Relevant bibliographies by topics / Tange Kenzo

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Tange Kenzo'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 April 2022

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Journal articles on the topic "Tange Kenzo"

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Laga, Tong. "The Design Method of Tange Kenzo." Applied Mechanics and Materials 584-586 (July 2014): 152–55. http://dx.doi.org/10.4028/www.scientific.net/amm.584-586.152.

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Tange Kenzo owns a significant position in the modern architecture field,not just in Japan, but also world-wide. Japan even divided the history of modern architecture into two parts: before and after Tange Kenzo, from where we can find out his prestige in Japanese architecture field. The first work from Tange Kenzo which attracted people’s attention is the one that won the first prize in Hiroshima Peace Memorial Park International Competition. After that, Tange Kenzo designed more projects at the national level, including the projects of Olympic games and World Expo. Among them the most famous project goes to design of Yoyogi National Gymnasium in host venue for Tokyo Olympic games in 1964. Yoyogi National Gymnasium is a mark proves that the level of architecture technology and design of Japan reached or even exceed the standard of advanced western country. Therefore Tange Kenzo was also known as ”World’s Tange”. This paper is trying to get more knowledge of the design method and reveal the design world by analyzing design works of this world-wide master of architecture - Tange Kenzo.
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Urban, Florian. "Kenzo Tange and the Metabolist Movement." Journal of Architecture 16, no. 4 (2011): 584–87. http://dx.doi.org/10.1080/13602365.2011.598725.

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NANGO, Yoshikazu. "The Architecture and Celebrity of Kenzo Tange." Annual review of sociology 2007, no. 20 (2007): 143–54. http://dx.doi.org/10.5690/kantoh.2007.143.

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Krieger, Peter. "Kenzo Tange (1913-2005). Metabolismo y metamorfosis." Anales del Instituto de Investigaciones Estéticas 27, no. 87 (2012): 227. http://dx.doi.org/10.22201/iie.18703062e.2005.87.2204.

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Molina Iniesta, Mariano. "Kenzo Tange, monumentos de guerra y paz." Constelaciones. Revista de Arquitectura de la Universidad CEU San Pablo, no. 1 (May 1, 2013): 129–42. http://dx.doi.org/10.31921/constelaciones.n1a8.

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En pleno trauma posterior a la Segunda Guerra Mundial, Hiroshima se convirtió en símbolo del anhelo mundial de paz, y el Centro de la Paz de Kenzo Tange en la representación arquitectónica de dicho anhelo. El proyecto complementa su carácter conmemorativo con una serie de funciones de carácter cultural y educativo, que se consideraban esenciales para la creación de una nueva sociedad. Sin embargo, en lo estilístico y compositivo, el Centro de la Paz es heredero directo de una serie de estructuras diseñadas por Tange en tiempos de guerra que, desde los mismos presupuestos estéticos, sirvieron para glorificar el imperialismo japonés. Por otra parte, la condición de víctima del pueblo de Hiroshima se excluyó del planteamiento inicial del proyecto. A pesar de todo, el tiempo transcurrido desde su creación ha permitido olvidar o superar estos conflictos y convertir al conjunto en el corazón de la ciudad.
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SENDAI, Shoichiro. "CONCEPTION OF HIROSHIMA PEACE PARK PROJECT BY KENZO TANGE." Journal of Architecture and Planning (Transactions of AIJ) 78, no. 693 (2013): 2409–16. http://dx.doi.org/10.3130/aija.78.2409.

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KARIYA, Tetsuro. "HIERARCHICAL STRUCTURE METHOD WITH GOLDEN SECTION FOR ARCHITECTURAL ELEVATIONS BY KENZO TANGE : A study between Kenzo Tange and his proportion Part 2." Journal of Architecture and Planning (Transactions of AIJ) 69, no. 582 (2004): 201–8. http://dx.doi.org/10.3130/aija.69.201_1.

