First of all, an elite and initially expressionist architect Horiguchi Sutemi discussed non-urban-ness that connects Japanese tearooms and Dutch rural houses. This was through his modernist interpretation of function, his experience in the Netherlands and his reaction against the administrative viewpoints on city and architecture in the 1920s. Secondly, despite his former distant stance on monumentality, his request of the world-wide supreme expression to some projected monuments revitalized his own inclination. Seemingly his attitudes toward monumentality changed and the property of the monuments that honored the war victims or enhanced national prestige opposed the "international" feature of modern architecture. Although these points may hide his consistency, we can find his continuous dualism: one is the functionality that prevailed over architectural discourses at that time including Horiguchi himself and another is his expression that provided a local vernacular practice with the position in the world. These arguments enable us to cast a potential understanding among modern architects in those days in a new light.

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Peremislov, I. A., and L. G. Peremislov. "JAPANESE AESTHETICS IN AMERICAN SILVER MASTERPIECES." Arts education and science 1, no. 2 (2021): 79–88. http://dx.doi.org/10.36871/hon.202102010.

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Japanese culture with its unique monuments of architecture, sculpture, painting, small forms, decorative and applied arts, occupies a special place in the development of world art. Influenced by China, Japanese masters created their own unique style based on the aesthetics of contemplation and spiritual harmony of man and nature. In the context of "Japan's inspiration" the work refers to the influence of the art of the Land of the Rising Sun on American decorative arts and, in particular, on the silver jewelry industry in trends of a new aesthetic direction of the last third of the XIXth century, the "Aesthetic movement". The article provides a brief overview of the history of the emergence and development of decorative silver art in the United States. The important centers of silversmithing in the USA and the most important American manufacturers of the XIXth century are described in more detail. The article also touches on the influence of Japanese aesthetic ideas on European creative groups and on the formation of innovative ideas in European decorative arts. At the same time, an attempt is made to trace the origin, development trends, evolution and variations of "Japanesque" style in American decorative and applied art, in particular, in the works of Edward Moore and Charles Osborne (Tiffany & Co jewelry multinational company).

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Couto Duarte, João Miguel. "The Rediscovery of Japan: The Critical Reception of Japanese Architecture in Portugal after the Opening of Japan to the West." Athens Journal of Architecture 9, no. 1 (December 27, 2022): 55–82. http://dx.doi.org/10.30958/aja.9-1-3.

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The opening of Japanese ports to the West in 1854 enabled the rediscovery by the rest of the world of Japan as a country, which, until then and throughout the more than two centuries of the Sakoku or closed country period, had maintained an isolationist policy in relation to the outside world. This opening up allowed for contact with Japanese art, including architecture, which was progressively absorbed by Western art, giving rise to Japonisme. Portugal was receptive to Japonisme, even if that receptiveness was motivated more by a taste for the exotic than genuine interest in the values of Japanese art. Even though its influence on Portuguese architecture was practically zero, Japanese architecture was divulged in Portugal. The aim of this paper is to determine an initial understanding of the reception of Japanese architecture in Portuguese books and architecture-related magazines published in the late nineteenth and early twentieth centuries. The investigation is sustained in interpretative-historical research, and seeks to assess how the contact with Japanese architecture unfolded and also examine the reasons behind its dissemination in Portuguese publications. This assessment is preceded by a contextualisation that sets out to clarify the reception given to Japonisme in the Portuguese art scene.

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Peremyslov, I. A., and L. G. Peremyslova. "JAPANESE AESTHETICS IN MASTERPIECES OF AMERICAN SILVER." Arts education and science 1, no. 1 (2021): 89–96. http://dx.doi.org/10.36871/hon.202101010.

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Japanese culture with its unique monuments of architecture, sculpture, painting, small forms, decorative and applied arts, occupies a special place in the development of world art. Influenced by China, Japanese masters created their own unique style based on the aesthetics of contemplation and spiritual harmony of man and nature. In the context of "Japan's inspiration" the work refers to the influence of the art of the Land of the Rising Sun on American decorative arts and, in particular, on the silver jewelry industry in trends of a new aesthetic direction of the last third of the XIXth century, the "Aesthetic movement". The article provides a brief overview of the history of the emergence and development of decorative silver art in the United States. The important centers of silversmithing in the USA and the most important American manufacturers of the XIXth century are described in more detail. The article also touches on the influence of Japanese aesthetic ideas on European creative groups and on the formation of innovative ideas in European decorative arts. At the same time, an attempt is made to trace the origin, development trends, evolution and variations of "Japanesque" style in American decorative and applied art, in particular, in the works of Edward Moore and Charles Osborne (Tiffany jewelry multinational company).

