Professional Documents
Culture Documents
"It is precisely in, and through, an understanding of alien cultures that we can come to a more sensitive and
critical understanding of our own culture and of those prejudices that may lie hidden from us."
Richard J. Bernstein
1. COURSE OBJECTIVES
Japanese architecture both as a present practice and a course of history provides us with particular
features and unique examples. On the one hand, they are deeply rooted in cultural patterns highlighting
important differences between the approaches to design in the East and the West; on the other hand, they
are also derivative of Japan's contemporary conditions: advanced technology, modes of production and
consumption, social order, systems of urbanization, etc., which altogether have by now yielded one of the
most innovative, future oriented, and critical practices in the world of urban architecture today.
The purpose of the course is to expose you, the students, to various architectural design philosophies,
methodologies and practices in an urban and cultural environment different from ours, thus provide you
with an additional tool to further develop your awareness of the built environment as a cultural
phenomenon, as well as a form of political and ideological discourse within society. In so doing, the course
ultimately aims at helping you to come to a better understanding of the nature of the relationship between
society and architecture, or, in general, the built environment, plus the role of the architect in guiding this
relationship.
2. SUBJECT
The course will investigate the complex, but by all means most remarkable development of postwar
contemporary Japanese architecture and urbanism following up its course until today. This 60-year period
in Japan was marked by both economic booms and recessions, which, sometimes rather severe, have
shaped the development of architectural design and construction in significant ways.
These six decades also witnessed the rise of Japan first as an industrial, then as a informational
superpower. Simultaneously Japanese society too underwent significant changes to which Japanese
architects had to respond. In the turmoil of too often rapid progress, this response was complex and varied
widely according to the individual designers sensibilities, or interpretation of the given conditions. The result
has been, more often than not, a largely variegated architectural and urban landscape, which produced
increasingly high-quality works, and an altogether unique culture and built environment drawing the
attention and admiration of the rest of the world.
Leaving behind the ingrained precepts of modernism, a movement which exhausted itself by the mid or late
1960s, Japanese architects have explored a broad spectrum of innovative directions not only to find exits
from the impasse of the previous paradigm, but also to envision a new one with design solutions better in
tune with the accelerated and too often complex and paradoxical, but surely also exciting times.
The course will examine the changing architectural scenarios in contemporary Japan by way of illustrated
presentations by the instructor as well as group discussions. These will cover the intricate developments of
modernism, the Metabolist movement, the New Wave, the architecture of the bubble economy and the
following long economic downturn, along with the works of such architects as Kenzo Tange, Fumihiko
Maki, Arata Isozaki, Kiyonori Kikutake, Kisho Kurokawa, Kazuo Shinohara, Hiroshi Hara, Nikken Sekkei
Ltd, Itsuko Hasegawa, Yoshio Taniguchi, Riken Yamamoto, Toyo Ito, Tadao Ando, Kazuyo Sejima and
SANAA, Kengo Kuma, Atelier Bow Wow, Tele-design, and many others.
Traditional Architecture 1
26 NO CLASS (Thanksgiving)
Dec 03 NO CLASS
1 Each of you is required to read the relevant literature before each class and investigate one well-
defined issue leading to the formulation of a question. First you need to outline the issue you have
been focusing upon in a written statement no longer than a short paragraph (5-8 lines) and then ask
the question in the class for discussion. By Wednesday you need to e-mail it to everyone in class.
Each seminar will start with the discussion generated by the questions. This is to be followed by the
presentation by the instructor about the new topic.
2 Everyone in the class is expected to keep his or her class notes up to date by recording the most
important aspects of the presentation by the instructor. No specific requirements are set for the
class notes and they will not be graded, but you need to show them at the end of the semester.
3 Final assignment is to write a 5 page double-spaced paper (250-280 word per page) with extra
footnotes and / or references and illustrations about one selected and approved building, which has
already been discussed already in class. The paper needs to explore the project in the context of
the architect overall work, concentrating on the most important ideas, theories, or the designer’s
intentions. While some descriptive text is perhaps necessary in each case, your thesis should be
about the embodied/constructed ideas and your deciphered experiential qualities of the built work.
4 For additional one credit, a built (or in some special case, digital) model about the same building
what the paper investigates will be required.
5. GRADINGS:
Every part of your work will be evaluated and will influence your final grade: including your attendance on
time, participation in discussions, the quality of your research, presentation, models, and the final paper.
