Seminar Course Arch.576/BB Professor Botond BOGNAR Japanese Architecture Time: Thursday 5:30-8:20 pm Fall Semester 2009 Place: Temple H Buell Hall 325 BEFORE AND BEYOND THE “BUBBLE” – Issues in Postwar Japanese Architecture "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. 3. COURSE SCHEDULE – TIMETABLE Aug. 27 Introduction to the Course and Japan in General Traditional Architecture 1 Sept. 03 Traditional Architecture 2 10 After the War: Modernism and the architecture of Kenzo Tange. 17 The Metabolist Movement 1 24 The Metabolist Movement 2 Oct. 01 Mannerism and Contextualism: Arata Isozaki and Fumihiko Maki 08 The New Wave of Japanese Architecture 1 15 The New Wave of Japanese Architecture 2 22 Kazuo Shinohara and Tadao Ando 29 The Architecture of the Bubble Era 1 Nov. 05 The Architecture of the Bubble Era 2 12 Beyond the Bubble 1 19 Beyond the Bubble 2 26 NO CLASS (Thanksgiving) Dec 03 NO CLASS 10 Submitting final assignments

4. REQUIREMENTS 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! Botond Bognar Professor and Edgar A. Tafel Chair in Architecture

8. COURSE SCHEDULE – OUTLINE BY TOPICS (WEEKLY LECTURES) AUG. 27 INTRODUCTION TO THE COURSE and TRADITIONAL ARCHITECTURE - 1

- Why Japanese architecture? - The origin of Japan (Nippon) - Topography, climate - Seismic activities and disasters - Reverence and worship of Nature: agriculture - Living with nature; festivals (matsuri) - Nature and art: ikebana, bonsai, haiku, etc. - Cyclical changes: tracking time (historic periods) - Language and writing - Crowded country and urban environments - Transportation: trains, subways, expressways - The city as "living room" - Heterogeneity: coexistence of old and new and everything else Readings: B. Bognar. Contemporary Japanese Architecture. (New York, 1985) Shinto architecture - General characteristics of Japanese traditional architecture: structure and techniques - Architecture and mythology: the spiritual essence of everything: kami - Shinto as “religion” - History of Shinto architecture - Elements of Shinto Shrines - torii the ceremonial gate; shin no mihashira the sacred pillar - Periodic rebuilding of Shinto Shrines (shikinen sengu) - 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 - The religion of Buddhism: its origins and importation from China `

- History and Transformation of Buddhist architecture - Elements of Buddhist Temples (otera, -dera, -ji, -in, -do):

South Gate (nandai mon) Inner Gate (chúmon) Cloister Corridor (róka) Main Hall (kondó, later hondó) Lecture Hall (kódó) Pagoda (to and tahóto) Dormitory (taibó, shoshibó)

- Asuka-dera, Asuka (now Osaka), 588-596 - SHITENNO-JI, ASUKA (now Osaka), early 7th Century - HORYU–JI TEMPLE, Nara, 607, 679–711 - TODAI–JI TEMPLE, Nara, 752, Rebuilt (Main Hall) 1199,1709;1980; - KINKAKU–JI (Golden Pavilion), Kyoto, 1397 (Ashikaga, Yoshimitsu) - RYOAN–JI TEMPLE and ROCK GARDEN, KYOTO, ~1499 - DAITOKU–JI TEMPLE, Kyoto, 1509 - KIYOMIZU–DERA TEMPLE, Kyoto, 792, 1634

Readings: K. Nishi and K. Hozumi. What is Japanese Architecture (Tokyo, 1985) SEP. 03 TRADITIONAL ARCHITECTURE - 2 and URBANISM 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 - NIJO–JO, Kyoto, 1603-1626 (Tokugawa Ieyasu) - HIMEJI CASTLE, Himeji, Hyogo, 1581 (Toyotomi Hideyoshi); 1609 (Ikeda Terumasa) - MATSUMOTO CASTLE, Matsumoto, Nagano Prefecture, 1596 - Shirakawa Residences, Shirakawa, Toyama Pref. - Machiya in the Gion, Shirakawa, Sannen-zaka, and other districts of Kyoto - YOSHIJIMA and KUSAKABE HOUSES, Takayama, Toyama Pref.,1881

Japanese Urbanism in Historic Perspective - Prehistoric and early times - Historic periods and events - Changing capitals from early times till today: Naniwa (Osaka), 645-651 AD. Emperor Kotoku Asuka (south of Nara), 651-668 AD. Empress Saimei Omi (Otsu), 668-673 AD. Emperor Tenchi Asuka (further south of Nara), 673-694 AD. Emperor Temmu Fujiwara (south of Nara), 694-710 AD. Empress Jito Heijo-kyo (Nara), 710-740 AD. Empress Gemmyo (first permanent capital) Kuni (north of Nara), 740-742 AD. Emperor Seimu Shiragaki (Shiga Prefecture), 742-744 AD. Emperor Seimu Naniwa (Osaka), 744-745 AD. Emperor Seimu Heijo-kyo (Nara), 745-761 AD. Emperor Seimu Hora (Shiga Prefecture), 761-769 AD. Empress Koken Yugi (Osaka Prefecture), 769-784 AD. Empress Shotoku Nagaoka (southwest of Kyoto) 784-794 AD. Emperor Kammu Heian-kyo (Kyoto), 794-1868 AD. Emperor Kammu Tokyo, 1868-present, Emperor Meiji - Chinese model – Chang'an the T'ang Dynasty (AD 618-907) Capital, HEIJO–KYO (NARA) 710–794 HEIAN–KYO (KYOTO) 794–1868 EDO (now TOKYO) 1868 - present - Japanese modification of Chinese model - Types of urban settlements and their architecture in Japan: Farming villages (noson): Toga–mura (Toyama Prefecture) Shirakawa (Toyama Prefecture) Temple and shrine towns: Kotohira (Kagawa Prefecture) (monzen-machi) Miyajima (Hiroshima Prefecture) Nagano (Nagano Prefecture) etc. Port towns (minato-machi): Nagasaki Yanai (Hiroshima Prefecture) Ine (Kyoto Prefecture) Sakai (Osaka Prefecture) Post towns (shukuba-machi): Ouchi–juku (Fukushima Prefecture) Narai–juku (Nagano Prefecture) Tsumago–juku (Nagano Prefecture) Magome–juku (Nagano Prefecture), etc. Merchant or market towns: Kurashiki (Okayama Prefecture) (sho–kogyo machi) Arimatsu (Aichi Prefecture)

Uchiko (Ehime Prefecture) Takayama (Gifu Prefecture) Kawagoe (Saitama Prefecture), etc. Castle towns (joka-machi): KANAZAWA (Ishikawa Prefecture), etc EDO (Tokyo) Readings: K. Nishi and K. Hozumi. What is Japanese Architecture. (Tokyo, 1985) B. Bognar. World Cities: TOKYO (London, 1997)

SEP. 10 MODERNIZATION OF JAPAN AND THE DEVEOLPMENT OF TOKYO

- Meiji Restoration in 1868 and the launch of modernization in Japan - Early contacts with Western architecture - Importation of Western architecture and the role of foreign technicians - Japanese interpretation of foreign techniques and styles - Tokyo as the experimental laboratory for testing new urban models - Western architects and the activities of Josiah Conder in Japan - Japanese eclecticism: the work of Kingo Tatsuno and Tokuma Katayama - Sumitomo Eizen and the architecture departments of "zaibatsu" - The role of technology and the emergence of engineering oriented trends - GLOVER RESIDENCE, Nagasaki, 1863 (Hidenoshin Koyama w/ Thomas Blake Glover) - KAICHI ELEMENTARY SCHOOL, Matsumoto, 1876 (Kiyoshige or Seiju Tateishi) - First Mitsui Bank, Kaiunbashi, Tokyo, 1872 (Kisuke Shimizu) - Second Mitsui Bank, Surugacho, Tokyo, 1874 (Kisuke Shimizu) - The first railway line from Shinbashi in Tokyo to Skuragicho in Yokohama, 1972 - Tokyo’s Ginza Redevelopment, 1872 (James Thomas Waters – UK) - Imperial Museum in Ueno, Tokyo, 1882 (Josiah Conder - UK) - IWASAKI RESIDENCE, 1896 (Josiah Conder) - Naval Ministry, Tokyo, 1894 (Josiah Conder) - MINISTRY OF JUSTICE, Kasumigaseki, Tokyo, 1895 (Ende and Böckmann - Germany) - KYOTO IMPERIAL MUSEUM, Kyoto, 1895 (Tokuma Katayama) - Bank of Japan, Otemachi, Tokyo, 1896 (Kingo Tatsuno) - OSAKA LIBRARY, 1904 (Sumitomo Eizen) - TOKYO STATION, Tokyo, 1914 (Kingo Tatsuno)