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21

Kim, Young-Hoon. "Application Technique of Japanese Traditional Form Elements in Japanese Modern Architecture." KIEAE Journal 21, no. 1 (February 28, 2021): 61–71. http://dx.doi.org/10.12813/kieae.2021.21.1.061.

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22

CHO, Hyunjung. "Smallness in Japanese House : From Postwar to Post-postwar Japanese Architecture." Korean Journal of Japanese Dtudies 20 (February 15, 2019): 224–47. http://dx.doi.org/10.29154/ilbi.2019.20.224.

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Blanciak, François. "The Face of Another: Isozaki, Deme, and the Postmodern Turn." October, no. 179 (2022): 78–94. http://dx.doi.org/10.1162/octo_a_00448.

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Abstract Focusing on the early work and collaborations of the Japanese architect Arata Isozaki, this paper researches links between the robotic culture of postwar Japan and the surge of figuration in postmodernism, challenging the commonly held view that this architectural movement emerged in the West. Specifically, the paper looks at how Isozaki's robotic creation for Expo '70 embodied the notion of theatrical mask, which characterized both postmodern ideals and early Japanese robotics, and influenced his own architectural work. Delving into Isozaki's creative exchanges with the film director Hiroshi Teshigahara and the novelist Kōbō Abe, coming into contact with each other in the 1950s, a synergy between cinema, literature, and architecture is highlighted, considering their speculations about possible technological means of reconstructing the human face in light of the symbolic dimension of this enterprise for Japan as a nation, and for architecture as a discipline.

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Okta Raizal, Muhamad Dirham. "METAFORA KASTIL JEPANG DENGAN SIFAT MENUMPUK ALA LEGO PADA PERANCANGAN PUSAT KOMUNITAS JEPANG DI SOLO RAYA, JAWA TENGAH." ARSITEKTURA 15, no. 2 (November 1, 2017): 389. http://dx.doi.org/10.20961/arst.v15i2.15410.

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<p><em>This journal was done in the interest of architectural studies. The goal of the research was to build a Japanese Community Center in Solo. The study began from a certain phenomenon. Ever since the signing of Peace Treaty between Indonesia and Japan, both country had immersed themselves in various cultural exchanges. This leads to the increase of Japanese culture lovers in Indonesia almost every year. To anticipate and control this phenomenon, a place that can hold and regulate the speed and effects of it is needed. The Japan Community Centre will be a place for Japanese Communities’s activities, a medium for learning Japanese culture, and the new spot of historical vacation for Solo City. Metaphorical Architecture was chosen as the design approach with consideration that through Metaphorical Architecture, the character and purpose of the building can be better presented for the public. The Metaphorical Architecture used was the mix of Abstract Metaphor (intangible) and Concrete Metaphor (tangible). The main problem of this designing process is what will be metaphored through this Japan Community Centre. The exploration starts from chosing the name for the building, which is Mugen Jou (Infinity Castle). The metaphorical charcteristics that will be used, based on the name chosen, are <strong>Grand, Firm, Massive, The feel of Japanese Castle, Uncountable visualization, and Stacked ala Lego.</strong></em></p><p><em>Keywords: Metaphorical, Grand, Firm, Massive, Castle, Uncountable</em></p>

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Cai, Ni Na. "Exploring the Art of Masahiro Chatani’s Architectural Origami." Applied Mechanics and Materials 193-194 (August 2012): 1205–9. http://dx.doi.org/10.4028/www.scientific.net/amm.193-194.1205.

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With the rapid development of the information age, the forms of architecture diversify. Origami, the ancient type of art provides us with infinite source of inspiration. This paper is trying to analyze the beauty of line, strength and space of Masahiro Chatani’s architectural origami, a great Japanese artist, and elaborate the influence of origami on modern architecture. When enjoying the visual feast brought by Masahiro Chatani’s architectural origami, we can get some inspiration from it. Besides architecture, the art of origami is also applied to other modeling designs. Origami is not limited to tow-dimensional plane any more, but expands in three-dimensional space, which is the embodiment of the wisdom of human.

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TSUKANO, Michiya, and Shoichiro SENDAI. "The Roof Garden in Japanese Modern Architecture." Transactions of Japan Society of Kansei Engineering 13, no. 1 (2014): 127–35. http://dx.doi.org/10.5057/jjske.13.127.