6. PENALTY
Grade reduction will apply in case of sloppy work, faulty data, not complying with the requirements of the
assignments, unexcused absences from class, tardiness: coming late to classes and/or submitting your
assignments late. Please make sure that your writings are devoid of typos, grammatical errors, etc.
7. PLAGIARISM
You are allowed, in fact encouraged, to use short, one or two line quotations in your paper, but not more
than 3 or 4 of them. You must reference each quote by author, title of writing, title, place, and date of
publication, and the name of the publisher. If you quote from the internet, please give the URL address.
Everything else would count as plagiarism, which will result in failing the class and academic penalty. Even
if you learn from all your sources, I am interested in your thoughts, analysis, and imaginative evaluations. If
in doubt, please ask. If you have any difficulties related to the class, please come and talk to me in time.
I look forward to working with you all, and wish you a successful semester. Good luck!
Readings:
Shinto architecture
- ISE-JINGU, Ise, Late 5th C, rebuilt every 20 years; the 61st in 1993
- Izumo Taisha Shrine, Izumo, ~ 6th century; rebuilt in reduced size 1248, 1744
- Itsukushima Shrine, Miyajima, ~ 12th C., 1241, rebuilt 1571
- Toshogu Shrine, Nikko, 1636 (dedicated to Tokugawa Ieyasu)
- Fushimi Inari Shrine, Kyoto, ~ 8th & 17th Century
Buddhist architecture
Readings:
Residential architecture
Pit dwellings
Azekura–zukuri
Shinden–zukuri
Shoin–zukuri
Sukiya-zukuri
- Elements of residential arch.: structure, roof, walls, tatami, engawa,
- Main types of gardens:
Kaiyushiki niwa (stroll garden)
Kare sansui (dry or rock garden)
Cha-niwa (tea garden)
- Castles (shiro, -jo) for land- or warlords (daimyo)
Matsumoto, 1596
Himeji, 1581, 1609
- Residences for commoners (minka)
Farm Houses
Town houses (machiya)
- Pit dwellings (tate ana) in Jomon (10000-300 BC) and early Yayoi Periods (300-300 AD)
- Raised floor buildings of the Yayoi Period
- OLD IMPERIAL PALACE, Kyoto, 794, 1855
- NIJO–JO, NINOMARU PALACE, Kyoto, 1626
- KATSURA RIKYU IMPERIAL VILLA & GARDEN, Kyoto, 1620–47 (Prince Toshihito & Toshitada)
- Shugakuin Rikyu Imperial Villa, Kyoto, 1659 (Emperor Gomizuno)
- Ryoan-ji Temple, Kyoto, ~1499
- Daitoku-ji Temple, Kyoto, 1324-on, 1509
Readings:
Tokyo
- The problem of center - multi centered, fragmented disposition
- Kaleidoscopic structure
- Urban structure: oku, ma
- Street architecture, commercialization, information techniques
- Tokyo the informational world city
- MAPS of Tokyo – Developing Edo as the castle town of the Tokugawa Shogunate
- The Imperial Palace on the location of the previous Edo Castle (1603)
- Maps, woodblock prints, and photograph of Edo and Tokyo (overviews)
- Tokyo the multi-centered city
- Tokyo’s new “center”
- The new Tokyo City Hall of 1991
- SHINJUKU AND SHIBUYA
Readings:
- Tokyo’s developments and the EXPRESSWAY construction in the city along PRAGMATIC concerns
- Capsule architecture
- Okinawa Expo – 75
- Legacy of Metabolists
- 1963 High rise constructions
- Nikken Sekkei Ltd. and skyscraper architecture
- Capsule House in the Space Frame of the Osaka Expo-70 (Kisho Kurokawa)
- Odakyu Drive-In, Otome Pass, Hakone Mts, 1968 (Kisho Kurokowa)
- SKY BLDG. NO. 3, Tokyo, 1970 (Yoji Watanabe) demolished
- Experimental Leisure Capsule House LC-30X (Kisho Kurokowa)
- NAKAGIN CAPSULE TOWER, Tokyo, 1972 (Kisho Kurokawa) demolished
- SONY TOWER, Osaka, 1976 (Kisho Kurokawa) demolished
- AQUAPOLIS, OKINAWA EXPO–75, 1975 (Kiyonori Kikutake) demolished
- San Ai Dream Center, Tokyo, 1963 (Nikken Sekkei Ltd.)