- Japanese industrial revolution and the growing might of the nation - The National Diet Building and the quest for a national style - Expressionism and the activities of the Bunriha group: - The Imperial Hotel and Frank Lloyd Wright in Japan - The 1923 Great Kanto Earthquake and the rebuilding of Tokyo - Antonin Raymond and the introduction of international modernism - Modernism in the West: the first modern architects in Japan - Government employed architects and the pursuit of international style - The Modern Movement and Japanese prewar residential architecture - Interpretations of modernism and the early work of Togo Murano - The rise of nationalism and the search for an Asian national style - IMPERIAL HOTEL, Tokyo, 1923 (F.L. Wright - U.S.); demolished - NATIONAL DIET (PARLIAMENT) BUILDING, Tokyo, 1936 (Architecture Dept. of Ministry of Finance) - Idea proposal of the Bunriha Group at a Tokyo exhibition, 1920 - CENTRAL TELEGRAPH OFFICE, Tokyo, 1925 (Mamoru Yamada) demolished - Asahi Newspaper Building, Tokyo, 1927 (Kikuchi Ishimoto) demolished - HOUSE IN REINANZAKA, Tokyo, 1924 (Antonin Raymond - U.S.) - DOJUNKAI AOYAMA APARTMENTS, Tokyo, 1926 (Dojunkai Housing Corporation) demolished - TOKYO CENTRAL POST OFFICE, Tokyo, 1931 (Tetsuro Yoshida) - Osaka Central Post Office, Osaka, 1939 (Tetsuro Yoshida)

- Sumitomo Building, Osaka, 1926 and 1931 (Sumitomo Eizen) - Marubeni Building, Kyoto, 1938 (Sumitomo Eizen) - UBE PUBLIC HALL, Ube, 1937 (Togo Murano) - TSUCHIURA HOUSE, Meguro-ku, Tokyo, 1935 (Tameki Tsuchiura) - JAPANESE PAVILION AT THE PARIS WORLD'S FAIR, Paris, 1937 (Junzo Sakakura) demolished - TOKYO IMPERIAL (now Tokyo National) MUSEUM IN UENO, Tokyo, 1937 (Hitoshi Watanabe) - MAEKAWA RESIDENCE, Tokyo, 1942 (Kunio Maekawa)

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: B. Bognar. Contemporary Japanese Architecture (New York, 1985) B. Bognar. NIKKEN SEKKEI 1900-2000: Building Future Japan (New York, 2000) D. Stewart. The Making of a Modern Japanese Architecture (Tokyo, 1987) - Rebuilding the cities after the devastation of the war in Japan - Japan and the CIAM: triumph of modernism, rationalism, functionalism - City Hall Program: Tange, Maekawa, Sakakura - Tange's Hiroshima Project - Rapid urbanization and industrialization - Reader's Digest Building, Tokyo, 1951 (Antonin Raymond) - KAGAWA PREFECTURAL MUSEUM OF MODERN ART, Kamakura, 1951 (Junzo Sakakura) - Mori Residence, Tokyo, 1951 (Kiyosi Seike) - WORLD PEACE MEMORIAL CATHEDRAL, Hiroshima, 1953 (Togo Murano) SEP. 17 KENZO TANGE AND THE METABOLIST MOVEMENT 1

Kenzo Tange (1913-2005) - Evolution of Tange’s architecture - Modernism redefined - The “West’s favorite Japanese architect” - The early public buildings and masterpieces of Tange - Metabolism group: theory and practice of Metabolist architecture

- Urban visions in the 1960s

- Pragmatic urban developments - Large scale events in Japan and their architecture:

- Tokyo Olympic games of 1964 - Osaka Expo – 70 - The “failure” of the Metabolist Movement and the demise of Modernism

- Japanese Cultural Center, Bangkok, 1943 Unbuilt proposal (Kenzo Tange) - Tange Residence, Tokyo, 1943 (Kenzo Tange) - HIROSHIMA PEACE CENTER, Hiroshima, 1955 (Kenzo Tange) - TOKYO CITY HALL, 1957 (Kenzo Tange) demolished - KAGAWA PREFECTURAL OFFICES, Takamatsu, 1958 (Kenzo Tange) - KURASHIKI CITY HALL, KURASHIKI, 1960 (Kenzo Tange) - International House of Japan, 1955 (Kunio Maekawa w/Sakakura & - Tokyo Metropolitan Festival Hall, 1961 (Kunio Maekawa) - KURE CITY HALL, Kure, 1962 (Junzo Sakakura) - OLYMPIC STADIUMS, Tokyo, 1964 (Kenzo Tange) - St. Mary's Cathedral, Tokyo, 1964 (Kenzo Tange) - Marine City (project), 1960 (Kiyonori Kikutake) - TOKYO PLAN - 1960 (project), 1960 (Kenzo Tange) - City in the Air (projects), 1962 (Arata Isozaki) - Helix City (projects), 1961 (Kisho Kurokawa) - Tokyo’s developments and the EXPRESSWAY construction in the city along PRAGMATIC concerns - Sky House, Tokyo, 1958 (Kiyonori Kikutake) - HARUMI APARTMENTS, Tokyo, 1958 (Kunio Maekawa) demolished - Izumo Shrine Office Bldg., Izumo, 1963 (Kiyonori Kikutake) - HOTEL TOKOEN, Yonago, 1964 (Kiyonori Kikutake) - TOCHIGI PREFECTURAL CONFERENCE HALL, Utsunomiya, 1969 (Masato Otaka) - Kyoto International Conference Center, Kyoto, 1966 (Sachio Otani) - YAMANASHI PRESS AND BROADCASTING CENTER, Kofu, 1966 (Kenzo Tange) - Shizuoka Press and Broadcasting Corp. Tokyo Building, 1967 (Kenzo Tange) - KUWAIT EMBASSY & CHANCERY BLDG., Tokyo, 1970 (Kenzo Tange) - OSAKA EXPO–70, FESTIVAL PLAZA & SPACE FRAME. Osaka, 1970 (Kenzo Tange) demolished - " " Expo Tower (Kiyonori Kikutake) SEP. 24 THE METABOLIST MOVEMENT 2

- 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: B. Bognar. Contemporary Japanese Architecture (New York, 1985) R. Boyd. New Directions in Japanese Architecture (New York, 1968) M. F. Ross. Beyond Metabolism (New York, 1978). B. Bognar. NIKKEN SEKKEI 1900-2000: Building Future Japan (New York, 2000) OCT. 01 MANNERISM & CONTEXTUALISM: Arata Isozaki & Fumihiko Maki The Launching of Japanese Postmodernism Arata Isozaki (1934-) - Isozaki, Tange and Metabolism - Visionary urban schemes: "Cities in the Air" - Constructive and destructive impulses: the role of irony - Nine Metaphors: Hermaphrodites (ambiguity) Letters (signs, semantics, form and meaning) Sensual Machines (Technology, high–tech) Platonic Solids (Cube, Cylinder and the seven operations of a "manner;" Architecture as a "meaning-producing machine" (performative aspect of arch.) Twilight (illusion, reflections, transparencies) Degree Zero (void, empty center, the "bleaching" of meaning) Ruins (poetics of ruins, "Destruction of the Future City" "Electric Labyrinth") Shadow (visual uncertainty or toward a "new" Japanese "space;" - From Manner to MAniera; "MA: Space–Time in Japan," (1978) - Darkness (return to a "space of darkness"-1964) - Nine Quotation Sources: Palladio, "Alice's Adventures in Wonderland," Yin and Yang, Photography of Man Ray, Spacecraft Hangars at Cape Kennedy,

