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This paper emerges from a wider doctoral thesis on the influence and relationships between Antoni Gaudí's buildings and current Chinese architecture. In light of understanding the connections between Eastern and Western designerly approaches to built heritage, we studied the specific case of the renovation of Casa Batlló in Barcelona by the Japanese architect Kengo Kuma. Starting from the general framework of built heritage renovation and transformation techniques and styles, we analysed the approach of this case as a replicable mindset and toolkit for addressing urban and architectural renewal. Kengo Kuma's dissolution of materiality is key to his design approach This methodological case study delves into the potential of a complementary vision of the world where Eastern and Western design approaches retrofit each other. The research results are related to current global urban renewal, historic building protection, and renewal needs from a global design perspective. [ABSTRACT FROM AUTHOR]

Copyright of Arcos: Design, Cultura e Visualidade is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal Architecture & Planning is the property of King Saud University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of Clara: Architecture / Recherche is the property of Universite Libre de Bruxelles, Faculte d'Architecture la Cambre Horta and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The role and significance of tradition in modern architectural practices was the subject of much public debate in Japan during the post–World War II period. An analysis of built work of the 1950s and 60s reveals, however, a much more complex set of responses than what these discussions might suggest. This paper uses the conceptual categories of roof and grid to uncover the radical divergences in attitude towards tradition in the works of Kenzō Tange, Seiichi Shirai, and Tōgo Murano as these architects negotiated a transition away from earlier mimetic modes of representation towards design methodologies less hampered by formal exigencies. Through the study of several buildings I show how roof and grid figure in distinct ways at the various levels of iconicity, symbolism, and ornamentation depending on the disciplinary vision of each of the three architects. The analysis reveals fundamental differences in the conception of architectural experience while at the same time underscoring a shared acknowledgment of the historical nature of culture and a shared desire to transcend the duality between modernity and tradition itself. [ABSTRACT FROM AUTHOR]

The main goal of the article is to study the transformation of the style of banking and consular institutions in Manchuria in comparison with its Japanese counterparts. The first part of the work provides an introduction and indicates the relevance of the topic. The author of the architectural style of tatsuno is the architect Kingo Tatsuno. The article carries out an analysis of his creative path and identifies his main buildings, which later formed into a separate style. The continuity of tatsuno to the German Renaissance is shown, the main elements of the style are revealed. Most of the Japanese buildings were concentrated in the southeast of the region, in the cities of Dalian, Yingkou, Shenyang, Tieling and Changchun. Five banks and four tatsuno-style consulates have been identified. The work shows a detailed architectural analysis with the identification of classical and non-traditional elements within the style. The conclusion section summarizes the data obtained and shows the Russian influence on some Japanese buildings.

A symbol is an expression of meaning, while blank symbols express special meanings. By focusing on the application of blank symbols in Japanese architecture and indoor designs, we analyzed the aesthetic principles in Japanese architecture and indoor designs from the perspective of semiotics, such as "Kongji," "Emptiness," and "Dying out," and their minimalist and pure design concepts. Traditional Chinese culture was also further explored, especially the profound influence of the "Chan sect" and the philosophy of "unity of heaven and mankind" on Japanese architecture and designs. This study aims to facilitate the coexistence and mutual appreciation of Chinese and Japanese architectural designs. [ABSTRACT FROM AUTHOR]

In order to search for a sustainable design that cares for a harmonious coexisting, the essay wanders through traditional Japanese space where an interior world opens up, that is able to shift our mindset to the essential of being, our focus away from a human-centred view towards a dialogue with nature. In the interior numerous clues bear a constant reminder of the natural world and confront us with gestures that carry a kindness and gentleness towards the environment. Space and its perception is here defined by the acknowledgement, that humans are part of the natural world, not superior. Can the way we are seated or the stone on a shelf embody a power to think about our environment differently? Can the floor transcend our knowledge of what we believe lies beneath our bare feet? This essay explores these gestures not only regarding a mere physical character but outlines the transcendental and intangible, narrations that transcend time and knowledge with the potential to reposition the monologue of the human towards a dialogue with nature. It looks at them as potential of "Dasein," as motor for change—to overcome the standing dichotomy between the natural world and the human. [ABSTRACT FROM AUTHOR]

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.

