Japan-ness in architecture / Arata Isozaki ; edited by David B. Stewart ; translated by Sabu Kohso ; foreword by Toshiko Mori.

by Isozaki, ArataLooking glass; Mori, Toshiko, 1951-Looking glass.

Publisher: Cambridge, Mass. ; MIT Press, [2006]Description: xx, 349 pages : illustrations ; 24 cm.ISBN: 0262090384; 9780262090384.Subject(s): Isozaki, ArataLooking glass | Architecture -- PhilosophyLooking glass | Architecture -- JapanLooking glass | Architecture, JapaneseLooking glassNote: Includes bibliographic references and index. Language: Translated from the Japanese.
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Enhanced descriptions from Syndetics:

One of Japan's leading architects examines notions of Japan-ness as exemplified by key events in Japanese architectural history from the seventh to the twentieth century; essays on buildings and their cultural context. Japanese architect Arata Isozaki sees buildings not as dead objects but as events that encompass the social and historical context - not to be defined forever by their everlasting materiality but as texts to be interpreted and reread continually. In Japan-ness in Architecture he identifies what is essentially Japanese in architecture from the seventh to the twentieth century. In the opening essay, Isozaki analyses the struggles of modern Japanese architects, including himself, to create something uniquely Japanese out of modernity. He then circles back in history to find what he calls Japan-ness in the seventh-century Ise shrine, the twelfth-century Todai-ji Temple and its sixteenth-century reconstruction, and the seventeenth-century Katsura Imperial Villa. the West's concept of architectural permanence and in the repetition of the ritual an alternative to modernity's anxious quest for origins. He traces the constructive power of the Todai-ji Temple to the vision of the director of its reconstruction, the monk Chogen, whose imaginative power he sees as corresponding to the revolutionary turmoil of the times. The Katsura Imperial Villa, with its chimerical spaces, achieved its own Japan-ness as it reinvented the traditional shoin style. And yet, writes Isozaki, what others consider to be the Japanese aesthetic is often the opposite of that essential Japan-ness that was born in moments of historic self-definition; the purified stylisation - what Isozaki calls Japanesquisation - lacks the energy of cultural transformation and reflects an island retrenchment in response to the pressure of other cultures. autobiographical account, these essays, written over a period of twenty years, demonstrate Isozaki's standing as one of the world's leading architects and pre-eminent architectural thinkers.

Includes bibliographic references and index.

Translated from the Japanese.

Table of contents provided by Syndetics

  • Foreword (p. vii)
  • Preface (p. ix)
  • Translator's Note (p. xvii)
  • Part I Japan-ness in Architecture (p. 1)
  • 1 Japanese Taste and Its Recent Historical Construction (p. 3)
  • 2 Western Structure versus Japanese Space (p. 23)
  • 3 Yayoi and Jomon (p. 33)
  • 4 Nature and Artifice (p. 47)
  • 5 Ka (Hypothesis) and Hi (Spirit) (p. 59)
  • 6 Ma (Interstice) and Rubble (p. 81)
  • 7 Fall and Mimicry: A Case Study of the Year 1942 in Japan (p. 101)
  • Part II A Mimicry of Origin: Emperor Tenmu's Ise Jingu (p. 117)
  • 8 The Problematic Called "Ise" (p. 119)
  • 9 Identity over Time (p. 133)
  • 10 Archetype of Veiling (p. 147)
  • 11 A Fabricated Origin: Ise and the Jinshin Disturbance (p. 159)
  • Part III Construction of the Pure Land (Jodo): Chogen's Rebuilding of Todai-ji (p. 171)
  • 12 The Modern Fate of Pure Geometric Form (p. 173)
  • 13 Chogen's Constructivism (p. 179)
  • 14 The Five-Ring Pagoda in Historical Turmoil (p. 183)
  • 15 Mandala and Site Plan at Jodo-ji (p. 189)
  • 16 The Architectonics of the Jodo-do (Pure Land Pavilion) at Jodo-ji (p. 195)
  • 17 Big Buddha Pavilion (Daibutsu-den) at Todai-ji (p. 205)
  • 18 Chogen's Archi-vision (p. 213)
  • 19 A Multifaceted Performance (p. 217)
  • 20 Brunelleschi versus Chogen (p. 223)
  • 21 Chogen/Daibutsu-yo and Eisai/Zenshu-yo (p. 227)
  • 22 Three Kinds of Hierophany (p. 231)
  • 23 Raigo Materialized (p. 235)
  • 24 A Non-Japanesque Japanese Architecture (p. 239)
  • Part IV A Diagonal Strategy: Katsura as Envisioned by "Enshu Taste" (p. 245)
  • 25 Katsura and Its Space of Ambiguity (p. 247)
  • 26 Architectonic Polysemy (p. 269)
  • 27 Authorship of Katsura: The Diagonal Line (p. 291)
  • Glossary of Names, Buildings, and Technical Terms (p. 307)
  • Notes (p. 319)
  • Index (p. 341)

Author notes provided by Syndetics

Eugene M. Izhikevich is Chairman and CEO of Brain Corporation in San Diego and was formerly Senior Fellow in Theoretical Neurobiology at the Neurosciences Institute, San Diego. He is editor-in-chief of Scholarpedia, the free peer-reviewedencyclopedia.

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