Italian Palazzo, Marcel Duchamp's Large Glass, Cloud Props Projects by Lissitsky, Marilyn Monroe in the Nude. - Shift in direction after the early 1980s: postmodern-classicism - Tokyo - Plan 1960 (project), 1960 (as a member of Tange's team) - City in the Air and "Joint Core System" (Project), 1961-62. - "FUTURE CITY" (project), 1962. - "City Demolition Industry, Inc." (essay), 1962. - Oita Medical Hall, Oita, 1960. demolished - OITA PREFECTURAL LIBRARY, Oita, 1966. - Osaka Expo–70, Festival Plaza facilities, Osaka, 1970 demolished - FUKUOKA SOGO BANK HOME OFFICES, Fukuoka, 1971. - FUKUOKA SOGO BANK, ROPPONMATSU BRANCH, Fukuoka, 1971. - “ “ “ Nagasumi Branch, Fukuoka, 1971 - " " " Tokyo Branch, Tokyo, 1971. - GUMMA PREFECTURAL MUSEUM OF MODERN ART, Takasaki, 1974. - Kitakyushu Municipal Art Museum, Kitakyushu, 1974. - FUJIMI COUNTRY CLUB, Oita, 1974. - Kitakyushu Municipal Library, Kitakyushu, 1975. - KAMIOKA TOWN HALL, Kamioka, 1978. Readings: B. Bognar, Contemporary Japanese Architecture (New York, 1985) P. Drew, The Architecture of Arata Isozaki (New York, 1982). D. Stewart, The Making of a Modern Japanese Architecture (Tokyo, 1987). H. Yatsuka, "Textural Strategy and Post–Modernism," SD, Space Design (01/1984, Special feature issue on Arata Isozaki), pp. 182–186. Fumihiko Maki (1928-) - Maki's departure from Metabolism - Maki and Aldo van Eyck of Team Ten - Investigations in Collective Form" (1964) - From physical (formal) to cultural context - Developing a Japanese Contextualism - The traditional notions of space and oku - Modernist vocabulary vs postmodern (Japanese) syntax (ordering system) - Memorial Auditorium, Chiba University, Chiba, 1963. - Toyota Memorial Auditorium, Nagoya University, Nagoya 1960. - Diagrams of the three types of “Collective Form” 1984 - Senri Chuo Building, Osaka, 1970. - OSAKA PREFECTURAL SPORTS CENTER, Takaishi, 1972. - HILLSIDE TERRACE APARTMENTS, Phases 1-3, Tokyo, 1969; 1973; 1976. - Tsukuba University Central Bldg., Tsukuba, 1974. - Keio University Shonan Fujisawa Campus, Fujisawa, 1993-94. - Iwasaki Art Museum, 1979; and Craft Museum, Ibusuki, 1987. - YKK GUEST HOUSE, Kurobe, 1983.

Readings: B. Bognar, Contemporary Japanese Architecture (New York, 1985) M. F. Ross. Beyond Metabolism (New York, 1978) ______. Fumihiko Maki: Buildings and Projects (New York: 1997) OCT. 08 THE NEW WAVE OF JAPANESE ARCHITECTURE - 1

- 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 - ICHIBAN–, & NIBAN–KAN, Tokyo, 1969 & 1970 (Minoru Takeyama) - Pepsi Cola Bottliing Plant, Mikasa, Hokkaido, 1972 (Minoru Takeyama) - HOTEL "BEVERLY TOM," Tomakomai, 1973 (Minoru Takeyama) - ATELIER "INDIGO," Sapporo, 1976 (Minoru Takeyama) - AZUMA HOUSE, Tokyo, 1967 (Takamitsu Azuma) - "Blue Box," Tokyo, 1971 (Mayumi Miyawaki) - Akita Sogo Bank Honjo Branch, Honjo, 1974 (Mayumi Miyawaki) - Akita Sogo Bank Morioka Branch, Morioka, 1970 (Mayumi Miyawaki) - Akita Sogo Bank Kakunodate Branch, Kakunodate, 1974 (Mayumi Miyawaki) - Nirvana House, and Annihilation House, Fujisawa, 1972 (Takefumi Aida) - Stepped Platform House, Kawasaki, 1973 (Takefumi Aida) - PL Institute Kindergarten, Tondabayashi, 1974 (Takefumi Aida) - An Artist's House, Tokyo, 1968 (Takefumi Aida) - Toy Block Houses 1–10, Tokyo and Yokohama, 1979–1984 (Takefumi Aida) - White House, Tokyo, 1973 (Yasufumi Kijima) - Kamimuta Matsuo Shrine, Kumamoto, 1975 (Yasufumi Kijima) - FANTASY VILLA, Omi, 1975 (Osamu Ishiyama) - Face House, Kyoto, 1973 (Kazumasa Yamashita) - Origin 1 (Hinaya Home Office) Kyoto, 1981 (Shin Takamatsu) - Ark (Nishina Dental Clinic), Kyoto, 1983 (Shin Takamatsu) - Pharao (Dental Clinic), Kyoto, 1984 (Shin Takamatsu) - ANTI–DWELLING BOX, Kushiro, 1971 (Kiko Mozuna) - ZASSO FOREST SCHOOL, Kyoto, 1977 (Kijo Rokkaku) - House of the Tree Root, Numata, 1980 (Kijo Rokkaku)

- Constellation House, Wakayama, 1976 (Kiko Mozuna) - MIRROR IMAGE HOUSE, Niiza, Tokyo, 1980 (Kiko Mozuna) - Nakauchi House, Nara, 1975 (Toyokazu Watanabe) - Miyashiro Municipal Center (Shinshukan), Miyashiro, 1980 (Team Zoo) OCT. 15 THE NEW WAVE OF JAPANESE ARCHITECTURE - 2

- Kazuhiro Ishii and his explorations of architectural syntax - The Structuralist (syntactical) models in Hiromi Fujii’s architecture - The new symbolists - 2:

Hiroshi Hara and the “Burying the city in architecture” Architecture of the “bizarre” - Older generations and the broadening spectrum of architectural directions: Seiichi Shirai, Togo Murano, Shizutaro Urabe

- The changing course of previous Modernists and Metabolists: Kenzo Tange, Kunio Maekawa, Kiyonori Kikutake, Kisho Kurokawa

- HOUSE WITH 54 WINDOWS, Hiratsuka, 1975 (Kazuhiro Ishii) - Kindergarten of "54 Roofs," Takebe, 1979 (Kazuhiro Ishii) - Naoshima Municipal Gymnasium & High School, Naoshima, 1976 & 1979 (Kazuhiro Ishii) - Project E–1, 1973 (Hiromi Fuji) - MIYAJIMA HOUSE, Shinjuku, Tokyo, 1973 (Hiromi Fujii) - Todoroki House, Ichikawa, Chiba Pref., 1975 (Hiromi Fujii) - Marutake Building, Konosu, 1976 (Hiromi Fujii) - Ushimado International Arts Festival Building, Ushimado, Okayama Pref., 1985 (Hiromi Fujii) - Mizoe Housing 1, Iizuka, 1988 (Hiromi Fujii) - HARA HOUSE, Machida, 1974 (Hiroshi Hara) - Kikuchi House (project), 1978 (Hiroshi Hara) - NIRAMU HOUSE, Ichinomiya, Chiba Prefecture, 1978 (Hiroshi Hara) - Sueda Art Gallery, Yufuin, Oita Pref. (Hiroshi Hara) - Nissei Hibiya Building & Theater, Tokyo, 1963 (Togo Murano) - INDUSTRIAL BANK OF JAPAN, Tokyo, 1974 (Togo Murano) - SHINWA BANK I, II, III, Sasebo, 1967, 1969, 1975 (Seiichi Shirai) - NOA BUILDING, Tokyo, 1974 (Seiichi Shirai) - Shibuya Shoto Museum, Tokyo, 1981 (Seiichi Shirai) - Kurashiki Ivy Square, Kurashiki, 1974 (Shizutaro Urabe) - Kurashiki New City Hall, Kurashiki, 1980 (Shizutaro Urabe) - Sogetsu Art Center, Tokyo, 1977 (Kenzo Tange) - HANAE MORI BUILDING, Tokyo, 1978 (Kenzo Tange) - Kaijo Building, Tokyo, 1974 (Kunio Maekawa) - Kumamoto Prefectural Art Museum, Kumamoto, 1977 (Kunio Maekawa) - Seibu Shopping Center, Otsu, 1976 (Kiyonori Kikutake) - Wagi City Hall, Wagi, 1975 (Kisho Kurokawa) - National Ethnological Museum, Osaka, 1978 (Kisho Kurokawa) - SAITAMA PREFECTURAL MUSEUM, Urawa, 1982 (Kisho Kurokawa)