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KARIYA, Tetsuro. "URBAN AXIS CONCEPT AND HIERARCHICAL STRUCTURE METHOD BY KENZO TANGE." Journal of Architecture and Planning (Transactions of AIJ) 79, no. 696 (2014): 561–70. http://dx.doi.org/10.3130/aija.79.561.

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MAKI, Rie. "THE LANDSCAPE DESIGN FOR A WAR MEMORIAL BY KENZO TANGE." Journal of Architecture and Planning (Transactions of AIJ) 85, no. 769 (2020): 715–23. http://dx.doi.org/10.3130/aija.85.715.

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TOYOKAWA, Saikaku. "THE SPATIAL THEORY OF KENZO TANGE FOR THE KATSURA IMPERIAL VILLA." Journal of Architecture and Planning (Transactions of AIJ) 86, no. 782 (2021): 1272–83. http://dx.doi.org/10.3130/aija.86.1272.

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Dissertations / Theses on the topic "Tange Kenzo"

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Tchoudi, Bernard Bouverot Danielle. "La tradition dans l'oeuvre architecturale de Kenzo Tange Quelques points de convergence avec la linguistique /." Nancy : Université Nancy 2, 1992. http://cyberdoc.univ-nancy2.fr/htdocs/docs_ouvert/doc68/1992NAN21011.pdf.

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Tchoudi, Bernard. "La tradition dans l'oeuvre architecturale de Kenzo Tange : quelques points de convergence avec la linguistique." Nancy 2, 1992. http://docnum.univ-lorraine.fr/public/NANCY2/doc68/1992NAN21011.pdf.

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L'oeuvre de Tange d'environ cent cinquante projets ou réalisations comporte deux phases : une étape fonctionnaliste et une étape structuraliste. Nous observons une double influence de la tradition japonaise sur cet architecte moderne, une influence yayoi et une influence jomon. La tradition dynamique, telle un catalyseur stimule l'activité créatrice, mais sans laisser la moindre trace dans le résultat. Le contexte historique modifie un projet à la manière dont un co-texte, une phrase donne sens au mot, une double tendance, esthétique et vitaliste se dégage de la tradition japonaise. La tradition dans l'oeuvre architecturale de Kenzo Tange s'exerce sur le matériau, le lexique et les relations. Tange a opté pour les matériaux modernes, le béton à la place du bois et le verre à la place du papier, mais les formes restent étonnament traditionnelles, l'utilisation du béton et de l'acier évoque parfois les structures traditionnelles en bois. Au niveau du lexique, Tange réadapte les éléments traditionnels aux constructions modernes. Par exemple, la véranda (engawa) et l'auvent (hi sashi) bien caractéristiques de l'architecture traditionnelle japonaise sont réutilisés sous forme de terrasse-balcon. Au niveau des relations, il y a une persistance des relations traditionnelles dans les constructions modernes. Par exemple la flexibilité d'un espace au moyen de parois coulissantes reste quasiment la même en passant d'un espace traditionnel à un espace moderne.
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Jacquet, Benoît. "Les principes de monumentalité dans l' architecture moderne : analyse du discours architectural dans les premières oeuvres de Tange Kenzo (1936-1962)." Paris 8, 2007. http://www.theses.fr/2007PA082874.

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Dès son apparition, le mouvement d’architecture moderne s’est positionné en marge des critères classiques de la monumentalité, mais le contexte de la Seconde Guerre mondiale a été propice à une réinterprétation de la question du monument. Entre 1936 et 1962, le discours (textuel et graphique) produit par l’architecte Tange Kenzô à l’occasion des concours de projets architecturaux et urbains auxquels il a participé dans les années 1940 est fondé sur des principes universels caractéristiques de la culture japonaise adaptés au monde contemporain. D’abord motivés par une volonté de « dépasser » la modernité occidentale, ces principes sont porteurs d’une nouvelle monumentalité, à partir d’une réflexion originale sur les concepts de tradition et de création, d’environnement et d’échelles architecturales et territoriales<br>Since its creation, the modern movement in architecture broke away from the classical criteria of monumentality (19th century), but the context of World War II has been propitious for a reinterpretation of the issue of the monument. Between 1936 and 1962, the textual and graphic discourses produced by the architect Tange Kenzô, for the competitions of architectural and urban planning in which he participated in the 1940s, were funded on universal principles characteristics of the Japanese culture, adapted to the contemporary world. First motivated by a wish to “overcome” Western modernity, these principles led to a new monumentality, on the base of an original reflection on the concepts of tradition and creation, environment, and architectural and territorial scales
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Benbih, Karima. "Framing the Edge of Time: Disaster Architecture and Change." Diss., Virginia Tech, 2016. http://hdl.handle.net/10919/82500.