From the 1920s onwards, nights in Japanese industrial cities became increasingly resplendent and bright. This was attributed not only to an expanding urban economy, but also to the emergence of shopping districts, called shōtengai, within which small independent stores united and organised according to neighbourhood. These stores collectively participated in the installation of novel architectural elements: display windows, glass cases, and electric billboards, popularised by the concurrent, nationwide movement of commercial art -- shōgyō bijutsu. The case of Nagoya indicated that formation of shōtengai and the shōgyō bijutsu movement affected each other, both promoted by calls for the modernisation of retailing and retail design. This article explicates the logic behind city planner Ishikawa Hideaki's endeavours to create peoples' spaces for ease and relaxation in Nagoya amid the ongoing rationalisation of small independent stores' businesses -- in shōtengai and by shōgyō bijutsu. These led him to conceptualise his notable methodology, which he called 'City Planning for the Night'. This was a strategy to create the formula by which the essential brilliance and liveliness of recreational nightlife in shōtengai were systematically created through integration of the design and management of small independent stores and the shōtengai themselves. Ishikawa's City Planning for the Night methodology encapsulated his commitment to enhancing the emerging cultural role of shōtengai. While urban quarters, called sakariba -- referring to entertainment districts -- historically comprised theatres and teahouses surrounding temples and shrines, Ishikawa's work served to define and design shōtengai as the modern iteration of sakariba. [ABSTRACT FROM AUTHOR]

This aparté reports on a master thesis that brings together environmental and architectural questions through the study of a semi-cylindrical corrugated iron sheet. The thesis takes the form of a narrative that moves through different territories and traces the history of this architectural form across four cases: house K. designed by Belgian architects De Smet and Vermeulen in 1989; the Nissen hut, a wartime shelter invented by the British army in 1916; the Quonset hut, an update of the same shelter by the US Army in 1941; and Farmer’s House designed by Japanese architect Osamu Ishiyama in 1973. What does the turning of a metal plate into the main protagonist of a narrative allow for in the writing of a fragment of architectural history? To answer this question, the text highlights the different roles the corrugated panel plays in the narrative: that of subject, observation post, and connecting agent. As such, corrugated iron allows for architectural analyses to be integrated into an environmental narrative, for disturbed environments to be observed, and for further connections to be brought to light between war and post-war periods, and between the history of Belgian and Japanese architecture. [ABSTRACT FROM AUTHOR]

Abstract Telling a story (monogatari) about the Japanese kitchen inevitably entails reflecting on the most celebrated architectural typology in the country, the detached house. After World War II, it became the basic unit that shaped the Japanese urban landscape. Rapid economic growth resulted in a clear pattern not only in the housing market but also in family composition. Influenced by western models, conventional gender roles were embodied in the breadwinner (salaryman), related to corporate centers, and the full-time homemaker (sengyō shufu), associated with the domestic space. Among all the rooms, the kitchen was the clearest in its premise: the place where the wife cooks. This gender construct was encoded in its spatial articulation, with the kitchen being hidden from the rest of the house and usually occupying a dead-end position. Japanese architects have challenged these conventions through radical house designs, often praised for their smallness, whiteness, and lightness. However, it is necessary to go beyond this ‘fetishization’ to evaluate these proposals for the relationships they pose. Their bold designs are not only ground-breaking in formal terms but go further, subverting normative notions of domesticity and suggesting alternative gender ‘performativities’ in architecture. The kitchen is often the site of the most outstanding experimentation, materializing inventive concepts of living. Questions concerning technology, economy, and above all, gender unfold in this domestic workplace. If connected or isolated, visible or hidden, it materializes power relations through architectural actions. From a critical gender perspective, this article takes Japanese houses from the 20th century to the present day, showing diverse strategies and exposing those architectural principles and social conventions against which they rebel. These houses foster the creation of alternative realities, disrupting preconceived ideas of what is a kitchen, what is a house, or what is a family