Readings: B. Bognar. Contemporary Japanese Architecture (New York, 1985) ____. ArchiteXt. Special issue of JA, The Japan Architect (06/1976) B. Bognar (ed.). Minoru Takeyama (London, 1995) B. Bognar. Togo Murano: Master Architect of Japan (New York, 1996) H. Yatsuka, "Architecture in the Urban Desert," Oppositions (Winter 1981), pp.3–35. K. Frampton (ed.). A New Wave of Japanese Architecture (Catalog 10), (New York, 1978). OCT. 22 THE ARCHITECTURE OF MINIMALISM – Kazuo Shinohara & Tadao Ando

Between the Abstract and the Poetic

Kazuo Shinohara (1925-2006) and his “School” - “A House is a Work of Art” - The changing course of Shinohara's work

- The "savage machine," "structuralism," and phenomenal space - "Gap," new Sachlichkeit - Prismatic forms, "surfaceness" and "discreteness" - House at Kugayama, Tokyo, 1954. (Kazuo Shinohara) - Umbrella House, Tokyo, 1961 (Kazuo Shinohara) - Repeating Crevice House, Tokyo, 1971 (Kazuo Shinohara) - TANIKAWA RESIDENCE, Naganohara, Nagano Pref., 1974 (Kazuo Shinohara) - HOUSE IN UEHARA, Tokyo, 1976 (Kazuo Shinohara) - HOUSE ON A CURVED ROAD, Tokyo, 1978 (Kazuo Shinohara) - HOUSE UNDER HIGH–VOLTAGE LINES, Tokyo, 1981 (Kazuo Shinohara) - House at Minase, Tokyo, 1971 (Kazunari Sakamoto) - F HOUSE, Tokyo, 1987 (Kazunari Sakamoto) - - House at Midorigaoka, Tokyo, 1975 (Itsuko Hasegawa) - House in Kuwahara, Matsuyama, 1980 (Itsuko Hasegawa) - HOUSE IN NERIMA, Tokyo, 1986 - HOUSE IN ODAWARA, Odawara, 1975 (Yuzuru Tominaga) - U HOUSE IN NAKANO, Tokyo, 1976 (Toyo Ito) Readings: B. Bognar. Contemporary Japanese Architecture (New York, 1985). H. Yatsuka, "Architecture in the Urban Desert," Oppositions (Winter 1981) D. Stewart, The Making of a Modern Japanese Architecture (Tokyo, 1987). ____. Kazuo Shinohara (IAUS Catalog No. 17), (New York, 1982). Tadao Ando (1941-)

- Hermetic "microcosms" in the urban chaos/desert - The evolution of a defensive position

- The role of geometry: concrete walls and trabeated pergolas - The courtyard: the introduction of nature - "twin" architecture

- Machiya and Sukiya-zukuri tradition - The poesis of light–and–shadow - Orchestration of void or no–thingness (mujo) - The gradual opening of the "box" - Ando's religious architecture - Increasingly large complexes - TOMISHIMA HOUSE, Osaka, 1972. - Soseikan, Takarazuka, 1974. - ROW HOUSE AT SUMIYOSHI (Azuma Residence), Osaka, 1976. - TEZUKAYAMA HOUSE (Manabe Residence), Osaka, 1977. - WALL HOUSE (Matsumoto Residence), Ashiya, 1977. - Okusu Residence, Tokyo, 1978. - GLASS–BLOCK HOUSE (Ishihara Residence), Osaka, 1978. - Matsumoto Residence, Wakayama, 1980. - Kojima Housing, Kurashiki, 1981. - KOSHINO RESIDENCE, Ashiya, 1982. - ROKKO HOUSING 1, Kobe, 1982. - Atelier in Oyodo (Ando's Office), Osaka, 1982 - Festival (Commercial Complex), Naha, Okinawa, 1984. - TIME'S 1 1984 and 2 1991 (Commercial Complex), Kyoto. - Tea Houses in Oyodo, Osaka, 1985-1988 - ROKKO CHAPEL, Kobe, 1986. - CHURCH ON THE WATER, Tomamu, Hokkaido, 1988. Readings: B. Bognar, Contemporary Japanese Architecture (New York, 1985) K. Frampton (ed.), Tadao Ando (New York, 1984). P. Jodidio. Tadao Ando (Köln, 1997) H. Yatsuka, "Architecture in the Urban Desert," Oppositions (Winter 1981) Oct. 29 ARCHITECTURE OF THE BUBBLE ERA - 1

- The process of globalization: Japanese export and trade imbalance - Japanese capitalism or consumer economy in overdrive - Soaring land prices

- There is money for everything - Huge investments in property: buildings and structures - Building/demolition/building cycle accelerates beyond any “reason”

- Architecture as consumer object - The new urban renaissance: Kumamoto Art Polis, Kumamoto Prefecture - Tokyo the international city - The delirious "city of desires" with no center nor exterior/interior

- "creative chaos" vs. "progressive anarchy"

- from "hardware" technology to a new, "software" technology - media architecture

- illusion vs. reality - The age of experimentation - "de(con)struction" or dispersion of Architecture - from Form to no–form (non–con–form), or unstable form vs. composition - "Zero degree machine" - high–tech vs. a new primitivism (industrial vernacular) - toward a New Space as a field or site of action/event - a "new" phenomenalism

- new sensibilities: fluctuation, dynamics, the "spaces of flows"

fragmentation lightness as architectural paradigm semi–permeability ephemerality, impermanence, temporality instability and a sense of catastrophe: - A new, non-monumental (or "non-permanent") mode of urbanism

- Architects as stars - The inferior or the trivial and the world-class in architecture - The “new golden age of Japanese architecture”

- foreign architects in Japan - TOKYO and Images of and from the contemporary Japanese cityscape - Kumamoto Art Polis, Kumamoto, 1988 on. Various architects - TSUKUBA CENTER BUILDING, Tsukuba, 1983 (Arata Isozaki) Diego Velazquez: Las Meninas (painting by the Spanish painter 1599-1660) - ART TOWER MITO, Mito 1990 (Arata Isozaki) - "ORIGIN" No. 3, Kyoto, 1986 (Shin Takamatsu) - KIRIN PLAZA, Osaka, 1987 (Shin Takamatsu) - SYNTAX, Kyoto, 1990 (Shin Takamatsu) - Solaris, Amagasaki, 1990 (Shin Takamatsu) - IMANISHI MOTOAKASAKA, Building, Tokyo, 1991 (Shin Takamatsu) - "RISE" CINEMA BUILDING, Tokyo, 1986 (Atsushi Kitagawara) - Humax Pavilion, Tokyo, 1992 (Hiroyuki Wakabayashi) - K Museum, Teleport Town, Tokyo, 1997 (Makoto Sei Watanabe) - Nagoya City Museum of Modern Art, 1987 (Kisho Kurokawa) - HIROSHIMA CITY MUSEUM OF CONTEMPORARY ART, 1988 (Kisho Kurokawa) - FUJISAWA MUNICIPAL GYM, Fujisawa, 1984 (Fumihiko Maki) - "SPIRAL" BUILDING, Tokyo, 1985 (Fumihiko Maki) - NIPPON CONVENTION CENTER, MAKUHARI MESSE, Chiba, 1990 (Fumihiko Maki) - TOKYO METROPOLITAN GYMNASIUM, Tokyo, 1990 (Fumihiko Maki) - 109 Building, Tokyo, 1980 (Minoru Takeyama) - TOKYO PORT TERMINAL, Tokyo, 1991 (Minoru Takeyama