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In this dissertation, I conduct a reflection on the effects of disaster on time perceptions and their consequences on architecture as a vessel of social and individual values, through a study of two major paradigmatic disasters spaces – Post World War II Japan and Post-earthquake Haiti. While on the surface these two cases do not have many points in common, both are instrumental to establishing the manifestation of disasters' impacts on the culture of construction and on the architectural theories that ensue from them. The first case, Japan after the Second World War, establishes the long term influences and changes in social and architectural thought that occur after a disaster, while Haiti, examines the role of the architect in the reconstruction phases and attempts to register the immediate impressions of local architects on the disaster's impact on their practice. I show that both cases exhibit manifestations of the importance of the architect's role of not only building back, but moving forward while capitalizing on the events and social changes that happened.<br>Ph. D.
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Kwon, Je-Joong. "Pensée biologique dans l'architecture et l'urbanisme d'Avant-garde de la fin des CIAM au milieu des années 1970 : par la comparaison entre le groupe britannique Archigram et le mouvement japonais du Métabolisme." Paris 1, 2010. http://www.theses.fr/2010PA010569.

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Cette thèse examine la question de la tendance biologique dans l'architecture et l'urbanisme des années 60 et 70 par une recherche portant sur l' avant-garde ultéri~ure aux ClAM, en particulier, avec les Britanniques d'Archigram et les Japonais de Métabolisme qui ont émergé simultanément dans les deux sphères culturelles fort différentes de l'Orient et de l'Occident. Deux sujets principaux sont traités dans cette thèse: premièrement, les caractéristiques biologiques apparues dans l'architecture et la ville d'Archigram et du Métabolisme et le processus d'évolution de ces caractéristiques; deuxièmement, comment ces caractéristiques biologiques ont été différemment exprimées selon les cultures, les traditions et les philosophies, critères qui diffèrent grandement entre l'Orient et l'Occident, c'est-à-dire, comment les différences culturelles et régionales entre l'Orient et l'Occident ont pu influencer l'application d'une expression biologique à l'architecture. En révélant la nature biologique inhérente à leur concept de design, cette étude tente de fournir une vision plus complète de l'avant-garde des années 60 qui est caractérisée par des points de vue divers, complexes et même contradictoires, plutôt que par ce mouvement monotone habituellement dépeint dans l'histoire de l'architecture.
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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.<br>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.<br>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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俊也, 越前, та Toshiya Echizen. "「平和記念」の造営と展示1915-1964 : 広島の陳列館/資料館/公園の50年". Thesis, https://doors.doshisha.ac.jp/opac/opac_link/bibid/BB13142996/?lang=0, 2020. https://doors.doshisha.ac.jp/opac/opac_link/bibid/BB13142996/?lang=0.