Resumen Contar una historia (monogatari) sobre la cocina japonesa conlleva inevitablemente una reflexión sobre la tipología arquitectónica más célebre del país: la casa unifamiliar. Después de la Segunda Guerra Mundial, la vivienda unifamiliar se convirtió en la unidad básica que conformó el paisaje urbano japonés. El rápido crecimiento económico dio lugar a un claro patrón no sólo en el mercado de la vivienda, sino también en la composición familiar. Influenciados por modelos occidentales, los roles de género convencionales se encarnaron en el hombre asalariado (salaryman), relacionado con los centros corporativos, y el ama de casa a tiempo completo (sengyō shufu), asociada al espacio doméstico. Entre todas las piezas habitacionales, la cocina era la más clara en su premisa: el lugar donde la mujer cocina. Esta construcción social estaba codificada en su articulación espacial, ya que solía estar aislada del resto de las habitaciones, posicionada en el fondo de la casa. Las arquitectas y arquitectos japoneses han desafiado estas convenciones mediante diseños de casas radicales, a menudo elogiadas por su pequeñez, blancura y ligereza. Sin embargo, resulta necesario ir más allá de esta ‘fetichización’ para evaluar estas propuestas conforme a las relaciones que plantean. Sus atrevidos diseños no sólo son innovadores en términos formales, sino que van más allá, subvirtiendo las nociones normativas de domesticidad y sugiriendo diversas ‘performatividades’ en la arquitectura. La cocina es a menudo el lugar donde la experimentación es más evidente, materializando ingeniosos conceptos en los modos de habitar. Las cuestiones relativas a la tecnología, la economía y, sobre todo, el género se despliegan en este lugar de trabajo doméstico. Conectada o aislada, visible u oculta, la cocina cristaliza las relaciones de poder a través de acciones arquitectónicas. Desde una perspectiva crítica de género, este artículo aborda las casas japonesas desde el siglo XX hasta la actualidad, mostrando diversas estrategias y exponiendo aquellos principios arquitectónicos y convenciones sociales contra los que se rebelan. Estas casas fomentan la creación de realidades alternativas, trastocando las ideas preconcebidas de lo que es una cocina, una casa o una familia. Abstract Telling a story (monogatari) about the Japanese kitchen inevitably entails reflecting on the most celebrated architectural typology in the country, the detached house. After World War II, it became the basic unit that shaped the Japanese urban landscape. Rapid economic growth resulted in a clear pattern not only in the housing market but also in family composition. Influenced by western models, conventional gender roles were embodied in the breadwinner (salaryman), related to corporate centers, and the full-time homemaker (sengyō shufu), associated with the domestic space. Among all the rooms, the kitchen was the clearest in its premise: the place where the wife cooks. This gender construct was encoded in its spatial articulation, with the kitchen being hidden from the rest of the house and usually occupying a dead-end position. Japanese architects have challenged these conventions through radical house designs, often praised for their smallness, whiteness, and lightness. However, it is necessary to go beyond this ‘fetishization’ to evaluate these proposals for the relationships they pose. Their bold designs are not only ground-breaking in formal terms but go further, subverting normative notions of domesticity and suggesting alternative gender ‘performativities’ in architecture. The kitchen is often the site of the most outstanding experimentation, materializing inventive concepts of living. Questions concerning technology, economy, and above all, gender unfold in this domestic workplace. If connected or isolated, visible or hidden, it materializes power relations through architectural actions. From a critical gender perspective, this article takes Japanese houses from the 20th century to the present day, showing diverse strategies and exposing those architectural principles and social conventions against which they rebel. These houses foster the creation of alternative realities, disrupting preconceived ideas of what is a kitchen, what is a house, or what is a family.

Since the beginning of the twentieth century, as a result of the increase in the number of people who cannot find their hopes in the cities and who question the stresses of the new city life, the interest in rural life has increased, and rural culture and architecture have also received their share, like many traditional elements that are in danger of extinction. The idea of preserving and re-evaluating traditional architecture has become even stronger in countries where industrialization and migration from rural to urban have been experienced, especially in the years following World War II. As a result, conservation and evaluation practices have become widespread in the world through the preservation of rural architectural elements in situ or the open-air museums created by taking them from their original places and moving them closer to the cities. Thus, together with the preservation of rural culture, it was aimed to eliminate the curiosity of the people of the city about rural culture and architecture. In Turkey, as in the example of Altınköy, interest in open-air museums related to rural life is increasing. With the projects to be done, it is possible to go beyond the purpose of recreation, to preserve the rural architecture and to keep the culture alive. There are successful examples of this in Japan. For this reason, this article deals with the conservation and re-evaluation of rural architecture through the example of Japan, with the desire to set an example for Turkey. Therefore, in this article, literature review, on-site observation, examination and documentation method were used. Open Museum in Osaka and the rural architectural elements in it were examined within the scope of carrying and re-evaluating the tangible and intangible cultural heritage to the cities and new generations. [ABSTRACT FROM AUTHOR]

This text is based on a section from the author’s dissertation titled Japan and Modern Architecture, 1945–1970. Discourse in the mid-20th-century Europe, examining the ideas about Japanese architecture in Western, mainly European discourse between 1945 and 1970. The dissertation maps the discourse on Japan from a comparative perspective. Building on sources from different countries, it identifies the main topics that were associated with Japan in the architectural context and shows their broader significance in the global architectural debate. It deals with the image of another culture: the focus is on both the history of ideas and visual representations, mainly photography. The sources are mostly printed media: architectural magazines and books on architecture in Western languages: English, German, French, Italian, Norwegian and Czech. What follows are excerpts from chapter II.6. of the original dissertation thesis. They introduce the change in perception of Japan that followed after 1960, and a case study of the writings on Japan by Bernard Rudofsky.

