Foreword: In March 2010, SANAA won the Pritzker Prize, and in September of the same year, during the Shanghai World Expo, the Shanghai Architects Association invited Kazuyo Sejima to give a lecture at Tongji University. In March, Yamamoto became the new Pritzker Prize laureate in 2024, becoming the ninth Japanese architect to receive the award. The author's understanding of Japanese modernism in China first began with Tadao Ando ("Tadao Ando" and "Serial Defeat" by China Architecture Industry Press), and then purchased "Kenzo Tange" and "Kurokawa Kisho" by China Architecture Industry Press, and then learned about Toyo Ito, SANAA, and Kengo Kuma. Looking back at his original intention of studying architecture, I will take the opportunity of the two exhibitions of Tadao Ando: Challenges at the National Art Center, Tokyo in 2017 and Fosun Art Museum in Shanghai in 2021 to "re-read" Tadao Ando (figs. 39 and 40). It is well known that the heartthrob architect Tadao Ando did not have a professional education in architecture, in fact, he only had a high school education, and he also worked as a truck driver and professional boxer. Is Ando's legendary experience accidental or inevitable? In this article, I will analyze the position and role of Tadao Ando in the development of modern architecture in Japan from a rational perspective, and compare architects with postmodernist tendencies, such as Terumobu Fujimori, Yoshiro Taniguchi, Yoshio Taniguchi, Nobu Takamatsu, and Kazuro Kishi (Fig. 1), in terms of "modern expressions of traditional elements and symbols".
Fig. 1: Group portraits of the main members of Japan's "Modern Expression of Traditional Element Symbols" - drawing: Shangri-La on the sea
1. Tadao Ando - an architect co-created by traditional Japanese architecture and modernism:
1-1. Tadao Ando's position in modernist architecture:
Tadao Ando became the third Japanese architect to receive the Pritzker Prize for Architecture in 1995. However, compared to his two previous winners, Kenzo Tange and Fumihiko Sage's "Todai faction", Tadao Ando is not only not a famous teacher, he has not even gone to college, he only has a high school education, and he has also worked as a boxer. In 1996, Hiroshi Suzuki, then a professor of architectural history at the University of Tokyo, overrode public opinion and hired Tadao Ando as a professor of the main course of architectural design at the University of Tokyo. Hiroyuki Suzuki once commented on Tadao Ando as "two presents"1: "The first [present] is that his buildings continue to create buildings that are easy to visually grasp while expressing the forefront of modern architecture. The second [now] is that his architecture reaches many aspects of society as a whole, and modern buildings like his have achieved an architectural personality that is easy to grasp and has created diverse and sustainable aspirations.
1-2, Tadao Ando's life and growth process:
Tadao Ando was born in Osaka, Japan in 1941 and is 83 years old this year (2024). Ando began studying professional boxing around 1957, and during the 10 years from 1959 to 1969, he decided to start teaching himself architecture and began architectural study tours in Japan, the United States, Europe, and Africa. In 1969, Ando founded the "Tadao Ando Architectural Research Institute 2" (picture 2 - book cover) in Osaka, and in 1976 completed his famous work "Sumiyoshi's Longhouse" in Osaka. In 1979, Sumiyoshi's longhouse won the Architectural Institute of Japan Annual Award, and in the 1980s, Ando designed many commercial facilities, temples, and churches, mainly in the Kansai region of Japan. In 1995, he won the Pritzker Prize, the highest honor in the world of architecture. In 1996, Hiroyuki Suzuki hired Tadao Ando as a professor at the Faculty of Engineering at the University of Tokyo. In 2005, Tadao Ando, who had retired from the University of Tokyo, was awarded the University of Tokyo's Lifetime Special Honorary Professor3. Tadao Ando did not receive a formal or academic education in architecture, but he created a unique and new architectural style, which became a milestone in the development of modernist architecture in Japan.
Fig. 2: TOTO Publishing House, Japan, "The Architecture of Tadao Ando" - Photo: Shangri-La on the Sea
1-3. Tadao Ando's main works and the design ideas embodied therein:
1-3-1, Tadao Ando's early architectural works in Kansai, Japan
a. Sumiyoshi's longhouse - Architectural Institute of Japan Award
Tadao Ando once said,4 "The high degree of urbanization in Japanese cities is causing excessive building density, which is irreversibly destroying the natural environment, and houses cannot be opened to the outside world and are in direct contact with the natural world." Sumiyoshi's longhouse was built in 1976 and won the Architectural Institute of Japan Award in 1979, so this house is often referred to as Tadao Ando's "masterpiece" by the architectural community. Located on a narrow plot of land between two traditional terraced houses in the center of Osaka, the building is composed of a simple square box made of two-story fair-faced concrete, and the depth plan of the building is divided into classic "three sections", with the front and rear rooms around a two-story high atrium, the front and rear rooms on the first floor are the living room and the dining room, and the front and rear rooms on the second floor are the dormitory and preparation room. The atrium not only ensures the lighting and ventilation of the entire building, but also organizes horizontal and vertical traffic through single-running staircases and corridors (Figs. 3, 4, 5). Although the owners have complained about many inconveniences in use, such as the need to use an umbrella to shuttle between the front and back rooms on rainy days, the need to fan fans in summer without air conditioning, and the need to prepare thicker bedding in winter. Even so, Sumiyoshi's longhouse uses the atrium space as an opportunity to establish a physical and emotional bond between man and nature, allowing the owners to experience the four seasons of nature and the subtle changes in daily life.
b. Church of Light - sacred, clear, pure, shocking
Tadao Ando once said,5 "What I wanted to do was to give concrete a more refined expression, rather than a rough expression of the material as in Le Corbusier's work, which stemmed from my own feelings." Although this refinement is fading away today, it has survived in the Japanese attitude towards life, which is linked to an aesthetic with Japanese characteristics". Built in 1988, the Church of Light is located in a corner of the Kita-Kasugaoka residential area in Ibaraki City, a suburb of Osaka Prefecture, and a fair-faced concrete box encloses the interior of the church, forming a "dark box", a space that is isolated from the world, and in this "dark space", sunlight shines through the staggered cross-shaped gaps in the front wall of the church, forming the famous "cross of light". The concrete square box is the main space of the chapel, and the L-shaped partition wall formed by the wall that crosses it at 15 degrees and the outer wall parallel to it forms the entrance space of the Church of Light and guides people into the chapel, and through the L-shaped partition wall on the other side, the external environment is shielded and the diffuse reflection of natural light is realized, isolating the noisy environment outside the church space, purifying the space inside the church and forming a purer interior space (Figs. 6, 7, 8).
c. Shingon Honfukuji Mizudo - Washing and Rebirth
Tadao Ando once said 6: The lotus pond is quiet and holy, reflecting the original intention of Buddhism [step by step lotus], surrounded by the lotus pond and slowly climbing the steps to enter the temple, which has the meaning of washing the soul and returning to the origin of Buddhism. All people in the world, through such a dark passage from the surface to the underground, is like us returning to a closed inner space, thinking about human nature, and then returning to the inner process. In 1989, Shingon Honfukuji Mizumido, located on Awaji Island in Hyogo Prefecture, Japan, commissioned Tadao Ando to design a Buddhist building with a unique spiritual symbolism in order to expand the size of the temple and expand the temple building on the west side of the old temple with a beautiful view of Osaka Bay. In this design, Tadao Ando still uses the design technique of wanting to promote and suppress. The site design is designed through a sequence of open spaces full of ritual and mystery, with a large area of rubble and a guiding wall, allowing people to walk along the path with curiosity and awe of nature. Usually the temples are on the ground, and the direction of travel is mostly upwards to show respect for the religion. In this case, Ando took the opposite approach and proposed a bold plan: to hide the main body of the extension underground, he wanted to build a temple where the Buddha and all living beings could sleep peacefully under the lotus wrap (Figs. 9, 10, 11, 12, 13).
d. Kyoto TIME'S - a commercial facility in Kawaramachi
TIME'S was built in 1984 at the intersection of the Takase River and Kyoto Sanjo, about a 10-minute walk from Kawaramachi Station on the Hankyu Kyoto Line. Tadao Ando argues that with the modernization of Kyoto, most of the modern buildings built along the banks have their backs to the river, and there is no place for people to approach the river in their daily lives. He then focused on how to set up an open space facing the river. The idea is how to let the river flow into the building as if it were flowing into the building, creating a waterfront space with a unique local character. Guided by this overarching design idea, Ando sought to create a commercial public space that blends into the urban atmosphere through the TIME'S project. Ando uses vertical and horizontal traffic spaces such as stairs and walkways to organize the commercial space of this small three-story commercial building, and places these traffic and public spaces on the waterfront side of the building as much as possible, and uses modern architectural techniques such as fair-faced concrete corridors and waterfront platforms to metaphorize the streets and waterfront balconies of traditional Kyoto architecture. Ando's design makes it possible for people walking in the commercial public space to have a dialogue with the Takase River, and allows those who walk through it to have a rich spatial experience (Figs. 14, 15, 16).
e. Kyoto Prefectural Pottery Plate Famous Painting Garden - the essence of Japanese traditional garden design
Mr. Ando habitually placed a large area of enclosed wall on the periphery of the building. For him,8 "a closed wall is not merely defensive, it is invasive, expressing a strong desire of the occupier to inhabit the city." At the same time, it provides a place where intimate life unfolds within. The "open-top" building is not very recognizable from the exterior entrance, but in the narrow layout, Tadao Ando captures the essence of the traditional Japanese wandering garden design, and uses the corridor to make the tour route a thousand turns. The seemingly meaningless beams at the top and the columns in the middle actually divide the three-dimensional space of the courtyard into three dimensions. Walking to different positions to observe them, I found that they look like doorways and frames, and as the sun changes high and low, there will be more natural "light and shadow frames" in the space. If you look into the distance, you can see the overlapping and different three-dimensional "picture frames" appear in front of you. This is probably what Mr. Ando said: to give a labyrinthine representation to simple geometric forms, and to create an architecture that is both abstract and figurative (Figs. 17, 18, 19, 20).