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권두현. "Korean and Japanese Television Drama and Architecture." Journal of Korean drama and theatre ll, no. 46 (December 2014): 305–48. http://dx.doi.org/10.17938/tjkdat.2014..46.305.

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Treib, Marc, Botond Bognar, Hiroyuki Suzuki, and Reyner Banhann. "The Clarity of Confusion: Recent Japanese Architecture." Journal of Architectural Education (1984-) 40, no. 1 (1986): 30. http://dx.doi.org/10.2307/1424845.

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Kim, Young-Hoon. "Typological Paradigm in the Japanese Traditional Architecture." KIEAE Journal 20, no. 5 (October 31, 2020): 101–14. http://dx.doi.org/10.12813/kieae.2020.20.5.101.

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Treib, Marc. "The Clarity of Confusion: Recent Japanese Architecture." Journal of Architectural Education 40, no. 1 (October 1986): 30–31. http://dx.doi.org/10.1080/10464883.1986.11102652.

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Coaldrake, William H. "Building the past: architecture as Japanese history." Asian Studies Association of Australia. Review 12, no. 2 (November 1988): 11–19. http://dx.doi.org/10.1080/03147538808712550.

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Cruz, Lourdes. "The Japanese Embassy in Mexico: a Fortunate Association, a Threatened Heritage." Tropical Architecture in the Modern Diaspora, no. 63 (2020): 62–69. http://dx.doi.org/10.52200/63.a.4x21d76s.

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An examination of the architectural value of the Japanese Embassy in Mexico, designed by Kenzo Tange, Pedro Ramírez Vázquez and Manuel Rosen Morrison, which is in danger of being demolished. The context of mid-century Mexican architecture is addressed in order to situate this work within its historic moment, thus confirming its importance. This building was the result of an intellectual encounter between one Japanese and two Mexican architects, who exchanged ideas, concepts and criteria, resulting in a building with an innovative formal design, due to the use of reinforced concrete, and the flexibility of its structural concept, which allows it to be adapted to different uses. This article is essentially based on the archive of the architect Manuel Rosen Morrison, held by the Archive of Mexican Architects at the National Autonomous University of Mexico’s Faculty of Architecture.

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Coaldrake, William H., Kazuo Nishi, Kazuo Hozumi, and H. Mack Horton. "What is Japanese Architecture? A Survey of Traditional Japanese Architecture with a List of Sites and a Map." Monumenta Nipponica 41, no. 3 (1986): 374. http://dx.doi.org/10.2307/2384693.

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Kirpo, Arina, and Anton Kim. "The influence of Japanese culture and the aesthetic worldview of Wabi-sabi on modern architecture." Урбанистика, no. 2 (February 2022): 38–45. http://dx.doi.org/10.7256/2310-8673.2022.2.38321.

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The object of the study is the influence of the national culture of Japan on the formation of modern architecture. The subject of the study is the manifestation of the interpretation of the motives of the national Japanese worldview of Wabi-Sabi in the work of modern architects. The authors consider in detail such aspects of the topic as the analysis of Japanese worldview culture, in which the concepts of aesthetic beauty of wabi and sabi, which have become inseparable over time, stand out. This multifaceted concept implies the identity of beauty and naturalness. Particular attention is paid to the perception, in some cases unconsciously, of this ideological trend by modern European and Japanese architects, who often perceived it through the interpretation of the motives and principles of Japanese architecture. A special contribution of the authors to the study of the topic is the analysis of the creativity of architects within the framework of not only the interpretation of the motives of Japanese architecture, but also the influence of one of its fundamental components — the Wabi-Sabi principle. The novelty of the research is the generalization of the creativity of both Japanese and European architects and designers, in which the influence of this trend can be traced. The main conclusions of the study are that architects and designers in their works tried to convey the close connection between nature and architecture, using natural materials in both structures and decor. That is why the Japanese Wabi-sabi worldview has brought a lot to modern architecture and design.

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Shan, Lin Lin, and Song Fu Liu. "Analysis on Creative Thinking of Contemporary Japanese Architects from the Angle of National Characters." Applied Mechanics and Materials 174-177 (May 2012): 1660–64. http://dx.doi.org/10.4028/www.scientific.net/amm.174-177.1660.