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本論は、広島の平和記念施設の敷地において、原爆ドーム前身の物産陳列館設立（1915）から慰霊碑後方の「平和の灯」設置（1964）まで、一貫して、平和ではなく繁栄を目指す造営と展示がなされてきたことを明らかにした。また、原爆ドームは、慰霊碑がある南からの眺めでは、原爆犠牲者の象徴のように見做されるのに対し、原爆スラムがあった北からの相貌では、被曝後を生きるものとして捉えられていたことを指摘した。以上のことから、現代における記念碑の意味を問い直した。<br>In this dissertation I revealed that there had been consistently construction and exhibitions aimed at prosperity rather than peace, from the establishment of the product display hall (1915), the predecessor of the Atomic Bomb Dome to the setting up of the "Peace Flame" behind the cenotaph (1964) on the site where the Hiroshima Peace Memorial Facility is located. In addition, it was pointed out that the atomic bomb dome was regarded as a symbol of the victims of the atomic bomb in the view from the south where the cenotaph is located, and the appearance from the north where the atomic bomb slum was made to live after exposure. From the above, the meaning of the monument in the present age was questioned again.<br>博士(芸術学)<br>Doctor of Philosophy in Art Theory<br>同志社大学<br>Doshisha University
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Ferreira, Ana Pinho. "O plano de Kenzo Tange para a reconstrução de Skopje: contexto, desenho e evolução." Master's thesis, 2016. http://hdl.handle.net/1822/41603.

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Dissertação de mestrado integrado em Arquitectura (área de especialização de Cultura Arquitectónica)<br>O presente trabalho consiste numa análise ao projecto para a reconstrução do centro da cidade de Skopje, Macedónia, elaborado em 1965. Sendo o impulso inicial uma motivação pessoal em compreender a densa realidade material da capital do país balcânico, pretendeu-se perceber de que forma o projecto de reconstrução, que surgiu em resposta à destruição de um terramoto, se desenvolveu ao longo do tempo, desde a sua génese projectual à presente imagem no ambiente construído da cidade. Tendo o projecto de 1965 como temática a ser explorada, a sua compreensão é feita através de análises que possibilitam um entendimento global do objecto de estudo. A análise inicial baseia-se numa decomposição de contextos arquitectónicos e sociais que condicionaram a idealização do plano. Este estudo permite enquadrar o projecto tendo em conta as circunstâncias que rodearam o seu aparecimento. Deste contexto, com conceitos e ideologias inerentes, destacam-se as conjucturas sociais e arquitectónicas da Antiga República Socialista Federativa da Jugoslávia e do movimento arquitectónico metabolista. O estudo do modelo de planeamento urbano e da simbologia do projecto foi iniciado com uma decomposição dos acontecimentos. Posteriormente, através de uma análise de representação, pretendeu-se conhecer as diferentes fases de desenho que o projecto passou. A compreensão da evolução dos elementos simbólicos integrantes da cidade e do seu traçado é fundamental para a percepção das diferenças projectuais de que o plano foi alvo. Por fim, a compreensão da relação entre os diferentes contextos permite um possível entendimento justificativo do desenvolvimento do traçado projectual, desde a sua génese à sua implementação. Os resultados desta análise poderão ser indicadores de possíveis sucessos e/ou fracassos que ajudem a fundamentar a imagem do projecto na cidade contemporânea. Através de um exercício de investigação e análise de diferentes temáticas, pretendeu-se conhecer e dar a conhecer um projecto arquitectónico inserido num projecto social que permanece, de alguma forma, oculto da memória colectiva e em vias de desaparecimento.<br>The present work focuses on an analysis of the project for the reconstruction of the city center of Skopje, Macedonia, designed in 1965. Being a personal motivation understanding the dense material reality of the balkan capital’s country the initial impetus, it is intended to understand how the reconstruction project, which arose in a response to the destruction of an earthquake, developed over the time, from its projectural genesis until its present image in the built enviroment of the city. Having the 1965 project as the theme to be explored, its acknowledgement is made through an analysis that enables a comprehensive understanding of the object of study. The initial analysis is based on a decomposition of the architectural and social contexts that conditioned the idealization of the plan. This study provides a framework of the circumstances that surronded its rise. The contexts, with inherent concepts and ideologies, concern the social and architectural conjunctures of the former Socialist Federal Republic of Yugoslavia and the architectural metabolistic movement. The study of the urban planning model and the simbology of the project, is also done betaking a decomposition of the events. Afterward, through a representation analysis, it is intended to get to know the different drawing stages that the project went through. Understanding the symbolic elements of the city and its layout’s evolution, is fundamental for the perception of the projective differences that the plan targeted. Finally, the comprehension in the relation between the different contexts, allows a possible understanding that justifies the development of the projectural draft since its genesis until its implementation. The results of this relationship analysis may have indicators of possible successes and/or failures that help to ground the project’s image in the contemporary city. Through an exercise of research and analysis of different themes, it is inteded to meet and get to know an architectural project within a social project that somehow remain hidden from the collective memory, being advocated the ability of understanding as origin of knowlege.
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Chang, Chun-Wei, and 張峻瑋. "Design Practice of Kenzō Tange at Taipei Univ. of The Sacred Heart Project." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/8zqr2f.