Figure 3: Floor plan of the first and second floors of Sumiyoshi's longhouse - Drawing: Shangri-La on the sea
Fig. 4: Sumiyoshi's longhouse, The National Museum of Modern Art, Tokyo, Japan Modern Housing Exhibition 2017 - Photo: Shangri-La on the Sea
Figure 5: Sumiyoshi's longhouse, Fosun Art Center, Shanghai, 2021 Tadao Ando Exhibition - Challenge, Photo: Shangri-La on the Sea
Figure 6: Chapel of Light, 1:1 model of the National Museum of Art, Tokyo, Tadao Ando Exhibition 2017 - Photo: Shangri-La on the Sea
Fig. 7: Chapel of Light, model room, The National Museum of Art, Tokyo, Tadao Ando 2017 Exhibition - Photo: Shangri-La on the Sea
Figure 8: Church of Light, Fosun Art Center, Shanghai, 2021 Tadao Ando Exhibition - Challenge - Photo: Shangri-La on the Sea
Fig. 9: Honfukuji Mizudo Temple, Fosun Art Center, Shanghai, Tadao Ando 2021 Exhibition - Photo: Shangri-La on the Sea
Fig. 10: Honfukuji Water Palace, Fosun Art Center, Shanghai, 2021 Tadao Ando Exhibition - Photo: Shangri-La on the Sea
Fig. 11: Guiding wall in the gravel area of the Honfukuji Mizumido - Photo: Shangri-La on the sea
Figure 12: The lotus pond and entrance to the water temple of Honfukuji Temple - Photo: Shangri-La on the sea
Fig. 13: Photograph of the underground space of the Honfukuji Suimido Temple: Shangri-La on the sea
Fig. 14: TIME'S model, Fosun Art Center, Shanghai, Tadao Ando 2021 - Photo: Shangri-La on the Sea
Figure 15: STREET ENTRANCE AND WATERFRONT PROMENADE AT TIME'S IN KYOTO - PHOTO: Shangri-La on the Sea
IMAGE 16: ENTRANCE STEPS AND WATERFRONT PLATFORM AT TIME'S IN KYOTO - PHOTO: Shangri-La on the sea
Figure 17: Entrance and ticket office of Kyoto Prefectural Ceramic Plate Famous Painting Garden - Photo: Shangri-La on the sea
Fig. 18: The "open-top" spatial form of the Kyoto Prefectural Ceramic Plate Masterpiece Garden - Photo: Shangri-La on the Sea
Fig. 19: Beams and columns divided into three-dimensional spaces in the Kyoto Prefectural Pottery Panel Garden-Photo: Shangri-La on the Sea
Fig. 20: The natural "light and shadow frame" of the Kyoto Prefectural Ceramic Plate Famous Painting Garden - Photo: Shangri-La on the sea
1-3-2, Tadao Ando's architectural works in the Kanto region of Japan in the later period
a. Tokyu Toyoko Line Shibuya Station - Shibuya's [Jishuship]
Tadao Ando and Hiroyuki Suzuki said 9: Shibuya Station is the transportation hub of the metropolis of Tokyo, and the various subway lines that intersect here carry 3 million passengers every day, which means that Shibuya can be said to be the most public space of the metropolis. Therefore, this station cannot just be a box that accommodates the use of functions. The design concept of Shibuya's [Earth Boat] is a concept that I hope will be remembered by passers-by as an urban space. Originally, it meant that it was a spaceship floating in the underground space, and the specific structure was based on a "shell", which I also called the "City Egg". The concept of "shell" design has two main intentions: first, for the underground space where the sense of direction is difficult to grasp, the design of the "shell" is not only conducive to people to grasp the direction, but also the "shell" has become the symbol of the underground space. Second, the structure of the "shell" not only reduces the weight of concrete, but also facilitates natural ventilation and radiant air conditioning (Figs. 21, 22, 23, 24).
b. Fukutake Hall, Department of Information Science, University of Tokyo: A public space where history overlaps
Tadao Ando and Hiroyuki Suzuki said 10: This is a commemorative building for the 130th anniversary of the University of Tokyo. The Fukutake Hall of the Department of Information Science of the University of Tokyo is located in the Akamon area of Todai University, and in addition to creating a historical and spatial dialogue with the Gothic classical architecture on the campus, the design of this project also takes into account the harmony with the ancient trees that are more than 100 years old. The design of this project uses a long exterior wall to define the space of the new building, and adopts a spatial pattern of two floors above ground and two floors underground, using open vertical traffic to form an "introspective" internal space, and digging a ribbon opening horizontally on the long exterior wall to allow the internal and external spaces of the building to communicate (Figs. 25, 26, 27, 28).
c. The renovation plan of Tongrunhui Aoyama Apartment - the design that will keep the vitality of people together
Tadao Ando and Hiroyuki Suzuki said 11: People live in a "metropolis" with dreams, where people with diverse and different values meet, and where overlapping and conflicting energies are the vitality of the city. With these factors in mind, the creation of a vibrant environment where people gather in the city and the topic of housing clustering is an important issue for the future of the city. The redevelopment of Tung Run Hui Castle Peak Residences is a pioneering design for urban collective housing. In the design of this case, we first consider the living space that will be swallowed up by the modern commercial space. For the modern urban redevelopment business, the formation of integrated commercial and residential buildings is an inevitable trend. This project is a renovation plan, first of all, we want to preserve the impression and memory of the Tongrunkai Aoyama Apartment, which represents the modern apartment in Japan, and on this basis, we will consider the integrated landscape regeneration of ancient trees and current commercial and residential buildings. To this end, we have set two goals: the first goal is to limit the height of new commercial and residential buildings according to the height of old trees. The second goal was to bring the slope of Omotesando into the public spaces of commercial and residential buildings. After the building was completed, I felt that the design intention of returning the people walking on this street to the "forest of the mind" was realized (Figs. 29 and 30).
d. 21.21 Design Art Museum - the origin of the creation of a small building
Tadao Ando said 12: The site of this project is located in a prime location in Roppongi, Tokyo, surrounded by high-rise landmark buildings designed by SOM and Nikken, and the three-house lifetime plan proposes to place an art museum in a green space in the center of the city. Therefore, Tadao Ando strengthened the hard-won urban green space in the metropolis according to the surrounding environment of the site, placing the main functions of the art museum and the café underground, with only two prismatic roofs exposed on the ground. Tadao Ando was named after the museum to create a new century museum that would represent the visual impact of the 21st century, and the volume of a small building would blend into the surrounding environment and become the origin of people's imagination when strolling through the park (Figs. 31, 32, 33, 34, 35).
e. Noge Station on the Tokyu Oimachi Line - a large urban roof covering the urban transportation network
Tadao Ando said 13: In this case, a large urban roof covered by the urban transportation network created a very unique scenery in front of the station.
Chapter Summary: This chapter demonstrates Hiroyuki Suzuki's evaluation of Tadao Ando's "two presents" through a total of 10 architectural design works in Kansai and Kanto, Japan, that is, the "first present" with urban visual impact and the "second present" with urban sustainability aspirations.