- Shinohara House, Yokohama, 1984 (Kazuo Shinohara) - TIT CENTENNIAL HALL, Tokyo, 1987 (Kazuo Shinohara) - 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) - "Tower of Wind," Yokohama, 1986 (Toyo Ito) - Saibu Gas Museum, Fukuoka (Shoei Yoh) - 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) - "Crystal Light," Tokyo, 1987 (Masaharu Takasaki) - KIHOKU ASTRONOMICAL MUSEUM, Kihoku-cho, Kagoshima Pref., 1995 (Masaharu Takasaki) NOV .05 ARCHITECTURE OF THE BUBBLE ERA - 2 - AZABU EDGE Building, Tokyo, 1987 (Ryoji Suzuki) - SAGISHIMA "RING" Guest House, Mihara, Hiroshima Pref., 1994-97 (Ryoji Suzuki) - Ashikita Youth Center, Kumamoto, 1998 (Ryoji Suzuki) - YAMATO INTERNATIONAL, Tokyo, 1985-87 (Hiroshi Hara) - Josei Primary School, Naha, Okinawa, 1987 (Hiroshi Hara) - Kenju Park “Forest House,” Nakaiida, Nagano Pref., 1986-87 (Hiroshi Hara) - IIDA CITY MUSEUM, Iida, Nagano Pref., 1986-88 (Hiroshi Hara) - Yukian Teahouse, Ikaho, Gumma Pref., 1986-88 (Hiroshi Hara) - Ose Secondary School, Uchiko-cho, Ehime Pref., 1992 (Hiroshi Hara) - TOKYO WAR DEAD MEMORIAL PARK, Tokyo, 1988 (Takefumi Aida) - Saito Memorial Hall, Shibaura Institute of Technology, Omiya, Saitama Pref., 1990 (Takefumi Aida) - KAWASATO FURUSATO HALL, Kawasato, Saitama Pref., 1994 (Takefumi Aida) - 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) - “SILVER HUT,” Tokyo, 1984 (Toyo Ito) - "Nomad" Restaurant, Tokyo, 1986 (Toyo Ito) - YATSUSHIRO MUNICIPAL MUSEUM, Yatsushiro, Kumamoto Pref., 1991 (Toyo Ito) - Shimosuwa Municipal Museum, Shimosuwa, Nagano Pref., 1992 (Toyo Ito) - Nagaoka “Lyric” Hall, Nagaoka, Niigata Pref., 1997 (Toyo Ito) - MEDIATHEQUE, Sendai, Miyagi Pref., 2001 (Toyo Ito) - Platform House I, Katsuura, Chibe Pref., 1988 (Kazuyo Sejima) - Platform House II, Yamanashi Pref., 1990 (Kazuyo Sejima) - Saishunkan Girls' Dormitory (K.A.P.), Kumamoto, 1991 (Kazuyo Sejima) Readings: B. Bognar. World Cities: TOKYO. London: Academy Editions, 1997 B. Bognar. BEYOND THE BUBBLE: The New Japanese Architecture. London: Phaidon, 2008 NOV.12 BEYOND THE BUBBLE - 1 - The “bubble” bursts in the early 1990s - Japan’s longest recession & the changes in Japanese society: aging, new “openness” etc. - Remnants of the “Bubble” Era: mega-projects - Reduced investment in real estate and architecture - Younger generation & new Minimalism: Tele-Design, Atelier Bow Wow, Aoki, Sejima, Ban,

- Shifting priorities in architecture and urbanism - New (information) technologies and the evolution of a new architectural paradigm - Healing the wounds of the land and nature - The ecology of architecture; new materiality - Kengo Kuma and his “erasing architecture” - Japan and the global marketplace of architecture: toward the Twenty-First Century

- Japanese architects abroad; increased exchange of “information” - New urban developments: Shiodome, Shinonome, Roppongi Heights, Harima Science City

- Kansai International Airport, Izumisano, Osaka Pref., 1994 (Renzo Piano - Italy + Nikken Sekkei Ltd.) - KYOTO STATION, Kyoto, 1997 (Hiroshi Hara) - SAITAMA SUPER ARENA, Omiya, Saitama Pref., 2000 (Nikken Sekkei Ltd. w / Ellerbe Becket - U.S.) - Sapporo Dome, Sapporo, 2001 (Hiroshi Hara) - C-HOUSE, Komazawa, Setagaya-ku, Tokyo, 2002 (Tele Design) - Slit-Villa / Ren-An, Setagaya-ku, Tokyo, 2002 (Tele Design) - GAE HOUSE, Tokyo, 2003 (Atelier Bow Wow)

- Black Dog House, Karuizawa, Nagano Pref., 2004 (Atelier Bow Wow) - IZU HOUSE, 2004 (Atelier Bow Wow) - HOUSE IN A PLUM TREE GROVE, Tokyo, 2004 (Kazuyo Sejima) - Mikimoto Ginza, Tokyo, 2005 (Toyo Ito) - “Springtecture” (Public Toilets), Harima New Science City, Hyogo Prefecture, 1998 (Shuhei Endo) - HOUSE STANDARD, Kyoto, 2004 (Waro Kishi) - PAPER CHURCH, Nagata-ku, Kobe, 1995 (Shigeru Ban) - Temporary Structure, Centre Pompidou, Paris, 2004 (Shigeru Ban) - PAPER MUSEUM PAM-A, Mishima, 2002 (Shigeru Ban) - Shutter House for a Photographer, Tokyo, 2003 (Shigeru Ban) - LOUIS VUITTON OMOTESANDO, Tokyo, 2002 (Jun Aoki) - DIOR OMOTESANDO, Tokyo, 2004 (SANAA) - NAKAJIMA GARDEN, Fuji City, 1999 (Yasumitsu Matsunaga) - Five Cube-Houses, Machida, Nagasaki, 1999 (Hiroshi Hara) - Fuji Kindergarten, Tokyo, 2007 (Tezuka Architects) - KANAZAWA 21ST CENTURY MUSEUM OF ART, Kanazawa, 2004 (SANAA) NOV.12 BEYOND THE BUBBLE - 2 - AWAJI YUMEBUTAI, Awaji Island, 2000 (Tadao Ando) - CHICHU ART MUSEUM, Naoshima Island, 2004 (Tadao Ando) - Oasis 21, Nagoya, 2002 (Obayashi Corporation) - POLA MUSEUM OF ART, Hakone, 2002 (Koichi Yasuda of Nikken Sekkei Ltd.) - Hanamidori Cultural Center, Tokyo, 2005 (Atelier Bow Wow) - Island City Central Park GRIN GRIN, Fukuoka, Fukuoka Pref., 2006 (Toyo Ito) - Kompira San Visitors Center, Kotohira, 2004 (Ryoji Suzuki) - HIROSHIMA NAKA INCINERATOR, Hiroshima, 2004 (Yoshio Taniguchi) - SAITAMA PREFECTURAL UNIVERSITY, Koshigaya, Saitama Pref., 1999 (Riken Yamamoto) - Hiroshima West Fire Station, Hiroshima, 2000 (Riken Yamamoto) - SHINONOME APARTMENTS, Block Y, Tokyo, 2004 (Riken Yamamoto) - Fabrica-Benetton Research Center, Treviso, Italy, 1997 (Tadao Ando) - Pulitzer Foundation Gallery, St. Louis, MO, 2001 (Tadao Ando) - Fort Worth Museum, Fort Worth, TX, 2002 (Tadao Ando)