The American architect Antonin Raymond carried out intense work in Japan from 1920 to 1970. Firstly, coming to Japan to collaborate with Frank Lloyd Wright in the Imperial Hotel almost as an apprentice; unexpectedly, he was to change the game for Nipponese design and construction arts, creating at the same time the path to what currently stands out as a key example of modern environmentally conscious architecture. Due in part to his advanced stance in the profession, architects who now seem pivotal to the rising of a progressive movement in the island-nation were related to Raymond's wake and influence, including Junzô Yoshimura, Kunio Maekawa, and Kenzô Tange. For these reasons, and given the fact that most of the building typologies he designed were previously nonexistent, his oeuvre caused a great impact and consideration, straddled as it is between nature and culture. Such prominent and visionary work, ahead of stylistic Western postulates, often related to mere abstraction, has not been sufficiently recognized in the history of building design. Consequently, the authors propose to settle in this article some of the most significant developments of Raymond's work through his projects and ideas that intended to preserve the environment, such as integrated landscape and orientation to benefit from the sun and breezes, favoring ventilation through adroit design and extensive use of local material left untreated. These hard to assimilate notions would show that Raymond embodied in his work a profound respect for nature and traditions, rooted by its part in Daoism and Shintoism, which paved the way for subsequent innovations of early sustainability in the architectural domain. [ABSTRACT FROM AUTHOR]

Copyright of Builder (1896-0642) is the property of PWB MEDIA Zdzieblowski sp.j. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of State & Society / Państwo i Społeczeństwo is the property of Andrzej Frycz Modrzewski Krakow University, AFM Publishing Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of State & Society / Państwo i Społeczeństwo is the property of Andrzej Frycz Modrzewski Krakow University, AFM Publishing Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of State & Society / Państwo i Społeczeństwo is the property of Andrzej Frycz Modrzewski Krakow University, AFM Publishing Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article focuses on the history and architectural oddities of a house built in 1894 in Salem, Massachusetts, by Japanese immigrant Bunkio Matsuki. Topics include the house's unique design, its connection to Edward Sylvester Morse's book on Japanese architecture, and the "kludges" in its historical record that reflect Matsuki's ambitions and the cultural dislocations of the time.

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The aesthetic comprehension of space is a process of transforming the user into an experiencer and narrator. In Japanese architecture, spatial narration is a method of constructing a bridge between the experiencer and space. This article examines the role of spatial narration as a design tool for spatial atmosphere by considering two acclaimed projects of contemporary Japanese architecture. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

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Copyright of Mirai. Estudios Japoneses is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper surveys foreign accounts of Japanese architecture published in English from the reopening of Japan in the 1850s up to the year 2000. It shows how European and American perceptions of Japanese buildings evolved from initial dismissal, through acknowledgments of merit, to positive admiration in less than fifty years. It is suggested that the consistent thread running through these shifting interpretations was an assumption of the inherent otherness of Japanese architecture, but that the nature of this perceived difference has frequently been adjusted to fit changing international architectural agendas.

The article is based on the interview with Riichi Miyake, Japanese architectural critic. It touches upon the identity of Japanese architectural tradition of the 20th century, its interrelation with European ideas and streams, as well as the influence of technology on the minds of Japanese architects. It features the sources of innovations in Japanese architecture. It addresses the question of identity of contemporary Japanese architecture.

Taking as an example the excavation and reconstruction of several significant prehistoric settlements, the article studies the development paths of Japanese architecture of the Neolithic and Bronze periods (the Jomon and Yayoi eras). It describes the main types and constructions (such as tateana and takayuka) and analyses foreign influences and original features of Japanese architecture of the early evolution stages. The article tells about social and religious conditions of development of the Japanese society in that period and touches upon the main artistic artefacts of the Neolithic and Bronze epochs related to architecture (such as dogu and haniwa). It focuses on the recent problems of reconstruction of ancient Japanese settlements based on archeological remains.

The authors of the article compare the information collected about contemporary Japanese architecture. They present the biography and ideas of Japanese architect Taira Nishizawa concerning the future of architecture, as well as his projects and their characteristics.