Figure 21: Concept of a "spaceship floating in underground space" at Shibuya Station on the Tokyu Toyoko Line - Photo: Shangri-La on the sea
Fig. 22: The "shell" structure of Shibuya Station on the Tokyu Toyoko Line - Photo: Shangri-La on the sea
Figure 23: Orientation of the underground space of Shibuya Station on the Tokyu Toyoko Line - Photo: Shangri-La on the sea
Figure 24: Iconic space in the underground space of Shibuya Station on the Tokyu Toyoko Line - Photo: Shangri-La on the sea
Figure 25: Vertical transportation mode open in the underground space of Fukutake Hall, Department of Informatics, University of Tokyo - Photo: Shangri-La on the sea
Figure 26: The long façade of the Fukutake Hall of the Department of Information Science at the University of Tokyo - Photo: Shangri-La on the sea
Figure 27: Communication between the space inside and outside the Fukutake Hall of the Department of Informatics at the University of Tokyo - Photo: Shangri-La on the Sea
Figure 28: The dialogue between the Fukutake Hall of the Department of Information Science and Information Science of the University of Tokyo and the historic buildings on the campus - Photo: Shangri-La on the sea
Figure 29: The relationship between the redevelopment project and the street of the Castle Peak Apartment Renovation Project of Tongrun Hui - Photo: Shangri-La on the Sea
Figure 30: The public space of the Castle Peak Residence Redevelopment Project of Tongrun Hui - Photo: Shangri-La on the Sea
Fig. 31: Model 21.21, Fosun Art Center, Shanghai, Tadao Ando 2021 Exhibition - Photo: Shangri-La on the Sea
Figure 32: The surroundings of the 21.21 Design Art Museum in Roppongi Park, Tokyo – Photo: Shangri-La on the Sea
Figure 33: Above-ground part of the 21.21 Design Art Museum in Roppongi Park, Tokyo – Photo: Shangri-La on the Sea
Figure 34: The underground space of the 21.21 Design Art Museum in Roppongi Park, Tokyo – Photo: Shangri-La on the Sea
Figure 35: 21.21 Design Art Museum in Roppongi Park, Tokyo with a floor window – Photo: Shangri-La on the sea
Figure 36: The city's rooftop at Noge Station on the Tokyo Metro Tokyu Oimachi Line - Photo: Shangri-La on the sea
Figure 37: Waiting space at Noge Station on the Tokyo Metro Tokyu Oimachi Line - Photo: Shangri-La on the sea
Figure 38: Design sketch of Noge Station on the Tokyo Metro Tokyu Oimachi Line - Photo: Shangri-La on the Sea
Fig. 39: 2017 Tadao Ando Exhibition - Challenge, The National Art Center, Tokyo Subway advertisement - Photo: Shangri-La on the sea
Fig. 40: 2017 commemorative release of Tadao Ando Exhibition – Challenge at The National Art Center, Tokyo Photo: Shangri-La on the Sea
2. Teru Fujimori - Japanese architectural historian and architect:
2-1. The position of Fujimori Terumobu in modernist architecture (Figs. 41, 42, 43):
Tadao Ando once commented on Terumobu Fujimori14: "I don't particularly agree with the fact that my own architectural works are usually evaluated as having the [inside] connotation of architectural history, and that Fujimori's architectural design has the intention of imitating modern architectural history, that is, the [outside] connotation of architectural history." In other words, Fujimori's architectural design is not just an imitation of the skin of Japan's historic buildings. And Toyo Ito once commented on Fujimori Terumobu 14: Mr. Fujimori's architectural design touched the root of Japanese modernist architecture. His architecture is intended to be a critique of the contradictions arising from the search for the artistic theory of modern architecture and the consistency of social development and innovation. The artistic theory of modern architecture pursues abstract aesthetics, while social development and innovation pursue the economy and rationality of industrialism. The contradiction between the two has caused the rupture of the relationship between modern architecture and nature, and the homogeneity and artificiality of modern architecture are becoming more and more distant from the ideal of people living in nature. Mr. Fujimori's architecture is based on a critique of many of these contradictions.
2-2. The life and growth process of Terumin Fujimori (Pictures 44, 45, 46):
Terumobu Fujimori was born in 1946 in Nagano Prefecture, Japan15, and is 78 years old (2024). He is a well-known architectural historian and architect in Japan. He received his Ph.D. in engineering from the University of Tokyo, Japan, and was a part-time lecturer at Tohoku University in Japan. Later, he served as a professor and honorary professor at the University of Engineering, and a visiting professor at the University of Tokyo and Tokyo University of the Arts. He is the author of the book "History of Modern Japanese Architecture" and has served as a historical and theoretical advisor to the Architectural Committee of the Architectural Institute of Japan.
2-3. Terumobu Fujimori's main works and the design ideas embodied in them:
2-3-1、God Chief Shouya Historical Museum 16 - Natural materials
The Moriya family, a god in Chino City, Nagano Prefecture, Japan, has a tradition of sacrificial worship in the ancient hunting and gathering era before the agricultural era. The prefecture is the hometown of Terumobu Fujimori, and this historical museum aims to collect and display historical materials from the Moriya family. How to construct a modern building with local natural materials became the core problem to be solved in this design: how to relate the use of natural materials to industrial technology and industrial products. Therefore, Terumobu Fujimori first wrapped elements with a strong sense of modern technology, such as wrought iron and concrete, and used them as invisible places such as structural structures and keels. The second is to let the local natural materials shine. Specifically, the roof is covered with locally produced iron flat stone mushrooms and painted with modern paint. Natural materials should be in harmony with the natural elements around the building, such as earth, wood, stone, grass, and water. On the other hand, natural materials deteriorate after being exposed to wind and rain, and although they look dirtier than they may be, they also have the smell of weathering (Figs. 47, 48, 49).
2-3-2、烧杉住宅17-洞窟的住居
The cave is the origin of habitation. Cave dwellings are often depicted as pocket-shaped caves with small entrances, i.e., caves. Half of the usual cave dwellings in ancient times were relatively enclosed and self-enclosed, while the other half were relatively open spaces. If it is depicted in beautiful language, it can be said that the cave dwelling is a space where you can have both the blue sky and the earth. People in caves are able to hide themselves and perceive the environment in the wild. Therefore, the Yakisugi Residence in Tochigi Prefecture, Japan, designed by Terumobu Fujimori, has a large cave-shaped window on the first floor facing the natural beauty outside, and the living space of the house has become a wonderful cave space for people to perceive the blue sky and earth from the outside, and the main entrance of the building is placed on the side of the building and entered through the courtyard. The "burnt cedar" is a metaphor for the cave space in terms of the color and texture of the material (Figs. 50, 51).
2-3-3, high over the hermitage, low over the nunnery and sand and mud flying boat 18 - natural cover technology
The high and low hermitages and the sand and mud flying boats are located on the south side of the Shogun Moriya Historical Museum. Taka-gu Nunnery is a tree-dwelling high-altitude teahouse where you can overlook the distant mountains of the countryside. It is a semi-underground tea room with a cave dwelling concept, a movable roof, and teriyaki boards as walls. The sand and mud flying boat is another kind of high-altitude tea room experimental building that imitates a spaceship supported by suspension cables. As a researcher of architectural history, Terumobu Fujimori defines his architecture as "barbaric avant-garde architecture", and his architecture is well versed in the past of architectural history and oriented to the future of architectural development. Therefore, his buildings often carry a contradiction, which seems to be both primitive and modern, East and West, traditional and technological. He uses materials in their natural state to construct modern buildings, using traditional techniques in modern architecture, and advocates the use of natural covering technology (figs. 52, 53, 54).
2-3-4, La Collina 19 - a bridge connected to nature
"La Collina", which means "hill" in Italian, is located on a land surrounded by mountains in Omihachiman, Shiga Prefecture, Japan. The layout of the manor is mainly composed of four parts: the grassroots house, the copper root house, the chestnut momoto and the Japanese grass corridor, and its main architectural functions are the sales of dim sum shops, factories and offices. The grassroots house is covered with real grass, which is both like a hill and a building, and it has both the same as both. A thatched roof is like a layer of skin, it has a life of its own, and at the same time has a significant impact on the things around it, the environment, and the people. How to make the building quietly accommodate modern technology is also one of the architectural principles of Terumobu Fujimori. Therefore, the choice of materials for grassroots houses is mostly natural materials such as wood, stone, earth and grass, and they are used in a non-industrial way. These materials are a unique entity in nature. For example, the pillars are made of chestnut trees from the mountains, and the wood has cracks and a natural sense of bending, but Fujimori Terumobu insists on keeping them as much as possible and using them in the most primitive way possible. The Tonggenya, Kuriya Momoben, and Wacao Cloisters also continue the design of the grassroots house (Figs. 55, 56, 57, 58, 59, 60).
2-3-5, Tajimi City Mosaic Tile Museum 20-tile raw materials of the clay mountain
The museum designed by Terunobu Fujimori for Tajimi, Japan's largest producer of mosaic tiles, is located in Gifu City, Japan. In the middle of the slightly sunken ground of the site, a bulging hill is raised, reminiscent of the clay mountain where the tile material was collected. As we got closer, the fragments of tiles and tea bowls hidden in the earthen walls of the exterior once again revealed a signal about the collection. The museum displays some of the most fully patterned mosaic tiles ever created, miniature aesthetics from all over Japan, and there are also samples available to buy at home.
Chapter Summary: This chapter argues Tadao Ando and Toyo Ito's evaluation of Terumobu Fujimori through some of his architectural works in Japan, that is, Terunobu Fujimori's architectural design is not only a imitation of the skin of historical Japanese architecture, but also aims to criticize the contradiction between the artistic theory of modern architecture and the consistency of social development and innovation.