- KIRO-SAN OBSERVATORY, Yoshiumi Island, Ehime Pref., 1994 (Kengo Kuma) - Noh Stage in the Forest, Toyoma, Miyagi Pref., 1996 (Kengo Kuma) - MUSEUM OF ANDO HIROSHIGE, Bato, Tochigi Pref., 2000 (Kengo Kuma) - STONE MUSEUM, Nasu, Tochigi Pref., 2000 (Kengo Kuma) - The Great “Bamboo” Wall, China, 2001 (Kengo Kuma) - Plastic House, Tokyo, 2001 (Kengo Kuma) - NAGASAKI ART MUSEUM, Nagasaki, 2004 (Kengo Kuma) - LVMH Shinsaibashi, Osaka, 2004 (Kengo Kuma) - LOTUS HOUSE, Kanagawa Prefecture, 2005 (Kengo Kuma) - Z58 SHOWROOM AND OFFICE BUILDING, Shanghai, China, 2006 (Kengo Kuma) - GINZAN ONSEN FUJIYA RYOKAN, Obanazawa, Yamagata Pref., 2006 (Kengo Kuma) - YIEN EAST / ARCHIPELAGO, Kyoto, 2007 (Kengo Kuma) - Asahi Broadcasting Corp. Head Offices, Osaka, 2008 (Kengo Kuma) - OPPOSITE HOUSE HOTEL, Beijing, China, 2008 (Kengo Kuma) - TOD’S Omotesando, Tokyo, 2004 (Toyo Ito) - MEISO NO MORI MUNICIPAL FUNERAL HALL, Kakamigahara, Gifu 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) Related General Reading Barthes, Roland. Empire of Signs. R. Howard, trans. New York: Hill and Wang, 1982. Bognar, Botond. "The Japanese Order of Things: Notes on Humanism and the Man – Environment Relationship in Japan," Form, Being, Absence: Pratt Journal of Architecture, No. 2, New York: (February 1988), pp. 148–163. Friedman, Mildred (ed.). Tokyo: Form and Spirit. Minneapolis: Walker Art Center & New York: Abrams, 1986. Greenbie, Barry B. Space and Spirit in Modern Japan.New Haven and London: Yale University Press. 1988. Hayashiya, Tatsusaburo, M. Nakamura, and S. Hayashiya. Japanese Arts and the Tea Ceremony. Tokyo: Heibonsha / Weatherhill, 1974. ____. JAPAN - An Illustrated Encyclopedia. Tokyo: Kodansha International, 1993. ____. Kodansha Encyclopedia of Japan, Vols. 1–9, Tokyo: Kodansha International, 1983. Lüchinger, Arnulf. Structuralism in Architecture and Urban Planning. Stuttgart: Karl Kramer Verlag, 1981. Newman, Oscar (ed.). CIAM ‘59 in Otterlo. Stuttgart: Krämer, 1961. Piggott, Juliet. Japanese Mythology. London: Hamlyn, 1969. 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. Varley, H. Paul. Japanese Culture, Tokyo: Charles E. Tuttle Company, 1974.

Traditional Architecture 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. Bring, Mitchell and Josse Wayembergh. Japanese Gardens - Design and Meaning (1968), New York: McGraw–Hill Ltd., 1981. Brown, S. Azby. The Genius of Japanese Carpentry -- An Account of a Temple Construction. Tokyo and New York: Kodansha International, 1989. Carver, Norman F., Jr. Japanese Folkhouses. (1984) Kalamazoo, MI: Documan Press, 1987 . Chang, Ching–Yu. "Japanese Spatial Conception 1–11," JA, The Japan Architect (04/ 1984–03/1985). Coaldrake, H. William. Architecture and Authority in Japan. London and New York: Routledge, 1996. Cram, Ralph Adams. Impressions of Japanese Architecture and the Allied Arts. (1930) New York: Dover Publications, 1966. Engel, Heino. Measure and Construction of the Japanese House. Rutland, Vermont, and Tokyo: Charles E. Tuttle Company, 1985. Hirai, Kiyoshi. Feudal Architecture of Japan. Tokyo: Heibonsha/Weatherhill, 1973. Hayakawa, Masao. The Garden Art of Japan. Tokyo: Heibonsha/Weatherhill, 1973. Fujioka, Michio. Japanese Residences and Gardens, Tokyo and New York: Kodansha International, 1983. Fukuyama, Toshio. Heian Temples: Byodo-in and Chuson-ji. Tokyo: Heibonsha/ Weatherhill, 1976. Futagawa, Yukio (ed.). Text by Teiji Itoh. Traditional Japanese Houses. (1980) New York: Rizzoli International, 1983. Gropius, Walter, Kenzo Tange, Yasuhiro Ishimoto. Katsura: Tradition and Creation in Japanese Architecture. New Haven: Yale University Press, 1960. Hibi, Sadao. Japanese Detail: Architecture. San Francisco, CA: Chronicle Books, 1989. Inoue, Mitsuo (Hiroshi Watanabe translation). Space in Japanese Architecture. New York and Tokyo: Weatherhill, 1985. Isozaki, Arata. "Floors and Internal Spaces in Japanese Vernacular Architecture - Phenomenology of Floors," RES 11 (Spring 1986), pp. 54–77. Itoh, Teiji. Traditional Domestic Architecture of Japan. Tokyo: Heibonsha, 1974.

Itoh, Teiji. Space and Illusion in the Japanese Garden. New York and Tokyo: Weatherhill/Tankosha, 1973. ____. MA: Space–Time in Japan. Catalogue to the exhibition held at the Cooper–Hewitt Museum, New York within the framework of The Japan Today Festival, 1979. Maki, Fumihiko. "Japanese City Spaces and the Concept of Oku," The Japan Architect, Tokyo: (05/1979), pp. 51–62. Masuda, Tomoya. Living Architecture: Japan. New York: Grosset and Dunlap, 1970. Mizuno, Seiichi. Asuka Buddhist Art: Horyu-ji. Tokyo: Heibonsha/Weatherhill, 1974. Nishi, Kazuo and K. Hozumi. What is Japanese Architecture. Tokyo and New York: Kodansha International, 1985. Nitschke, Günter. "'MA' – The Japanese Sense of Place," AD, Architectural Design. London: (March) 1966. Nitschke, Günter. The Architecture of Japanese Gardens. Köln: Benedikt Taschen Verlag, 1991. Nitschke, Günter. From Shinto to Ando – Studies in Architectural Anthropology in Japan. London: Academy Editions; and Berlin: Ernst and Sohn, 1993. Okawa, Naomi. Edo Architecture: Katsura and Nikko. Tokyo: Heibonsha/Weatherhill, 1975. Ooka, Minoru. Temples of Nara and Their Art. Tokyo: Heibonsha/Weatherhill, 1974. Ota, Hirotaro (ed.). Japanese Architecture and Gardens. Tokyo: Kokusai Bunka Shinkokai, (1966) 1972. ____. Japan: Climate, Space and Concept - Process Architecture (No. 25),1981. Paine, Robert & Alexander Soper. The Art and Architecture of Japan. New York: Penguin Books (1955 Piggott, Juliet. Japanese Mythology. London: Hamlyn, 1969. Plutschow, Herbert E. Introducing Kyoto. Tokyo and New York: Kodansha International, 1979. Salastie, Riitta "Ri". Living Tradition of Panda's Cage? An Analysis of the Urban Conservation in Kyoto. Helsinki: Helsinki University of Technology, 1999. Seike, Kiyosi. The Art of Japanese Joinery. Tokyo and New York: Weatherhill, 1977. Slawson, David. Secret Teachings in the Art of Japanese Gardens: Design Principles, Aesthetic Values. Tokyo and New York: Kodansha International, 1987. Smith, Henry D. II. “Tokyo as an Idea: An Exploration of Japanese Urban Thought Until 1945” in Journal of Japanese Studies, 4/1 (Winter ‘78), p.45. Suzuki, Daisetz T. Zen and Japanese Culture. Princeton: Princeton University Press, 1959.