- Palaceside Building, Tokyo, 1966 (Nikken Sekkei Ltd.)
- POLA HOME OFFICES, Tokyo, 1971 (Nikken Sekkei Ltd.)
- NAKANO SUN PLAZA, Tokyo, 1973 (Nikken Sekkei Ltd.)
- MOTOMACHI & CHOJUEN HIGH–RISE APTS, Hiroshima, 1973 (Masato Otaka)
- KAWARACHO HIGH-RISE APARTMENTS, Kawasaki, 1974 (Sachio Otani)
- PANASONIC MULTIMEDIA CENTER, Tokyo, 1992 (Nikken Sekkei Ltd.)
- NEC CORPORATION HEADQUARTERS, Tokyo, 1990 (Nikken Sekkei Ltd.)
- LONG TERM CREDIT BANK OF JAPAN, Tokyo, 1993 (Nikken Sekkei Ltd.)
- KEYENCE CORP. OFFICE & LABORATORY BLDG, Osaka, 1994 (Nikken Sekkei Ltd.)
- Dowa Phoenix Tower, Osaka, 1995 (Nikken Sekkei Ltd.)
- Osaka World Trade Center - Cosmo Tower, Osaka, 1995 (Nikken Sekkei Ltd.)
Readings:
Readings:
- Energy crisis and the dark side of industrial progress: the demise of modernist ideology
- Changing attitude in architectural and urban design: Pro- and Anti-Urban Tendencies
- Architecture as language (semiotics) and the quest for meaning
- The “ArchiteXt” Group: Minoru Takeyama, Takefumi Aida, Takamitsu Azuma, Mayumi
Miyawaki, & Makoto Suzuki
- The unique features of Japanese postmodernism – pre-modern but not historicizing
- The new symbolists - 1:
Daydreams and nightmares;
Buildings as toys; etc.
Facade versus face
From the ritualistic to the cosmic
Vernacular and organic trends
Readings:
Readings:
- Sakamoto Ryoma Memorial Hall, Kochi, 1991 (Workstation: Akiko & Hiroshi Takahashi)
- NEW TOKYO CITY HALL, Tokyo, 1991 (Kenzo Tange)
- Edo–Tokyo Museum, Tokyo, 1992 (Kiyonori Kikutake)
- UMEDA SKY BUILDING, Osaka, 1993 (Hiroshi Hara)
- Tokyo International Forum, Tokyo, 1996 (Rafael Vinoly)
- CHURCH WITH LIGHT & Sunday School, Ibaraki, 1989 & 1998 (Tadao Ando)
- Collezione, Tokyo, 1990 (Tadao Ando)
- WATER TEMPLE, Awaji Island, 1991 (Tadao Ando)
- FOREST OF TOMBS MUSEUM, Kao–machi, Kumamoto Pref., 1992 (Tadao Ando)
- Naoshima Contemporary Art Museum, Naoshima-cho, 1992 (Tadao Ando)
- Chikatsu–Asuka Historical Museum, Minami–Kawachi, Osaka, 1994 (Tadao Ando)
- Meditation Space in the UNESCO Headquarters, Paris, France, 1996 (Tadao Ando)
- KAKEGAWA CITY HALL, Kakegawa, Shizuoka Pref., 1996 (Nikken Sekkei Ltd.)
- Osaka Dome, Osaka, 1997 (Nikken Sekkei Ltd.)
- Kochi University of Technology, Tosayamada-cho, Kochi Pref., 1997 (Nikken Sekkei Ltd.)
- Tokatsu Techno Plaza, Kashiwa, Chiba Pref., 1998 (Nikken Sekkei Ltd.)
- KEN DOMON MUSEUM OF PHOTOGRAPHY, Sakata, Yamagata Pref., 1983 (Yoshio Taniguchi)
- TOKYO SEA LIFE PARK, AQUARIUM, 1990; VISITORS CENTER, 1995, Tokyo (Yoshio Taniguchi)
- GENICHIRO INOKUMA MUSEUM OF CONTEMPORARY ART, Marugame, 1991 (Yoshio Taniguchi)
- TOYOTA MUNICIPAL MUSEUM OF MODERN ART, Toyota, Mie Pref., 1996 (Yoshio Taniguchi)
- Rotunda, Yokohama, 1987 (Riken Yamamoto)
- HAMLET--Residential Complex, Tokyo, 1988 (Riken Yamamoto)
- HOTAKUBO DAIICHI PUBLIC HOUSING (K.A.P.), Kumamoto, 1991 (Riken Yamamoto)
- Ryokuen-toshi Inter-junction City, Yokohama, 1992–1994 (Riken Yamamoto)
- IWADEYAMA JUNIOR HIGH SCHOOL, Iwadeyama, Miyagi Pref., 1997 (Riken Yamamoto)
Readings:
- Kansai International Airport, Izumisano, Osaka Pref., 1994 (Renzo Piano - Italy + Nikken Sekkei Ltd.)