Figure 41: 2017 lecture "The Origin of the Residence of Terunobu Fujimori" in Yaesu, Tokyo - Photo: Shangri-La on the Sea
Fig. 42: Published by TOTO, "Goodbye to the Original Modern House of Terunobu Fujimori" - Photo: Shangri-Hai on the Sea
Fig. 43: Published by TOTO, Japan, Terumobu Fujimori – Savage Architecture - Photo: Shangri-La on the Sea
Figure 44: X-Knowledge Home Magazine, Japan, Terunobu Fujimori Album - Photo: Shangri-La at Sea
Figure 45: Nikkei magazine "Fujimori Terumobu Heresy's Reversal of Heresy" in 2017 - Photo: Shangri-La on the Sea
Figure 46: 2017 Mito Art Museum "Fujimori Terumin Exhibition - Architecture of Nature and Observation on the Road" - Photo: Shangri-La on the Sea
Figure 47: Exterior and surroundings of the Shoji Moriya Historical Museum - Photo: Shangri-La on the sea
Fig. 48: Interior of the Shoya Historical Museum - Photo: Shangri-La on the Sea
Figure 49: The interior of the Shoji Shouya Historical Museum - Photo: Shangri-La on the sea
Fig. 50: Large cavern-shaped windows in the form of a burnt cedar dwelling - Photo: Shangri-La on the sea
Fig. 51: Side entrance to the Roasted Cedar Residence - Photo: Shangri-La on the Sea
Fig. 52: A tree-dwelling teahouse overlooking the countryside and mountains – Photo: Shangri-La on the sea
Fig. 53: A semi-underground teahouse with the concept of cave dwelling - Photo: Shangri-La on the sea
Fig. 54: Sand and mud flying boat, the experimental building of the high-altitude tea room supported by a suspension cable - Photo: Shangri-La on the sea
Figure 55: The thatched roof of La Collina's grassroots house - Photo: Shangri-La at sea
Figure 56: Chestnut Pillar Corridor at La Collina Grassroots House - Photo: Shangri-La on the Sea
Fig. 57: Interior decoration of La Collina Grassroots House - Photo: Shangri-La on the Sea
Fig. 58: La Collina's Copper Root House - Photo: Shangri-La on the Sea
Fig. 59: La Collina's chestnut hundred burns - Photo: Shangri-La on the sea
Figure 60: La Collina's Grass Cloister - Photo: Shangri-La on the Sea
3, Yoshiro Taniguchi, Yoshio Furuguchi - super cool father and son soldiers in the Japanese architectural industry 23:
3-1. The position of Yoshiro Taniguchi and Yoshio Furuguchi in modernist architecture:
As one of the representatives of the pioneers of Japanese modernism21, Yoshiro Taniguchi has a great deal of research work in architectural techniques. He won the Architectural Society of Japan Academic Award for his research on building wind pressure, and the Chichibu Cement Plant No. 2 continues his research on industrial architecture during his graduate studies, and is a masterpiece of modern industrial architecture in Japan. The Tokyo Institute of Technology Hydraulic Laboratory, which he designed, is one of the earliest modernist buildings in Japan.
And Taniguchi's son, Yoshio Taniguchi, briefly worked for the German architect Walter Gropius22, who later had an important influence on him. During the period of 1964~1972, he worked in the studio of modernist architect Kenzo Tange. In 1975 he founded his own architectural practice and has since worked with renowned Isamu Noguchi, Peter Walker and Genichiro Inokuma. Taniguchi's architectural works have a strong square-cut style, often using large sheets of glass or thin structures, and the shapes are quite simple.27 Yoshio Taniguchi is working silently, concentrating on creating a tranquil and harmonious beauty, and persistently pursuing a quiet world of his own, as if he does not feel the hustle and bustle of the world at all. His architectural works also show a kind of minimalist accuracy and purity, but in simplicity but elegance and richness, many people believe that his works show the true meaning of the minimalist master Mies's "less is more".
3-2. The life and growth process of Yoshiro Taniguchi and Yoshio Furuguchi:
Japanese architect Yoshiro Taniguchi (1904-1979) was born in Kanazawa City, Ishikawa Prefecture, Japan21, and graduated from the Department of Architecture, Faculty of Engineering, Tokyo Imperial University. The graduation research was supervised by Professor Tadashi Ito, and the graduation project was "Iron and Steel Works". In graduate school, he studied industrial architecture under the tutelage of Professor Sano Sharp Aki. Shortly after graduating, Yoshiro Taniguchi taught at Tokyo Institute of Technology and conducted research on building wind pressure. In 1938, he was commissioned by the Ministry of Foreign Affairs to travel to Germany for the construction of the Japanese Embassy, and returned to Japan in 1939, where he continued to conduct research and design activities at the Tokyo Institute of Technology.
Yoshio Taniguchi, a contemporary Japanese architect, was born in 1937, and his father was Yoshiro Taniguchi 22. Yoshio Taniguchi was not influenced by his father to major in architecture during his university years, but instead majored in mechanical engineering at Keio University. After graduating in 1960, he often participated in the gatherings and discussions between his father and architect friends, and gradually became interested in architecture, so he went abroad to study at Harvard University's design research institute.
On February 2, 1979, Yoshiro Taniguchi died of stomach cancer.27 Yoshio Taniguchi inherited his father's studio, Taniguchi Architectural Design and Research Institute. In one of the few interviews with him, Yoshio Taniguchi repeatedly mentioned his father, and he always ran a small research institute with five or six people, and never worked on more than two projects at the same time. In addition to designing architectural projects, Taniguchi has been a visiting professor at many universities, and it is said that he was touched by a birthday cake in the shape of an architectural design given by a student. In his eighties, Taniguchi still insists on hand-drawing and modeling, and slowly deliberates on his works.
3-3. The main works of Yoshiro Taniguchi and Yoshio Furuguchi and the design ideas embodied therein:
3-3-1, Tokyo Institute of Technology 70th Anniversary Memorial Hall - Yoshiro Taniguchi
The 70-year-old memorial hall is located behind the cafeteria of the Ookayama Campus of Tokyo Institute of Technology, with a large slope of lawn in front of it, and is one of the landmark buildings of Tokyo Institute of Technology. The combination of concrete and brick on the façade reflects Taniguchi's exploration of "tradition and modernity" in the way of construction (figs. 61, 62, 63).
3-3-2, Tokyo National Museum Toyokan - Yoshiro Taniguchi
The Tokyo National Museum Toyokan, located on the south side of the main building of the National Museum, is architecturally inspired by Yoshiro Taniguchi's exploration of "tradition and modernity" in a "concrete imitation of wood" (figs. 64 and 65).
3-3-3, Yoshiro Taniguchi, Yoshio Taniguchi Memorial Kanazawa Architecture Museum - Yoshio Taniguchi
This museum of architecture and urban design is located on the site of the former residence of Yoshio Taniguchi's father, Yoshiro Taniguchi.26 Yoshiro Taniguchi was a famous architect and the first honorary citizen of Kanazawa City. Among its exhibits is a replica of Yoshiro Taniguchi's famous work, a Japanese-style annex to the Akasakanomiya Palace, Japan's state guesthouse. Here, visitors can see the works of the two architects and learn more about Kanazawa's multi-layered architectural culture (Figures 66, 67, 68, 69).
3-3-4, Kanazawa City Suzuki Daisho Memorial Hall - Taniguchi Yoshio
Yoshio Taniguchi once said24: Suzuki Daisuke was born in Kanazawa City, Ishikawa Prefecture, Japan in 1870, and after traveling to the United States, through English speeches and writings, he spread Zen culture around the world and became a world-renowned Buddhist philosopher. He is known for his 100 books, including "The Theory of the Unintentional" and "Zen and Japanese Culture". In recognition of the internationally renowned philosopher, Kanazawa City proposed to build a memorial hall near his birthplace. The base is surrounded by a variety of historical and cultural facilities, such as the Shibuyashiki Ruins of the Hondo family of the Kaga Domain, the Nakamura Memorial Art Museum, and the Shokakaku Garden, as well as a rich variety of natural undulating terrain, which presents the unique landscape of Kanazawa. The owner asked to make the most of the characteristics of the site, fully understand the key words such as "quiet", "natural", and "freedom", and provide a "field" for visitors to have a dialogue with Suzuki in line with the appropriate environment described in Suzuki's words such as "thinking" and "expression". Therefore, my architectural design concept was based on the main guiding principle of opening up the world of Daiki Suzuki, creating a landscape that symbolizes Kanazawa with the help of the slope and green space in front of the site, and using stone walls and water features. In addition, the design of this project combines the roaming of historical and cultural facilities around the site with the intention of forming a return to the entire area. The memorial hall building uses a corridor to connect the "Entrance Building", "Exhibition Building", and "Reflection Space Building", and each building is equipped with a "Entrance Garden", "Open Ground Garden", and "Water Mirror Garden". The entrance to the building is also the entrance to the building, and there are also a number of administrative and administrative rooms, and the exterior of the building is simple and simple. The interior of the exhibition building, which is the largest in the building, displays Suzuki's writings, photographs, and brief books, as well as a study space where small lectures can be held. The "Reflection Space Building" is a meditation space for visitors, and its appearance is a white square box with an opening facing all directions. Through the garden of the entrance, the garden of the open field, and the garden of the water mirror, the surrounding area of the building is green in spring and summer, and the water surface and plants in the garden shine in the summer sun, and the snowflakes dance in the winter reflection. The change of seasons between architecture and environment is what I want to create (Figs. 70, 71, 72, 73, 74, 75, 76).