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In Asia, contemporary Japanese architecture owns bright national characters, and meanwhile is geared to international standards. As an embodiment of nationalism, national characters have a direct influence on the creative thinking of architecture. Japanese people owns the double character of enlargement and reduction, as well as opening and closure, and the insularity character of delicacy and love of nature, thus contemporary Japanese architects own the nature of combining the “big” and the “small” as well as opening and closure, and the architecture form, aspiring after the creative thinking of harmonious coexistence with the nature, is delicate and subtle.

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Nakao, Nanae, Minoru Sakamoto, and Mineo Imamura. "14C Dating of Historical Buildings in Japan." Radiocarbon 56, no. 2 (2014): 691–97. http://dx.doi.org/10.2458/56.17466.

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The radiocarbon dating method was applied to the study of Japanese traditional wooden buildings. The traditional Japanese architecture studied includes the Main Hall of Banna-ji Temple (Buddhist building), Sekisui-in of Kozan-ji Temple (noble house), Hakogi-ke house (farmhouse), and Kawai-ke house (townhouse). 14C dating proved useful as a research method to better understand the history of these buildings and Japanese architecture as a whole.

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Nakao, Nanae, Minoru Sakamoto, and Mineo Imamura. "14C Dating of Historical Buildings in Japan." Radiocarbon 56, no. 02 (2014): 691–97. http://dx.doi.org/10.1017/s0033822200049729.

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The radiocarbon dating method was applied to the study of Japanese traditional wooden buildings. The traditional Japanese architecture studied includes the Main Hall of Banna-ji Temple (Buddhist building), Sekisui-in of Kozan-ji Temple (noble house), Hakogi-ke house (farmhouse), and Kawai-ke house (townhouse).14C dating proved useful as a research method to better understand the history of these buildings and Japanese architecture as a whole.

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Veal, Alex. "Time in Japanese architecture: tradition and Tadao Ando." Architectural Research Quarterly 6, no. 4 (December 2002): 349–62. http://dx.doi.org/10.1017/s1359135503001878.

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Löffler, Beate. "Acculturated Otherness. Christian Churches and Wedding Chapels in Modern Japanese Society." Entangled Religions 5 (December 18, 2018): 312–46. http://dx.doi.org/10.46586/er.v5.2018.312-346.

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During the latter half of the nineteenth century, the Japanese government ended the centuries-long Japanese policy of isolation and initiated a rapid modernization effort that aimed to create a competitive Japanese nation state. In addition to such changes as new family law, compulsory education, and redistribution of property, the government contracted foreign experts with the goal of importing western knowledge. As a result, civil engineers, artists, and physicians started moving to Japan, as did missionaries. This resulted in intense cultural encounter and negotiation, in the course of which Christian faith and Western church architecture became acculturated in Japan. This article sketches the socio-cultural and technological parameters shaping Japanese Christian church buildings from the 1860s onwards as well as the transfer of meanings and forms from an explicitly Western tradition into a Western-looking and yet entirely Japanese tradition of Christianity. It sketches a second line of transfer as well, that reinterpreted the ‘church’ as an architectural form into the Wedding-Chapel-Romanticism of the non-Christian Japanese mainstream wedding industry.

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Chiu, Chen-Yu, Philip Goad, Peter Myers, and Nur Yıldız Kılınçer. "Jørn Utzon's synthesis of Chinese and Japanese architecture in the design for Bagsværd Church." Architectural Research Quarterly 22, no. 4 (December 2018): 339–60. http://dx.doi.org/10.1017/s1359135518000696.

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In his essay of 1983, ‘Towards a Critical Regionalism’, Kenneth Frampton referred to the Bagsværd Church as a primary exemplar, briefly citing the architect's representation of ‘the Chinese pagoda roof’ in this project, to emphasise the importance of crosscultural inspiration in the creation of ‘critical regionalism’. Peter Myers followed Frampton in his 1993 ‘Une histoire inachevée’, arguing for the significant role that Chinese architecture played as a source for Utzon's Bagsværd Church design and further variations on the theme of Chinese and Japanese exemplars on Utzon's work follows. Françoise Fromonot established the importance of the 1925 edition of the Yingzao-fashi (State Building Standard, first published in 1103 ad) and Johannes Prip-Møller's 1937 Chinese Buddhist Monasteries for Utzon; Philip Drew pointed out the significance of the work of Chinese writer Lin Yutang (1895–1976) and historian Osvald Sirén (1879–1966) as important channels through which Utzon perceived East Asian art and architecture; while in 2002, Richard Weston suggested Das Japanische Wohnhaus (1935), written by Japanese architect Tetsuro Yoshida (1894–1956), as a formational influence in Utzon's early perception of Japanese building culture. However, none of these works attempt to clarify the precise role that Chinese and Japanese precedents play in Utzon's architectural career. Two more recent studies, by Philip Goad and Michael Asgaard Andersen, have confirmed the role of Chinese architecture in Utzon's church design and have introduced new evidence and details, but there are still unanswered questions about the exact nature of these influences. This article attempts to address the detailed process of Utzon's cross-cultural practices for his design of the Bagsværd Church in order to reveal how Utzon interpreted specific ideas, ideals, and artefacts from East Asian building culture.