- POLA MUSEUM OF ART, Hakone, 2002 (Koichi Yasuda of Nikken Sekkei Ltd.)
- Island City Central Park GRIN GRIN, Fukuoka, Fukuoka Pref., 2006 (Toyo Ito)
- GLASS CENTER FOR THE TOLEDO MUSEUM OF ART, Toledo, OH, USA, 2006 (SANAA)
- New Contemporary Museum of Art, Bowery, New York, USA, 2007 (SANAA)
- LANGEN FOUNDATION GALLERY, Neuss, Germany, 2004 (Tadao Ando)
- 21_21 Design Sight, Tokyo, 2007 (Tadao Ando)
Readings:
B. Bognar. BEYOND THE BUBBLE: The New Japanese Architecture. (London, 2008)
B. Bognar. KENGO KUMA: Selected Works (New York, 2005).
B. Bognar. MATERIAL IMMATERIAL – The New Works of Kengo Kuma (New York, 2009)
9. BIBLIOGRAPHY (Titles in boldface are important readings)
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____. Kodansha Encyclopedia of Japan, Vols. 1–9, Tokyo: Kodansha International, 1983.
Lüchinger, Arnulf. Structuralism in Architecture and Urban Planning. Stuttgart: Karl Kramer Verlag, 1981.
Plummer, Henry: Light in Japanese Architecture. A+U Extra Edition. Tokyo: 1995
Popham, Peter. Tokyo: The City at the End of the World. Tokyo and New York: Kodansha International,
1985.
Reischauer, Edwin O. JAPAN - The Story of a Nation. Tokyo: Tuttle, 2004 (1981)
Seidensticker, Edward. Low City, High City: Tokyo from Edo to the Earthquake. New York: Alfred A.
Knopf, 1983.
Seidensticker, Edward. Tokyo Rising: The City Since the Great Earthquake. Tokyo: Tuttle, 1991
Shelton, Barrie. Learning from the Japanese City: West Meets East in Urban Design. London: Spon,
1999
Takashina, Shuji (ed.). Tokyo: Creative Chaos, special issue of Japan Echo (Vol. XIV, 1987).
Tanizaki, Junichiro. In Praise of Shadows (1932), Tokyo: Charles E. Tuttle Company, 1977.
Bognar, Botond. Contemporary Japanese Architecture – Its Development and Challenge. New York: Van
Nostrand Reinhold, 1985, pp. 23–77.
Bognar, Botond. "The Place of No–thingness: The Japanese House and the Oriental World Views of the
Japanese." in J. P. Bourdier & N. Alsayyad, eds. Dwellings, Settlements, and Tradition. New York: The
University Press of America, 1988, pp. 183–213.
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____. Japan: Climate, Space and Concept - Process Architecture (No. 25),1981.
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Bognar, Botond, “Surface Above All? American Influence on Japanese Urban Space” in Heide
Fehrenbach and Uta Poiger (eds.), Transactions, Transgressions, Transformations: American Culture in
Western Europe and Japan. New York: Berghahn Books, 1999.
Bognar, Botond, “The Japanese Example - The Other ‘End’ of Architecture” in New Architecture No2,
(08/98), London. pp.49- 63.
Bognar, Botond. “An Architecture of the Unknown and Unknowable” in Takasaki Masaharu: An
Architecture of Cosmology. New York: Princeton Architectural Press, 1998.
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Ephemerality - Harvard Design Magazine; Cambridge, MA.: Harvard University Graduate School of
Design. (Fall 1997), pp.33-43.
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Rizzoli International, 1996.
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Editions, and New York: St. Martin’s Press, 1992.
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80s" Aspects of Modern Architecture, AD Profile No.90, London, 1991. pp. 33-37
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essays by Hajime Yatsuka and Lynne Breslin. New York: Rizzoli International, 1990.