3-3-5, Tokyo Horyuji Treasure Museum - Taniguchi Yoshio
Surrounded by a large area of greenery, the Horyuji Treasure Museum is surrounded by a large number of green trees, and when you enter the main entrance of the museum, you will be greeted by a shallow pond with clear and tranquil water in front of you, bypassing the Western-style Omokeikan Museum to the left, and passing through the side of a traditional Japanese courtyard gate.27 The vestibule is more like a large glass box, a transitional space between indoor and outdoor, and Yoshiguchi uses thin columns and grilles to create a unique light and shadow effect, bringing visitors a wonderful sense of detachment. Looking out, the grille on the curtain wall is like a delicate curtain, and outside the curtain is the natural world. Looking upwards, the junction between the canopy and the cube is separated to form a skylight, which on the one hand improves the lighting of the lobby and increases the effect of light and shadow, and on the other hand, the proper separation emphasizes the staggered effect of the canopy and the cube. Although there are no signs, people will automatically walk to the left, which is the starting point of the tour. The reason for this is that the large solid wall facing the opposite side has a large opening and staircase on the left, and only a small opening on the right that is not too exposed, thus hinting at the main direction of circulation. After the completion of the Horyuji Treasure Museum, both the public and the architectural community spoke highly of the building's shape and space, or regarded it as an urban landscape or a work of art in its own right, and some architects named it "the most beautiful building in Japan" (Ishii and Masahiro 2011)). The building won the Architectural Institute of Japan Award in 2001, and Taniguchi himself won the Takamatsu Miyashita Memorial World Culture Prize in 2005 (the Nobel Prize for the art of Japan's founding, and to date, only four Japanese architects have received the Architectural Prize, the first two being Tange, Ando, and Toyo Ito in 2010), thus fully confirming its status as one of the top masters in the international architectural community. (Figs. 77, 78).
3-3-6, Tokyo Kasai Rinkai Park Aquarium and Observatory - Taniguchi Yoshio
Yoshio Taniguchi once said29: Kasai Rinkai Park Aquarium is an aquarium to be built in Tokyo Bay to commemorate the 100th anniversary of the completion of the Ueno Zoo by the Tokyo Metropolitan Government. I have visited the site many times before I wrote about it, and it can be said that the site is the last remaining seaside place in Tokyo, where you can touch the natural elements such as water, light, and wind, and I think it is a poetic place full of longing for the sea. With the view of Tokyo Disneyland on the other side, I decided to design a building that would integrate with the landscape of Tokyo Bay. Therefore, the aquarium building has a 100-meter-diameter disc-shaped roof, and 3/4 of the building is sunk under the water to form a fountain, and 1/4 of the roof is used as an entrance plaza. The focal point of the building is the octagonal glass dome in the center of the disc-shaped roof, which corresponds to the scale of the vast sea around the building, and has become a new landmark in Tokyo Bay (Fig. 79).
Yoshio Taniguchi once said29: The Kasai Rinkai Park Observatory is a resting and viewing facility for visitors to the aquarium, so its architectural style must be consistent with that of the aquarium. The upper part of the building is an iron cube with a glass curtain wall, and the lower part is a reinforced concrete base. The upper glass box is an observation room, so it is treated as a highly transparent space as much as possible. In order to achieve this transparency, the roof of the building is supported by a cage-like structure, and the horizontal force generated in the event of an earthquake is transmitted from the horizontal beams to the core of the building, so this new structure realizes a column-free space. Inside the sturdy building below, I have coffee, lunch, resting and management facilities. Given the precedent of tower-like installations, I designed a horizontally extended building here, partly to gain a view of the surrounding trees and the sea in the distance. On the other hand, in order to avoid the vertical elevators, stairs and gentle slopes are used instead, allowing visitors to experience the continuity of horizontal movement (Figs. 80, 81, 82).
3-3-7, Toyota City Museum of Art - Yoshio Taniguchi
Yoshio Taniguchi once said28: Toyota City, as it is now known, was actually called Fist Mother City, and it is an ancient city with a long history, and it was later renamed because of the rise of Toyota's automobile industry. Therefore, the building should take into account both the history and future of the city, and the architectural plan should take into account both the new Toyota Industrial City on the west side and the historical landscape on the east side of the building. The internal composition of the building makes full use of the height difference of the base and distributes the functions of the building in three dimensions. The building is divided into three terraces according to the height difference, with the lowest terrace used as the entrance for administrative management and transportation, the middle terrace used as the front entrance for visitors, and the highest terrace used as the garden. The exterior of the building is mainly composed of three exhibition spaces, each with its own characteristics: the permanent exhibition room, the special exhibition room, and the Takahashi Setsuro Hall, as well as the corridors that connect them, and the three exhibition spaces share a collection room, a mechanical room, and a management room on the ground floor, greatly improving functionality and economy. The permanent exhibition room is a white structure covered in translucent glass in the middle, and the interior space is homogeneous for modern art exhibitions (Figs. 83, 84, 85, 86).
3-3-8, Kagawa Inokuma Kenichiro Museum of Contemporary Art - Yoshio Taniguchi
Yoshio Taniguchi once said28: Inokuma Genichiro is a pioneer of modern Japanese art, and Marugame City, which received all of his works, plans to build an art museum in front of the station on the base opposite Marugame Station, and the owner's vision is to build an art museum that integrates architecture, art, and the urban environment. However, because Inokuma's own opinion had to be taken into account, his suggestion to "create a rich space" was also taken into account. The main body of the building adopts a simple rectangle according to the shape of the site, and on the side facing the square in front of the station is an open public space, and the front of this space is a mural, which expresses the characteristics of the art museum and expects the entrance of the museum to become a boundary of the station square. The special exhibition room is located on the top floor of the building, and the lecture hall, art library, modeling studio, restaurant, and other auxiliary rooms can be accessed through the large staircase in front of the station square. "The museum is a place that enriches people's bodies and minds: there are restaurants and shops, there are young people playing guitars in the square, there are children learning needlework, and it is an art museum that blends in with the street," I feel like I realized the ideas of the owner and Inokuma Koichiro himself (pictures 87, 88, 89, 90).
3-3-9, Kyoto National Museum Heisei Chishinkan - Yoshio Taniguchi
Taniguchi Yoshio once said25: On the south side of the building base is Sanjusangendo, on the east side is Myokenen Court and Chiso-in Temple, on the north side are famous temples such as Hokoji Temple and Toyokokusha, and on the west side is Kamogawa. The main building of the National Museum, which was retained in the Renaissance style from the Meiji period, is surrounded by lush greenery. The design mission of the Heisei Chiseikan is to address the relationship between the existing cultural heritage and the natural environment and the new facilities, and to organize the external structure and landscape of the garden. The layout of the Heisei Chisin Building follows the east-west and north-south axes of Kyoto, and has a relationship with the lattice-like structure of the ancient capital. The exterior design of the Heisei Chishinkan emphasizes the relationship with the history of the Meiji Ancient Metropolitan Museum with the height of Piwaken, and emphasizes the elements of the asymmetrical spatial composition of Japan in the Heisei period through the horizontal extension of the new building and the combination of asymmetrical axes of columns and beams (Figs. 91 and 92).
3-3-10, Kanagawa Prefecture Keio University Fujisawa Shonantai High School - Taniguchi Yoshio
Yoshio Taniguchi once said29: This building is a sixth-year junior high school affiliated with a junior high school within Keio University's Fujisawa Shonandai Campus in Kanagawa Prefecture. Based on the principle of "diversity in unity", the design of this project strives to express some individuality in the architectural complex of Keio University's Fujisawa Shonandai Campus that was master-planned and designed by Fumihiko Taruhiko. The layout of the building begins with a circle of ordinary classrooms and office rooms on the lower floors. Next, the gymnasium and various special classrooms were placed in a multi-storey building inside, so that the distance for students to move from the special classrooms to the regular classrooms was also shortened. Finally, the teacher's office and library are placed in a high-rise tower located in the center of the site, so that students can read books and have more opportunities to communicate with teachers. On this campus, I have set up a variety of interesting spaces to enrich the students' six years of junior high school life: such as a fountain plaza with outdoor seating and sculptures, a small park overlooking Mt. Fuji, and a three-dimensional campus corridor, the scenes of these streets make students think about their future life (Figures 93 and 94).
Chapter Summary: This chapter demonstrates the status and role of Taniguchi and his sons in modernist architecture through a total of 10 architectural design works of Yoshiro Taniguchi in Japan and 8 Taniguchi Yoshio in Japan, and describes Taniguchi Yoshio's desire to escape the responsibility of "inheriting his father's business" from the side, from majoring in mechanical engineering to studying abroad under Gropius, to later studying under Kenzo Tange, and gradually surpassing his father in "tradition and modernity" The exploration of Japanese modernism has formed its own unique style.