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碩士<br>中原大學<br>建築研究所<br>107<br>This article uses the construction project of Taipei Sacred Heart Girls University as a case study. The school was founded by the Catholic Missionary Sisters of the Sacred Heart as part of an effort to repair the education system in Taiwan before relocating to the island. In 1964, Kenzō Tange, a Japanese architect, was invited to design the school campus while a Taiwanese team from Hemu Architects helped create the basic shop drawings. There were initially four construction phases. However, upon the completion of the first phase in 1967, the withdrawal of the Republic of China from the United Nations and the changes in the National Government’s economic policy led to the closure of the university in 1972. As a result, only one of the four construction phases was completed. Nonetheless, the vision of the shop drawings, the subsequent use of the structure, as well as its expansion and redevelopment process allow us to infer the creative context that embodies both a theoretical background and historical implications. The objectives of this research are to first examine the beginning and end of Taipei Sacred Heart Girls University, and then to explore the way through which Kenzō Tange expressed his thought process. This research referenced historical materials including the design drawings from the National Taiwan Museum, photographs provided by Sacred Heart High School for Girls, and public speeches given by Kenzō Tange. In addition to conducting interviews with people who have spent time on the campus during different periods of time, the research also made cross comparisons between the historical events and the thought process of Kenzō Tange so as to clarify and fill up the gaps in existing literature. This research has three major findings. First, the construction of Taipei Sacred Heart Girls University was a re-evaluation of the overall planning of the Sacred Heart campus. After the second ecumenical council in 1965, different types of campuses experimented with new attempts and challenges in their limited space. Being the last piece of the puzzle in a comprehensive education system, the campus development of Taipei Sacred Heart Girls University was Kenzō Tange’s attempt to overcome the shortcomings of the campus by making use of the geographic limitations and design theories. The development project was the very last step before the Missionary Sisters of the Sacred Heart continued its education mission in Taiwan. Second, the creative context in which Kenzō Tange designed the Taipei Sacred Heart Girls University campus was on par with the social development in Japan at the time. Based on his studies in traditional architecture in Japan and the theoretical foundation developed during the period of post-war urban rejuvenation, Tange leveraged his experiences doing observations in different regions to finetune the construction project of Taipei Sacred Heart Girls University based on the local geographic conditions, thus creating the signature architecture in Taiwan. Third, the founding of the school in Taiwan by the Missionary Sisters of the Sacred Heart reflected the social needs in Taiwan at the time. Taiwan experienced a division of history due to several instances of colonization. The National Government relocated to Taiwan following the Chinese Civil War. This was not only a watershed moment that brought about a large number of Chinese architecture’s schools of thought to Taiwan, but also preceded the first wave of post-war modern architecture resulted from Taiwan’s reliance on US assistance, making the twenty years following the civil war the most distinct period of time in the history of Taiwan’s architecture. The divisions in history and the mix of architecture styles have given rise to today’s local cultures. And the construction project of Taipei Sacred Heart Girls University was a post-war cultural development imported into Taiwan from Japan, opening the door of opportunity for international and cultural exchange.
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俊也, 越前, та Toshiya Echizen. "「平和記念」の造営と展示1915-1964 : 広島の陳列館/資料館/公園の50年". Thesis, 2003. http://id.nii.ac.jp/1707/00001617/.