Bognar, Botond, K. Frampton, and Kunio Kudo. Nikken Sekkei 1900-1990: Building Modern Japan. New
York: Princeton Architectural Press, 1990.
Bognar, Botond. Contemporary Japanese Architecture - Its Development and Challenge. New York:
Van Nostrand Reinhold, 1985
Bognar, Botond, "The New Phenomenalism in Japanese Architecture," A+U, Architecture and Urbanism,
Tokyo: No. 280 (01/1994) pp. 2–9.
Bognar, Botond. "Revisiting the 'City in the Air'––Thoughts on Hara's New Umeda Sky Building," SD,
Space Design, Tokyo: (01/1994), Special issue on Hiroshi Hara, pp. 87–96.
Bognar, Botond. "From Ritualistic Objects to Science Fiction Constructs: The Enigma of Shin
Takamatsu's Architecture." in Paolo Polledri (ed.). Shin Takamatsu. New York: Rizzoli International,
1993, pp. 33–56.
Bognar, Botond. "Fumihiko Maki: Making of an Urban Architecture," Fumihiko Maki - World Architecture,
No. 16, Profile: Japanese Issue. London, 1992, pp. 32–53.
Bognar, Botond. "Critical Intentions in Pluralistic Japanese Architecture," Free Space Architecture, AD
Profile 96. London: Vol. 62, No. 3-4/1992, pp. 72–96.
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Bognar, Botond, "An Art and Technique of Fragmentation: The New Urban Architecture of Japan," JA,
The Japan Architect. (06/1990), pp. 6–10.
Bognar, Botond. "An Architecture of Fragmentation: The Japanese Example," Reflections. The
Architectural Journal of the University of Illinois at Urbana–Champaign, No. 5 (February 1988).
Bognar, Botond. "Celestial Abode out of the Industrial Landscape of the City: Yamamoto's 'Rotunda,'"
A+U, Architecture and Urbanism. Tokyo: (February 1988), pp. 6–8.
Bognar, Botond, “Surface Above All? American Influence on Japanese Urban Space” in Heide
Fehrenbach and Uta Poiger (eds.). Transactions, Transgressions, Transformations: American Culture in
Western Europe and Japan. Providence, RI: Berghahn Books, 1998. pp.112-151.
Bognar, Botond, “An Architecture of the Unknown and Unknowable.” Introduction to Takasaki Masaharu:
An Architecture of Cosmology. New York: Princeton Architectural Press, 1998. pp.9-14.
Bognar, Botond, “From Group Form to Lightness: Maki’s Architecture ‘Up’ to the Next Millennium” principal
essay in FUMIHIKO MAKI: Buildings and Projects. New York: Princeton Architectural Press, 1997.
pp.120-136;
Bognar, Botond, “Hiroshi Hara: Umeda Sky Building” in Reaching for the Skies. London: Academy
Editions, and New York: St. Martin’s Press, 1995. pp.44-52.
Bognar, Botond, “Tadao Ando;” “Fumihiko Maki;” “Kazuo Shinohara; Three Critical Essays: in
International Dictionary of Architects and Architecture. London: St.James Press, 1993.
Bognar, Botond, “From Ritualistic Objects to Science Fiction Constructs - The Enigma of Shin Takamatsu”
in Paolo Polledri (ed.). Shin Takamatsu. San Francisco: Museum of Modern Art, and New York: Rizzoli
International, 1993. pp.35-56.
Bognar, Botond, “Monuments in Search of Meaning: The Work of Shin Takamatsu” in Shin Takamatsu.
JA Library 1. Tokyo: Shinkenchiku-sha, 1993. pp.126-149.
Bognar, Botond, “Fumihiko Maki -- Making an Urban Architecture” in Fumihiko Maki. Special Japanese
Issue of World Architecture No.16, London: 1992. pp.32-37.
Bognar, Botond, “The Place of No-Thingness: The Japanese House and the Oriental World Views of the
Japanese” in J-P. Bourdier and N. AlSayyad (eds.). Dwellings, Settlements and Tradition. Lanham, MD;
New York, and London: University Press of America, 1989. pp.183-211.
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READING LIST FOR THE SEMINAR ARCH. 576 on Japanese Architecture ON RESERVE
B. Bognar. THE BUBBLE AND BEYOND: The New Japanese Architecture. London: Phaidon, 2008.
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Nostrand Reinhold, 1985.
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