Figure 61: The entrance to the 70th anniversary memorial hall of Tokyo Institute of Technology on the hill - Photo: Shangri-La on the sea
Fig. 62: Craftsmen designing bricks for the façade of the Tokyo Institute of Technology 70th Anniversary Memorial Hall - Photo: Shangri-La on the sea
Figure 63: Surroundings of the Tokyo Institute of Technology 70th Anniversary Memorial Hall - Photo: Shangri-La on the Sea
Figure 64: Composition of the façade of the Toyokan of the Tokyo National Museum - Photo: Shangri-La on the sea
Figure 65: Plane relationship between the Toyokan of the Tokyo National Museum and the Horyuji Treasure Museum - Photo: Shangri-La on the sea
Fig. 66: Street façade of Yoshiro Taniguchi and Yoshio Taniguchi Memorial Kanazawa Architecture Museum - Photo: Shangri-La on the Sea
Figure 67: Yoshiro Taniguchi and Yoshio Taniguchi Memorial Kanazawa Architecture Signboard - Photo: Shangri-La on the Sea
Figure 68: Yoshiro Taniguchi and Yoshio Taniguchi Memorial Kanazawa Architecture Museum - Photo: Shangri-La on the Sea
Figure 69: Yoshiro Taniguchi and Yoshio Taniguchi Memorial Kanazawa Architecture Exhibition Space - Photo: Shangri-La on the Sea
Figure 70: Floor plan composition of the Suzuki Daisuke Memorial Museum in Kanazawa City - Photo: Shangri-La on the sea
Figure 71: The entrance building at the Suzuki Daisuki Memorial Museum in Kanazawa City - Photo: Shangri-La on the sea
Figure 72: Souvenir of the Suzuki Daisuke Memorial Museum in Kanazawa City - Photo: Shangri-La on the Sea
Figure 73: East side of the garden of the water mirror at the Suzuki Daishoku Memorial Museum in Kanazawa City - Photo: Shangri-La on the sea
Figure 74: West side of the garden of the water mirror at the Suzuki Daishoku Memorial Museum in Kanazawa City - Photo: Shangri-La on the sea
Figure 75: The Reflection Space Building at the Suzuki Daisuki Memorial Museum in Kanazawa City - Photo: Shangri-La on the Sea
Figure 76: Exit from the Suzuki Daisuki Memorial Museum in Kanazawa City - Photo: Shangri-La on the Sea
Figure 77: The façade of the Horyuji Treasure Museum in Tokyo - Photo: Shangri-La on the sea
Figure 78: The front porch of the Horyuji Treasure Museum in Tokyo - Photo: Shangri-La on the sea
Figure 79: The octagonal glass dome at the Kasai Rinkai Park Aquarium in Tokyo – Photo: Shangri-La on the sea
Figure 80: The entire façade of the observation deck in Kasai Rinkai Park, Tokyo - Photo: Shangri-La on the sea
Figure 81: Interior design of the observation deck in Kasai Rinkai Park, Tokyo – Photo: Shangri-La on the sea
Figure 82: Design of the façade of the Kasai Rinkai Park Observatory in Tokyo - Photo: Shangri-La on the sea
Fig. 83: The façade of the Toyota City Museum of Art - Photo: Shangri-La on the sea
Fig. 84: Outdoor exhibition at the Toyota City Museum of Art - Photo: Shangri-La on the Sea
Fig. 85: Artificial garden at the Toyota City Museum of Art - Photo: Shangri-La on the sea
Fig. 86: Overall model of the Toyota City Museum of Art - Photo: Shangri-La on the sea
Fig. 87: The front entrance of the Inokuma Kenichiro Museum of Modern Art facing the plaza in front of the station – photo: Shangri-La on the sea
Figure 88: The special exhibition room on the top floor of the Inokuma Koichiro Museum of Modern Art - Photo: Shangri-La on the sea
Figure 89: Model of the Inokuma Kenichiro Museum of Modern Art - Photo: Shangri-La on the Sea
Fig. 90: The opening of the interior corridor of the Inokuma Kenichiro Museum of Modern Art - Photo: Shangri-La on the sea
Figure 91: Comparison of the Heisei Chishinkan and the Meiji Ancient Metropolitan Museum of the Kyoto National Museum - Photo: Shangri-La on the Sea
Fig. 92: Kyoto Heisei Chisin Building and Kanazawa Suzuki Daishokan on the cover of a new architecture magazine in Japan - Photo: Shangri-La on the sea
Figure 93: The low-rise building and entrance of Keio University's Fujisawa Shonantai High School - Photo: Shangri-La on the sea
Figure 94: The high-rise building and campus plaza of Keio University's Fujisawa Shonandai High School - Photo: Shangri-La on the sea
图95：《The Japan Architect YOSHIO TANIGUCHI》封面-摄影：海上的香格里拉
Fig. 96: Cover of YOSHIO TANIGUCHI Architect - Yoshio Taniguchi's Architecture - Photo: Shangri-La on the Sea
4. Shin Takamatsu – Using the formal language of industrialization to respond to dystopian architectural concepts 31:
4-1. The position of Shin Takamatsu in modernist architecture:
A flamboyant and fragile economic frenzy was the leitmotif of Japanese society in the 1980s, and the explosion of land deals gave rise to a boom in radical architecture.31 As a representative of futurist and experimental architecture of this period, Japanese architect Nobu Takamatsu was adept at responding to dystopian architectural ideas with the formal language of industrialization, and pushed the dominant international modernism to another peak of postmodernism with his undefined style and innovative ideas. As Kishi writes in the preface to his monograph, Nobu Takamatsu is building a kind of architecture that "does not exist", a visual language derived from the industrial age that breaks the traditional and conservative rules of society in a radical way. While some critics have argued that his architecture places too much emphasis on unrealistic decorative expressions, it is undeniable that this imaginative and highly sensitive architecture creates a new way of thinking about rigid thinking and expands the possibilities of the architectural field.
4-2. Shin Takamatsu's life and growth process:
Born in 1948 to a family of fishermen in Izumo City,32 Takamatsu's upbringing in a fishing boat repair shop and a repair shop along the railroad line provided him with an alternative to his architectural career, and the special shape of industrial products such as machines and lathes had a sense of technology and futurism that was contrary to traditional Japanese architecture, and his experience in operating machines and hand-made diving equipment laid a solid foundation for his later creations. After entering the Faculty of Architecture at Kyoto University, Shin Takamatsu became a student of the "philosophical architect" Seiichi Shirai, whose idealistic ideas and anti-modernist architectural style greatly influenced Takamatsu's view of architecture. After the unexpected death of his teacher, Shin Takamatsu gained a deeper understanding of life and death and the laws of the development of things, and tried to integrate this consciousness of pain and impulsiveness into the architecture, achieving a refined spatial form in the inner game. He is currently the principal architect of Shin Takamatsu Architects and Professor Emeritus of Kyoto University.30 He is an Honorary Member of the American Institute of Architects (AIA), an Honorary Member of the German Institute of Architects (BDA), and a Member of the Royal Institute of British Architects (RIBA).
4-3. Shin Takamatsu's main works and the design ideas embodied therein:
4-3-1、东京涉谷EARTHTECTURE33
In the context of a metropolis like Tokyo, the regional landmark and presence of the building are highlighted while the surrounding area is residential, and it also prepares for the future commercial revitalization of the site. The main building is located underground, and the ground part is mainly designed with three butterfly-shaped light towers, highlighting the urban landmark of the building. It is also a very conceited expression of the success of future commercial development. The author believes that the characteristics of this project are that it combines the characteristics of both the classical mechanical aesthetics and the restrained Japanese Zen style in Takamatsu's works. The symbolic light tower of the aircraft on the ground and its details are very mechanical. At the same time, the main body of the building is located underground, which is lit through the atrium, which is low-key but does not lose the basic function of the building. The building is now used as an international club (figs. 97, 98).
4-3-2, Tokyo Ueno Bonsai Club 33
As a bonsai that has been popular in Japan since the Edo period, the number of fans in the world is increasing rapidly. This building is the operational headquarters of bonsai enthusiast groups and a display center for bonsai. Bonsai is a spiritual art that originated in Buddhist meditation, but it is still an otherworldly art. Because of the limitation of 10 meters in height, it must be a box-shaped building, so under such conditions, the lattice-like façade is used to seal the art of time and space in the interior landscape world. When I visited this building, I paid more attention to the proportions of its façade. First of all, the virtual and real interspersed of the façade block echoes the function of the plane, and then the repeated use of the same element in the façade has a sense of rhythm. Of particular interest is the mechanical aesthetic aspect of the corners (Figs. 99, 100).
4-3-3, Tokyo Minato-ku, Akasaka Building, 33
The road ahead is very narrow, the height of the building is strictly limited, and the buildings next to it are a bit scattered, and at the same time the building has to meet the requirements of a commercial building. The synthesis of a variety of architectural design techniques presents a spatial image: that is, through the comprehensive application of various design techniques such as [change of scale], [reduction and expansion], [non-segmentation and segmentation of parts and wholes], [occlusion of details], [displacement of the center], [floating] and [rhythm of light reflection], etc., in an attempt to create a kind of "mirage" of the city. Nobu Takamatsu has said that cities and imaginary images, rituals, myths, and mirrors are all topics he has been studying. These buildings in Tokyo are his understanding of the city of Tokyo, and I feel that his understanding of the city of Kyoto is even deeper (Figs. 101, 102, 103).
4-3-4, 31, ARK Dental Hospital, Fushimi-ku, Kyoto
Designed by Nobu Takamatsu in 1983, the Ark dental clinic building in Kyoto evokes memories of steampunk literature. At the same time, Takamatsu uses concrete and metal to present mechanical details in the structure of the building's façade, expressing a sculptural and decorative sense that is different from that of postmodernism (fig. 104).
4-3-5、京都左京区SYNTAX31
Standing within a thriving new street, Syntax does not seek the impact of form, but rather highlights the antagonistic relationship between the individual building volumes and the whole through the outward extension of the two wings, while maintaining the balance of the visual identity with relatively uniform details, forming a highly independent and powerful spatial system (figs. 105, 106).