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Kawaguchi, Mamoru. "On Sophistication of Structural Expression in Japanese Architecture." IABSE Symposium Report 104, no. 36 (May 13, 2015): 1–7. http://dx.doi.org/10.2749/222137815815773837.

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Choi, Don. "Japanese Modern Architecture 1920–2015: Developments and Dialogues." Fabrications 28, no. 1 (January 2, 2018): 127–29. http://dx.doi.org/10.1080/10331867.2018.1411179.

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Ahmed, Danyal. "Artificial intelligence and contemporary Japanese architecture – any relationship?" Intelligent Buildings International 12, no. 4 (March 5, 2019): 295–308. http://dx.doi.org/10.1080/17508975.2019.1577212.

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NAKAYAMA, Rie. "HISTORICAL TRANSITION OF "ARAI" IN JAPANESE WOODEN ARCHITECTURE." Journal of Architecture and Planning (Transactions of AIJ) 76, no. 668 (2011): 1951–57. http://dx.doi.org/10.3130/aija.76.1951.

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SANTINI, Tyana, and Takahiro TAJI. "ROBERT B. HALL'S STUDIES ON JAPANESE RURAL ARCHITECTURE." Journal of Architecture and Planning (Transactions of AIJ) 80, no. 713 (2015): 1661–70. http://dx.doi.org/10.3130/aija.80.1661.

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46

Urban, Florian. "Japanese 'Occidentalism' and the Emergence of Postmodern Architecture." Journal of Architectural Education 65, no. 2 (March 2012): 89–102. http://dx.doi.org/10.1111/j.1531-314x.2011.01195.x.

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47

Lazarin, Michael. "Phenomenology of Japanese Architecture: En (edge, connection, destiny)." Studia Phaenomenologica 14 (2014): 133–59. http://dx.doi.org/10.5840/studphaen2014148.

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Schmidt, Robert, and Toru Eguchi. "Mediating Change: A Japanese Perspective on Adaptable Architecture." Architectural Design 84, no. 2 (March 2014): 74–79. http://dx.doi.org/10.1002/ad.1731.

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Holovatiuk, Alina. "HISTORICAL ANALYSIS OF THE FORMATION AND DEVELOPMENT OF PUBLIC SPACES IN THE FAR EAST." Current problems of architecture and urban planning, no. 62 (January 31, 2022): 40–49. http://dx.doi.org/10.32347/2077-3455.2022.62.40-49.

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The concept of "semantic architectural stereotype" is defined in the article. The descriptive characteristics of space and personality in the countries of the Far East (Japan, China) are given. The architectural semantic stereotypes for the given period and society are listed. Social habits, traditions and cultural norms in the Far Eastern countries are analyzed. The concept of a meme in architecture was described. Memes were identified for Japanese and Chinese cultures, then they were replicated in public spaces of other cultures.

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Rincón-Borrego, Iván, and Ramón Rodríguez-Llera. "Nordic Memories of the East. Tetsuro Yoshida and the myth of traditional Japanese house in Erik Gunnar Asplund, Aino Aalto and Alvar Aalto." VLC arquitectura. Research Journal 9, no. 1 (April 29, 2022): 27–48. http://dx.doi.org/10.4995/vlc.2022.15603.

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Traditional Japanese architecture played an important role in the development of modern European architecture, especially from the beginning of the 20th century. Based on this extensively documented thesis, the influence of Japanese culture and the traditional Japanese house on the figures of Erik Gunnar Asplund, Aino Aalto and Alvar Aalto, especially during the 1930s, is analysed. The study describes how these authors found inspiration in the East, as well as their contacts and sources of reference. Finally, it explains the extent to which they reinterpreted Japanese aesthetics in their designs, especially analysing the case of the Villa Mairea winter garden. In this context, the research points to the decisive role played by the figure of Tetsuro Yoshida and his text Das japanische Wohnhaus (1935) for the interests and designs of these Nordic authors.

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