Suzuki, Daisetz T. Zen Buddhism. New York: Double Anchor Books, 1956. Suzuki, Kakichi. Early Buddhist Architecture in Japan. Tokyo: Kodansha International, 1980. Taut, Bruno. Houses and People of Japan. (1937). reprinted in Daidalos. (15. December, 1994). pp.62-76. Treib, Mark and Ron Herman. Guide to the Gardens of Kyoto. Tokyo: Shufunotomo, 1980. Watanabe, Yasutada. Shinto Art: Ise and Izumo Shrines. Tokyo: Heibonsha/ Weatherhill, 1974. Yagi, Koji. A Japanese Touch for Your Home. Tokyo and New York: Kodansha International, 1982. Young, David and Michiko. Introduction to Japanese Architecture. Hong Kong: Periplus Editions, 2004 (128 pp.) Contemporary Architecture Bognar, Botond. The Bubble and Beyond: The New Japanese Architecture. London: Phaidon, 2008. Abe, Kimimasa. “Meiji Architecture” in Naoteru Uyeno. Japanese Arts and Crafts in the Meiji Era (Centenary Culture Council Series: Japanese Culture in the Meiji Era, vol. 8). Tokyo: Pan-Pacific Press, 1958, pp.177-198. Abe, Kimimasa. “Early Western Architecture in Japan” in Journal of the Society of Architectural Historians 13:2, 1954, pp. 13-18. Aida: ____. Takefumi Aida: Buildings and Projects, New York: Princeton Architectural Press, 1989. Akahori, Shinobu and Waro Kishi. “Modern Houses II” in Japan Architect n.29 Spring 1998 Special Issue (includes “Spatial interpenetration in modernism and materials as ‘appearance’’’) (text in English and Japanese) Akasaka, Yoshiaki. “New Aspect in Modernism” in Japan Architect n.14 Summer 1994. (discussion of modernism which leads to a description of the R-90 research facility by Takenaka Komuten) (text in English and Japanese). Ando: ____. Dal Co, Francesco. Tadao Ando - Complete Works. London: Phaidon Press Ltd., 1995. Ashihara, Yoshinobu. The Hidden Order: Tokyo Through the Twentieth Century. Tokyo and New York: Kodansha International, 1989. ____. Atelier Zo, SD, Space Design (11/1985), Tokyo. Ban: ____. Shigeru Ban. New York: Princeton Architectural Press, 2001 Ban: ____. Shigeru Ban. Special Feature Issue of JA, The Japan Architect No.30, 1998 Ban: ____. Shigeru Ban. GG Portfolio. Barcelona: Gustavo Gili, 1997

Benevolo, Leonardo. History of Modern Architecture, Volume 2: Modern Movement. London: Routledge and Kegan Paul, 1971. Bettinotti, Massimo (ed.). KENZO TANGE 1946-1996: Architecture and Urban Design. Milano: Electa, 1996. Blaser, Werner. Structure and Form in Japan. Zurich: Artemis-Verlag-Aktiengesellschaft, 1963 Blundell-Jones, Peter. “Where do we stand? A lecture about Modernism, Post-Modernism and the Neglected Possibility of a Responsive Architecture” in Architecture and Urbanism n.3 (198) March 1987. (text in English and Japanese) Bognar, Botond. HIROSHI HARA: The Floating World of His Architecture. London: Academy Editions, 2001. Bognar, Botond. NIKKEN SEKKEI 1900-200: Building Future Japan. New York: Rizzoli, 2000. Bognar, Botond, “Design in the Land of ‘Creative Chaos’ -- The Emergence of New Modernism in Japanese Architecture” in Helen Castle (ed.), Modernism and Modernization in Architecture. London: Academy Editions, 1999. pp.104. Bognar, Botond (ed). JAPAN-At The Cutting Edge. New Architecture No3 (10/99), London 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. Bognar, Botond. World Cities: TOKYO. London: Academy Editions of John Wiley and Sons, 1997. Bognar, Botond, “What Goes Up, Must Come Down: Recent urban architecture in Japan” in Durability and Ephemerality - Harvard Design Magazine; Cambridge, MA.: Harvard University Graduate School of Design. (Fall 1997), pp.33-43. Bognar, Botond. Togo Murano: Master Architect of Japan. Introduction by Fumihiko Maki. New York: Rizzoli International, 1996. Bognar, Botond. (editor and principal author). Minoru Takeyama. Architectural Monograph No. 42. London: Academy Editions, and New York: St. Martin’s Press, 1995. Bognar, Botond. The Japan Guide. New York: Princeton Architectural Press, 1995. Bognar, Botond. (editor and principal author). Japanese Architecture II, AD Profile 99. London: Academy Editions, and New York: St. Martin’s Press, 1992.

Bognar, Botond, "Architecture, Nature & A New Technological Landscape: Itsuko Hasegawa's Work in the 80s" Aspects of Modern Architecture, AD Profile No.90, London, 1991. pp. 33-37 Bognar, Botond. The New Japanese Architecture. Introduction by John Morris Dixon. Includes short 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. Bognar, Botond (ed.). Japanese Architecture I, AD Profile 73. London: Vol. 58, No. 5-6/1988. 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. Bognar, Botond, “The Japanese Order of Things: Notes on Humanism and the Man-Environment Relationship in Japan” in Form, Being, Absence: Architecture and Philosophy. New York: Pratt Journal of Architecture, No.2, 1988. Distributed by Rizzoli International, New York, pp.148-162. Buntrock, Dana. Japanese Architecture as a Collaborative Process -- Opportunities in a Flexible Construction Culture. London: Spon Press. 2001. Boyd, Robin. New Directions in Japanese Architecture. New York: George Braziller, Inc., 1968. Cybriwsky, Roman. Tokyo: The Changing Profile of an Urban Giant. Boston: G.K. Hall & Co. 1991. Dal Co, Francesco. Tadao Ando - Complete Works. London: Phaidon Press Ltd., 1995. Fawcett, Chris. The New Japanese House. London: Granada and New York: Harper and Row, 1980. Frampton, Kenneth (ed.). Tadao Ando: Buildings Projects Writings. New York: Rizzoli, 1984. Frampton, Kenneth. "Twilight Gloom to Self–Enclosed Modernity: Five Japanese Architects." in M. Friedman (ed.). Tokyo: Form and Spirit. Minneapolis: Walker Art Center, and New York: Abrams, 1986, pp. 221–241. Frampton, Kenneth (ed.). The Architecture of Hiromi Fujii. New York: Rizzoli, 1987. Frampton, Kenneth (ed.). A New Wave of Japanese Architecture, New York: IAUS Catalogue 10, 1978. Fujii, Hiromi. "Architectural Metamorphology," JA, The Japan Architect (11–12/1980), pp. 15–27. Fujii: Frampton, Kenneth (ed.). The Architecture of Hiromi Fujii. New York: Rizzoli, 1987. Fujii, Hiromi. "Deconstruction Through Differentiation––Metamorphology, Desemiotization, Traces and Deconstruction," JA, The Japan Architect (09/1985), pp. 24–27.

Fujiki, Takao, “Twenty Modern Movement Buildings in Japan Built Between 1926 and 1966” in Kenchiku Bunka v.55 n.644 June 2000 (text in Japanese) Futagawa, Yukio (ed.). Tadao Ando 1972 - 1987. Tokyo: A.D.A. Edita, 1987. Futagawa, Yukio (ed.). Tadao Ando 1988 - 1993. Tokyo: A.D.A. Edita, 1993 ____. GA, Japan. Tokyo: (Periodical) since 1992. Goldhagen, Sarah Williams & Rjean Legault (eds.). Anxious Modernism: Experimentation in Postwar Architectural Culture. Montreal: Canadian Center for Architecture; and Cambridge, MA: MIT Press, 2000. Greenbie, Barrie B. Space and Spirit in Modern Japan. New Haven & London: Yale University Press, 1988. Hamaguchi, Ryuichi. History of Modern Architecture. Special edition of JA, The Japan Architect (June 1966) Harootunian, Harry. Overcome by Modernity: History, Culture, and Community in Interwar Japan. New York: Princeton University Press, 2002. Harootunian, Harry. History’s Disquiet. New York: Columbia University Press, 2000. (explores European and Japanese conceptions of modernity) Hasegawa: ____. Itsuko Hasegawa, SD, Space Design (04/1985). Tokyo. Isozaki, Arata, "The Metaphor of the Cube." JA, The Japan Architect (03/1976), pp. 27–32. Isozaki, Arata, "Rhetoric of the Cylinder." JA, The Japan Architect (04/1976), pp. 61–63. Isozaki, Arata, "From Manner, to Rhetoric, to . . .," JA, The Japan Architect (04/1976), pp. 64–67. Isozaki, Arata, “City Demolition Industry, Inc.” in Kenneth Frampton (ed.). A New Wave of Japanese Architecture. New York: IAUS, 1978, p.48. Isozaki: ____. Arata Isozaki 1976–1984, SD, Space Design (01/1984). Isozaki: ____. Oshima, Ken Tadashi and Arata Isozaki. Arata Isozaki. London: Phaidon, 2009 Isozaki, Arata, D. Stewart, R. Koshalek. Arata Isozaki: Four Decades of Architecture. Los Angeles, CA: Museum of Modern Art, 1998 Ito, Toyo. "Architecture Sought After By Android," JA, The Japan Architect (06/88), pp. 9–13. Ito, Toyo. Blurring Architecture. Milano: Edizioni Charta, 1999. Ito: ____. Toyo Ito 1986-1995. El Croquis No.71, 1994. Ito: ____. Toyo Ito Architectural Monograph No.41. London: Academy Editions, 1995