Chapter Summary: This chapter demonstrates the position and role of Shin Takamatsu in Japanese modernist architecture through five architectural works of Shin Takamatsu in Tokyo and Kyoto, Japan: as a representative of futurist and experimental architecture in the 1980s, he used a visual language derived from the industrial age to break the traditional and conservative social rules in a radical way, and pushed the dominant international modernism to another peak of postmodernist development with his undefined style and innovative ideas.
FIGURE 97: FRONT FAÇADE OF EARTHTECTURE IN SHIBUYA, TOKYO - PHOTO: Shangri-La on the sea
FIGURE 98: ARCHITECTURAL DETAIL OF EARTHTECTURE IN SHIBUYA, TOKYO - PHOTO: Shangri-La on the sea
Figure 99: Side façade of the Ueno Bonsai Club in Tokyo – Photo: Shangri-La on the sea
Figure 100: The façade of the Ueno Bonsai Club in Tokyo – Photo: Shangri-La on the sea
Figure 101: The front façade of the Akasaka Building in Imasaimoto, Minato-ku, Tokyo – Photo: Shangri-La on the Sea
Fig. 102: Detail of the façade of the Akasaka Building in Imasaimoto, Minato-ku, Tokyo - Photo: Shangri-La on the sea
Figure 103: Detail of the entrance to the Akasaka Building in Imanishimoto, Minato-ku, Tokyo - Photo: Shangri-La on the Sea
Figure 104: Front façade of ARK Dental Hospital in Fushimi Ward, Kyoto – Photo: Shangri-La on the sea
Figure 105: General aerial view of the building at SYNTAX in Sakyo-ku, Kyoto - Photo: Shangri-La on the sea
Figure 106: Detail of the back of SYNTAX in Sakyo-ku, Kyoto - Photo: Shangri-La on the sea
5. Kazuro Kishi - An architect dedicated to the interpretation of traditional places and culture and the design of modernist spaces34:
5-1. Kishi Kazuro's position in modernist architecture:
Kishi has received various awards from Kenneth F. Brown Asia Pacific Design Award, Merit Award, Architectural Institute of Japan Award, GOOD DESIGN Award, Asia Pacific Interior Design Award, Hong Kong Designers Association Global Design Gold Award, The Architecture Master Prize Encouragement Award in the Architecture/Small Building Category, and many other awards. He has served as a judge for several design awards. He is the author of more than 20 books and collections, including "Ensemble Architecture", "Architectural Journey", and "The Architecture of Waro Kishi" (collection of works)35.
5-2, Kishi Kazuro's life and growth process:
Born in Yokohama in 1950, he graduated from the Faculty of Architecture at Kyoto University in 1975 and completed his Master of Architecture program in 1978, and established Kazuro Kishi Architects in 1981 and changed his name to K.ASSOCIATES/Architects 36 in 1993.
5-3. Kishi Kazuro's main works and the design ideas embodied in them:
5-3-1、2016年TOTO的新书发布展览：岸和郎-京都的回归（home away from home）
In the preface to this exhibition, Kazuro Kishi says, "When did I first come up with this idea for the return of Kyoto?" I remember that it was in 1994 that I received a project commission from [Shino and Hisaden]. At that time, there was also the assistance of the Nakamura Gai No. 2 Public Works Store, as well as consultants such as Daitokuji Shinju-an, Kodai-ji Temple, and Kuden. At that time, I thought of myself as a Japanese modernist architect, because modern architects are about designing contemporary buildings, which is what I was aiming for. The base of the building is located in Daitokuji Yoko, and what we want to pursue is [Japanese space]. At that time, everyone was waiting to see what kind of contemporary architecture was designed. In the process of designing this project, I first thought of [the return of Kyoto]. But where is the [Kyoto] of my so-called return? I started exploring this question in the 1990s. Since then, my projects have expanded from Kyoto to Tokyo and beyond, and perhaps because I left Kyoto, I was able to see this issue more deeply because I had a comparison. I started my career as an architect in Kyoto in the 1980s, but I also taught at several universities in Kyoto, including Kyoto University of Art and Design, Kyoto University of Arts and Technology, and Kyoto University. Therefore, the content of this exhibition is my experience in designing and teaching in Kyoto over the years, and I understand that "home away from home" is not a physical return to Kyoto, but rather a demonstration of my efforts to explore this issue in the past 20 years (Figs. 109, 110, 117, 118, 119).
5-3-2, 2012 TOTO's Publication: Kishi Kazuro - Chapter 4 of Ensemble Architecture, Interpretation of Tokyo and Kyoto Place and Culture
Kazuro Kishi said34: If we compare the urban imagery of Tokyo with Kyoto, then take Shimbashi in Tokyo as an example, there are many izakaya near JR Shimbashi Station in Tokyo, and they usually open in the evening until half past midnight the next morning, that is, the last subway, which is called "final power" in Japan. This time is actually for office workers in Tokyo, who live a monotonous 9-to-8 life on weekdays, and only during this time can they temporarily forget about their work troubles and have a drink at an izakaya and some snacks. This is probably the "final power culture" in Tokyo. This kind of "terminal electricity culture" of Tokyo office workers is a bit strange to Kyoto people, because Kyoto is an ancient capital and a world-famous tourist city, so it feels like Kyoto's izakaya are all set up for tourists, and many of Kyoto's facilities are designed to make it easier for tourists to reach tourist attractions (Pictures 107, 108, and 120).
5-3-3, several works by Kazuro Kishi
a, Shino and Jiuchuan
Kazuro Kishi said 34: [Shino Kazukuden] This project is a proposed Japanese restaurant on a small site on the east side of Daitokuji Temple in Kyoto. Considering that the surrounding area is surrounded by traditional Japanese cultural buildings that need to be protected, I believe that the design theme of this project is to create a "Japanese architecture with a modern space", not just a "postmodern architecture" with a superficial skin. In addition to serving the functions of Japanese cuisine and bento box sales, we also introduced the culture and scenery of Daitokuji Temple into the interior space of the building by borrowing scenery, and designed a very small Japanese garden that echoes the larger Japanese garden of Daitokuji Temple (Fig. 111).
b. Hakata's home 35
The project is a residential area located in the center of Fukuoka. Since it is a narrow and deep site, there are buildings in close proximity to each other in three directions along the boundaries of the adjacent land. Due to the low-rise public buildings built opposite the road on the south front, the south side becomes the only area with open views. For the L-shaped plan building with a three-story ventilated atrium in the northwest corner, only the green scenery of the public building across the road and the atrium in the northwest corner are allowed by this building. The two-story living room, which is arranged facing the frontal road, extends naturally to the opposite side through wooden shutters set on the outside of the opening. The atrium, which connects the ground floor to the third floor, is a flat garden for the Japanese-style room on the first floor, and the main feature of the scenery is the glass wall in the dining room on the second floor. The ground floor is a Japanese-style courtyard, and the second floor is a modern "bamboo", which is also an element that emphasizes the verticality of the atrium on the third floor. The residences are built in high-density areas, and the 3 floors below are enclosed, introverted spaces. But the situation on the top floor is completely different, functionally a children's room and a study, without any defense against the outside, it is open, in contrast to the enclosed space below the 3rd floor, it is an open attic, that is, a roof courtyard. "Atrium" and "Roof Courtyard". These two exterior spaces are a means of building an urban house, and this project is an urban house with both (Fig. 112).
c. Xiyin Temple 36
The project is a Zen temple on the outskirts of Takarazuka City. Although the plan was to rebuild all the main functional areas such as the temple, basilica, guest house, and warehouse, there was no space on site to separate these functional areas. Therefore, it is necessary to arrange the main functions in a single building, while creating the atmosphere required for each function, while taking into account the circulation of the existing cemetery. Having multiple functions in one building is the theme of the design. The design is not a simple copy of traditional architecture, but proposes a new temple space that does not lose the atmosphere of a traditional Japanese temple even though it is a modern building (Fig. 113).
d. 36, Activity Room Building, North Plaza, Kyoto University
The project is an activity room designed for students of the Athletic Department, and the site is located in the northern part of the main campus of Kyoto University. The design needs to comply with two strict regulations, one is the protection of cultural assets buried underground, so it is difficult to design a building with a deep foundation, and the second is that it is subject to the Kyoto City Landscape Regulations, it must be a sloping roof, and the form, color, and material of the roof and walls are also restricted. Taking into account the first condition so as not to cause damage to cultural property, the new building requires a larger area than the old one, although the shape of the foundation of the new building is the same as before. To solve this problem, a special structural form was considered, in which a large structure was placed on a small foundation by pairing the outer and inner pillars to support the roof and floor. The roof is in the most basic roof shape, and the color is a dark gray color extracted from traditional Japanese colors. The entire structure that is exposed to the outside is painted in the same color to create a sense of wholeness. In the center of the building, a staircase connects to the upper platform and serves as a gathering place for students (Fig. 114).
e. Kyoto Institute of Technology Student Union Building 36
The building is a student hall built in the center of the Kyoto Institute of Technology campus, which has a history of more than 60 years, and since the building is located in the center of the campus, it was designed with the campus landscape as a backdrop and new elements and functions added as an extension of the existing design. The reinvention of the former factory is also one of the main concepts. By using the same gabled continuous roof shape as the academic building, a campus suitable for the construction of an engineering university is proposed. The south side of the building includes a wooden deck plaza that serves as a gathering place for new students and brings vibrancy to the campus. The lobby is surrounded by a group of brown brick buildings, representing the standard style of the entire campus. For this building, the designers wanted to return to the original proposition by using real bricks instead of bricks and tiles as exterior materials. In order to express the brightness of modern architecture, only brick walls are used on the second floor, while materials such as glass are used to create open spaces on the first floor. In addition, depending on the location, the brick wall of the second floor will be extracted in a lattice pattern, and the view through the transparent brick wall will be introduced to the outside, seeking the possibility of expanding the space. There is a cafeteria on the first floor, and a bookstore and convenience store on the second floor (Figs. 115, 116).