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本論は、広島の平和記念施設の敷地において、原爆ドーム前身の物産陳列館設立（1915）から慰霊碑後方の「平和の灯」設置（1964）まで、一貫して、平和ではなく繁栄を目指す造営と展示がなされてきたことを明らかにした。また、原爆ドームは、慰霊碑がある南からの眺めでは、原爆犠牲者の象徴のように見做されるのに対し、原爆スラムがあった北からの相貌では、被曝後を生きるものとして捉えられていたことを指摘した。以上のことから、現代における記念碑の意味を問い直した。<br>In this dissertation I revealed that there had been consistently construction and exhibitions aimed at prosperity rather than peace, from the establishment of the product display hall (1915), the predecessor of the Atomic Bomb Dome to the setting up of the "Peace Flame" behind the cenotaph (1964) on the site where the Hiroshima Peace Memorial Facility is located. In addition, it was pointed out that the atomic bomb dome was regarded as a symbol of the victims of the atomic bomb in the view from the south where the cenotaph is located, and the appearance from the north where the atomic bomb slum was made to live after exposure. From the above, the meaning of the monument in the present age was questioned again.<br>博士(芸術学)<br>Doctor of Philosophy in Art Theory<br>同志社大学<br>Doshisha University
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Books on the topic "Tange Kenzo"

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1946-, Fujimori Terunobu, ed. Tange Kenzō: Kenzo Tange. Shinkenchikusha, 2002.

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Tange Kenzō to Kenzo Tange. Ohmsha, 2013.

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1913-2005, Tange Kenzō, ed. Kenzo Tange. Motta architettura, 2009.

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1913-, Tange Kenzō, ed. Kenzo Tange: A selected bibliography. Vance Bibliographies, 1990.

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Petreski, Hristo. Zbogum, Kenzo Tange: Trilogija za Skopje. Feniks, 2006.

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Lin, Zhongjie. Kenzo Tange and the Metabolist movement: Urban utopias of modern Japan. Routledge, 2010.

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Kenzo Tange and the Metabolist movement: Urban utopias of modern Japan. Routledge, 2010.

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Lin, Zhongjie. Kenzo Tange and the Metabolist movement: Urban utopias of modern Japan. Routledge, 2010.

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Moneo, José Rafael. The solitude of buildings: Kenzo Tange lecture, March 9, 1985, George Gund Hall. Harvard University, Graduate School of Design, 1986.

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Tange, Kenzō. Kenzo Tange: 1946-1996 : architecture and urban design / edited by Massimo Bettinotti = architettura e disegno urbano. Electa, 1996.

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Book chapters on the topic "Tange Kenzo"

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"Kenzo Tange (1913–2005)." In Key Modern Architects. Bloomsbury visual Arts, 2018. http://dx.doi.org/10.5040/9781474265072.ch-031.

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Nyilas, Agnes. "Megastructure Proposals by Kenzo Tange." In Beyond Utopia. Routledge, 2018. http://dx.doi.org/10.4324/9781315165585-4.

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"Kenzo Tange Urtec and Albert Speer Partners: The journey from Hiroshima and Tokyo to Abuja." In Architecture and Politics in Nigeria. Routledge, 2016. http://dx.doi.org/10.4324/9781315567662-18.

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Furuhata, Yuriko. "Tange Lab and Biopolitics." In Beyond Imperial Aesthetics. Hong Kong University Press, 2019. http://dx.doi.org/10.5790/hongkong/9789888455874.003.0011.

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This chapter theorizes an afterlife of Imperial Japan's biological metaphors of lifeworld and circulation in the work of Japanese architect Tange Kenzō and his associates who came to form the internationally renowned movement of Metabolism in the early 1960s. Transposing these imperial metaphors onto postwar Japan's national body politic, Tange and other Metabolist architects frequently used the biological metaphors of blood circulation and the central nervous system to articulate their vision of urban planning. Focusing on the impact of electronic communication technologies on architecture, this chapter will explore how the modern biopolitical idea of maintaining the organic life of the nation persisted into the postwar period, and how this perspective on biopolitics in turn compels us to rethink certain assumptions we make about electronic media and information technologies.
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