Chapter Summary: This chapter argues for Kishi's place and role in Japanese modernist architecture through Kishi's exhibitions, writings, and several works: an architect dedicated to the interpretation of traditional places and culture and modernist spatial design.
Figure 107: An izakaya near Shimbashi Station on the JR Yamanote Line in Tokyo - Photo: Shangri-La on the sea
Figure 108: An izakaya in the ancient streets of Gion, Kyoto - Photo: Shangri-La on the sea
Figure 109: Kazuro Kishi's 2016 exhibition at TOTO: "The Return of Kyoto" poster - Photo: Shangri-La on the sea
Figure 110: Kazuro Kishi's 2016 exhibition at TOTO: "The Return of Kyoto" - Photo: Shangri-La on the Sea
Figure 111: Model of the TOTO exhibition of Kazuro Kishi's work "Shino and Hisashi" - Photo: Shangri-La on the sea
Fig. 112: Kishi Kazuro's work "Hakata's Home" TOTO exhibition model - Photo: Shangri-La on the sea
Fig. 113: Kishi Kazuro's work "Kionji Temple" TOTO exhibition model - Photo: Shangri-La on the sea
Fig. 114: Model of TOTO in Kishiro's work "Kyoto University North Plaza Activity Room Building" - Photo: Shangri-La on the sea
Fig. 115: Kishi Kazuro's work "Kyoto Institute of Technology Student Union Building" TOTO architectural model - Photo: Shangri-La on the sea
Fig. 116: A model of the TOTO structure of Kazuro Kishi's work "Kyoto Institute of Technology Student Union Building" - Photo: Shangri-La on the sea
Fig. 117: Structural model of Kazuro Kishi's other works - Photo: Shangri-La on the sea
Fig. 118: Structural model of Kazuro Kishi's other works - Photo: Shangri-La on the sea
Figure 119: Kazuro Kishi's publication of TOTO in 2016: Kishi's collection of works - Photo: Shangri-La on the sea
Fig. 120: Kazuro Kishi's 2012 TOTO Publication: The Architecture of the Ensemble - Photo: Shangri-La on the Sea
Full text summary: This paper introduces the Japanese architects Tadao Ando, Terumobu Fujimori, Yoshiro Taniguchi and Yoshio Taniguchi through the dimensions of the status and role of architects, theories and works, and related works. Inheriting the author's "The Context of Modern Japanese Architects", "Architects and Planners of Modern Japanese Architecture-Metabolism School: Fumihiko Taruhiko, Kisho Kurokawa, Kiyonori Kikutake" and "Teachings of Settlements: Japanese Architects Hiroshi Hara and His Disciples - Riken Yamamoto, Kazuhiro Kojima, Kengo Kuma, Takushi Takushi". In this article, I will first introduce Tadao Ando, a legendary architect with a history of legend, and then compare architects with postmodernist tendencies, such as Terumobu Fujimori, Yoshiro Taniguchi, Yoshio Taniguchi, Nobu Takamatsu, and Kazuro Kishi, in terms of "modern expressions of traditional element symbols". Through the author's reading and study tour experience during my study in Japan, I shared my personal understanding of them with readers in China, and I look forward to communicating with you.
It is well known that the Swiss modernist architect Le Corbusier had three major disciples in Japan: Kunio Maekawa, Junzo Sakakura, and Takamasa Yoshisaka, who were loyal followers of Le Corbusier in that era and promoted the development of modernist architecture in Japan through theory and practice. In contrast, Togo Murano and Kazuo Shinohara, in their own ways, "confronted" Le Corbusier, blazing a trail of modernist architecture in Japan by inheriting traditional Japanese architectural forms and spaces. From a rational perspective, the author will analyze the position and role of Kunio Maekawa, Junzo Sakakura, and Takamasa Yoshisaka in the development of modern architecture in Japan, and compare Togo Murano and Kazuo Shinohara with their understanding of traditional Japanese forms and spaces. Therefore, the author also invites readers and friends to look forward to the next part: "The Founders of Modern Architecture: Kunio Maekawa, Junzo Sakakura, Takamasa Yoshisaka, Fujigo Murano, Kazuo Shinohara".
bibliography
1. Japan New Construction Magazine, "Tadao Ando's Two Presents - Hiroyuki Suzuki", 2009.
2. Japan TOTO Publishing House, "The Architecture of Tadao Ando".
3. Baidu Encyclopedia, "Famous Japanese Architect Tadao Ando".
4. Offset Architectural Shift, "Controversial Design: Sumiyoshi's Longhouse/Tadao Ando," September 2023.
5. CA Contemporary Architecture, "Tribute to the Classics 100s|Postmodernism Tadao Ando and His Church of Light", April 2021.
6. Architect, "Honfukuji Mizugodo: Washing and Rebirth|Tadao Ando", May 2023.
7. Little Monkey Journal, "A Journey in Search of Tadao Ando's Architecture - Kyoto TIME'S", August 2020.
8. Travels to Craftsman's Mountain, Architectural Sharing, Tadao Ando: The Garden of Famous Paintings on Ceramic Plates, February 2022.
9. Japan New Architecture Magazine, "Shibuya's [Earth Boat]-Tadao Ando", 2009.
10. New Architecture Magazine, "Public Space Created in the Overlapping Places of History-Tadao Ando", 2009.
11. New Architecture Magazine, Japan, "Design to Maintain the Vitality of People Gathering - Tadao Ando", 2009.
12、日本GA杂志，《21-21, DESIGN SIGHT》，2005年。
13. Tadao Ando Exhibition-Challenge Commemoration, Tokyu Oimachi Line - Uenoge Station, 2017.
14, Japan X-Knowledge Home, Toshi, "Fujimori Terunobu 侑", August 2006.
15. Baidu Encyclopedia, "Japanese Architectural Historian Fujimori Terumobu".
16. Published by TOTO, Fujimori Terumobu - Barbaric Architecture, 1998.
17. Japan New Architecture Magazine, "Cave Dwelling in Yakinisuki HOUSE - Fujimori Terumin", 2009.
18. Yi Yi's architectural record, "Contemporary Architecture 031\ High Over Nunnery, Low Over Nunnery and Sand and Mud Flying Boat", September 2020.
19. Nesting Award Master Class, "La Collina\ Fujimori Terumobu - Neo-Primitivism", February 2021.
20. One Night Aesthetics, "Another Possibility of Travel: 10 Niche Destinations Created by Architectural Experts", January 2019.
21. Jiuzhang Society, "Taniguchi Yoshiro and Shugakuin Leaving the Palace, Women-The Rediscovery of the Beauty of Poetry \ The Beauty of the Garden", May 2017.
22. Duncan Art Mushroom, "Japanese Architect Yoshio Taniguchi's Tranquility and Wisdom - Light and Clear Creative Concept", December 2021.
23 ZaomeDesign, "Super Cool Father and Son Soldiers in the Architectural World| Yoshiro Taniguchi & Yoshio Exhibition, June 2017.
24. Japan New Architecture Magazine, "No Craftsman - Taniguchi Yoshio", September 2012.
25. Japan New Architecture Magazine, "The Architecture of Heisei Chishinkan - Yoshio Taniguchi", December 2014.
26. Between the inside and outside, "Taniguchi Yoshio \ The Power of Tranquility", July 2021.
27. Architect, "Horyuji Treasure Museum|Taniguchi Yoshio", October 2021.
28、《The Japan Architect YOSHIO TANIGUCHI-日本建筑师谷口吉生》。
29、日本谈交社，《YOSHIO TANIGUCHI Architect -谷口吉生的建筑》。
30, Baidu Encyclopedia, "Japanese Architect Takamatsu Shin".
31. Between the inside and outside, "Nobu Takamatsu\ Reconstructed Language," March 2023.
32. Between the Inside and the Outside, "Shin Takamatsu\ Mechanical Imagery," March 2023.
33. JA-Library Magazine, Shin Takamatsu, Spring 1993.
34. Published by TOTO, Japan, "The Architecture of the Ensemble, the Architecture of Culture, History and Nature - Kazuro Kishi", September 2012.
35. Published by Designer Media, "One House: Designer Kazuro Kishi Creates "The Rest of Your Life is Your Home", November 2019.
36. Published by Designer Media, "Kishi Kazuro: Keeping a Distance from Fashion, Valuing the Architecture Itself", November 2019.