Ito: ____. Toyo Ito, JA Library 2, 1993. Tokyo. Ito: ____. Toyo Ito, SD, Space Design (09/1986). Tokyo. ____. JA, The Japan Architect. Tokyo: (Periodical & since 1991: quarterly). ____. JA Library. Tokyo: (Quarterly). ____. Japan: a dis-oriented modernity, Special Issue of Casabella Nos.608-609. (January-February) 1994. ____. Japan. Archis (5/1999). Rotterdam, The Netherlands (Special issue on recent Japanese architecture and urbanism) ____. Japan: Climate, Space and Concept - Process Architecture (No. 25), 1981. ____. Japanese Houses I, II, III. - GA, Global Architect Houses, No. 4, 14, and 20. Tokyo. 1978, 1983, 1986. Jinnai, Hidenobu (editor-in-charge). Ethnic Tokyo - Process Architecture (No.72), 1987. Kawakita: ____. “Renshichiro Kawakita’s early two projects” subtitle: “Renshichiro Kawakita’s activities and idea with special reference to the meaning in the making of the modernism in Japanese architecture (Part 1)” (text in English and Japanese) in Nihon Kenchiku Gakkai Keikakukei Ronbun Hokoku Shu (Journal of Architecture, Planning and Environmental Engineering) n.11 (465) November 1994. Kawazoe, Noboru. Contemporary Japanese Architecture. Tokyo: Kokusai Bunka Shinkokai, 1965 Kestenbaum, Jackie. Emerging Japanese Architects of the 1990s. New York: Columbia University Press, 1991 Kikutake, Kiyonori. Concepts and Planning. Tokyo: Bijutsu Shuppansha, 1978. Kimura, Hiroaki. “Modernism and Indeterminacy” (text in English and Japanese) in JA, The Japan Architect n.6 Spring 1992 Kishi: ____. Waro Kishi. Introduction by Terrence Riley. Barcelona: GG, Gustavo Gili, 1995 Kishi: ____. Waro Kishi, PA Architect 31. Seoul, Korea (March 2004) Kishi, Waro. “The Future of the Game” in JA, The Japan Architect n.14 Summer 1994. (Kishi discusses modernism and several of his works) (text in English and Japanese). Kishi, Waro. “About Modernism in Architecture” in JA, The Japan Architect n.6 Spring 1992. (text in English and Japanese) Kitagawara: ____. Atsushi Kitagawara. JA, The Japan Architect No8, (92:04) Klauser, Wilhelm and Riken Yamamoto. Riken Yamamoto. Basel, Boston, Berlin: Birkhäuser, 1999.

Komiyama, Akira. “Sakakura Associates: Half a Century in Step with Postwar Japanese Modernism” in Process: Architecture n.110 May 1993. Special issue (text in Japanese and English) Kulterman, Udo (ed.). Kenzo Tange 1946-1969: Architecture and Urban Design. London: Pall Mall Press, 1970. Kulterman, Udo. New Japanese Architecture. New York: Praeger (1960), 1967. Kuma: ____. Botond. Bognar. Kengo Kuma: Selected Works. New York: Princeton Architectural Press, 2005 Kuma: ____. Alini, Luigi. Kengo Kuma: Works and Projects. Milan: Electa, 2005 Kuma: ____. Botond. Bognar. MATERIAL IMMATERIAL: The New Work of Kengo Kuma. New York: Princeton Architectural Press, 2009. Kuma: ____. Kengo Kuma, JA, The Japan Architect. No.38, Tokyo: 1999 Kuma: ____. Kengo Kuma: Geometries of Nature. Milan: L”Arca Edizioni, 1999 Kurokawa: ____. Kisho Kurokawa: Abstract Symbolism. Milano: L”Arca Edizioni, 1996 Kurokawa: ____. Kisho Kurokawa. JA, The Japan Architect No18, Tokyo: 1995 Kurokawa: ____. Kisho Kurokawa 1978–1989, SD, Space Design (06/1989). Tokyo. Kurokawa: ____. Kisho Kurokawa: Recent Works and Projects. Process Architecture (No.66). Tokyo: 1986 Kurokawa, Kisho. Rediscovering Japanese Space. Tokyo and New York: Weatherhill, 1988. Kurokawa, Kisho. The Philosophy of Symbiosis. London: Academy Editions, 1994 Kurokawa, Kisho. New Wave Japanese Architecture. London: Academy Editions, 1993. Kisho Kurokawa. From Metabolism to Symbiosis. London & New York: Academy Editions, 1992 Kurokawa, (Kisho) Noriaki. Methodology of Metabolism: Works 1959-1963. Japan, 1963 Le Corbusier. Journey to the East. Cambridge, MA & London: MIT Press, 1987. (originally published in Paris by Forces-Vives, 1966 under the title ‘Le Voyage d’Orient’ ) Leatherbarrow, David. Uncommon Ground: Architecture, Technology and Topography. Cambridge, MA & London: MIT Press, 2000. (includes the work of Antonin Raymond in Japan in the 1930s-1960s). Lippit, Seiji M. Topographies of Japanese Modernism. New York: Columbia University Press, 2002. (looks at Japanese modernist fiction of the 1920s and 30s to establish a theoretical and historical framework for the analysis of Japanese modernism) Lutfy, Carol. “Japanese Modernism: Bold Shapes and Strong Colors Define a House in Nagoya” in Architectural Digest v.51 n.11 November 1994.

Lyall, Sutherland. “Building favourites” in Architects’ Journal v.209 n.4 January 28 1999 (briefly discusses Junzo Sakakura’s Museum of Modern art in Kamakura, Japan, built during the postwar period) McNeil, Peter. “Myths of modernism: Japanese Architecture, Interior Design and the West, c.1920-1940” in Journal of Design History Vol.5 n.4 1992 Maekawa: ____. Kunio Maekawa: Sources of Modern Japanese Architecture - Process Architecture (No.43), 1984 Maekawa: ____. Reynolds, Jonathan M. Maekawa Kunio and The Emergence of Japanese Modernist Architecture. Berkeley and Los Angeles, CA: University of California Press, 2001 Maki, Fumihiko, B. Bognar, A. Krieger, et al. FUMIHIKO MAKI: Buildings and Projects. New York: Princeton Architectural Press, 1997. Maki, Fumihiko. “Modernism at the Crossroad” (text in English and Japanese) in Japan Architect vol.58 n.311 3/1983 Maki, Fumihiko. "Japanese City Spaces and the Concept of Oku," JA, The Japan Architect (05/1979), pp. 51–62. Maki, Fumihiko. "The Theory of Group Form," JA, The Japan Architect (02/1970), pp. 39–42. Maki, Fumihiko. "Some Thoughts on Collective Form." in George Kepes (ed.). Structure in Art and Science. New York: George Braziller, 1965. Maki, Fumihiko. Investigations in Collective Form. St. Louis, MO: University of Washington Press, 1964. Maki: ____. Fumihiko Maki, JA, The Japan Architect 16 (12/1994). Tokyo. Maki: ____. Fumihiko Maki 1986–1992, SD, Space Design (01/1993). Tokyo. Maki: ____. Fumihiko Maki 1979–1986, SD, Space Design (01/1986). Tokyo. Miyoshi, Masao and Harry D. Harootunian (eds.). Postmodernism and Japan. Durham, N.C.: Duke University Press, 1989. Matsukuma, Hiroshi and others. “Modern houses” (includes Junichi Ishizaki. “Tracing the genealogy of modernism and materiality in the works of Raymond, Yoshimura and Masuzawa” (text in English and Japanese) in Japan Architect n.22 (2) Summer 1996. Special Issue Nishizawa, Yasuhiko and others. “Modern architecture in early Showa Japan: the 1920-1945 period” in Space Design (SD) n.286 (7) July 1988 (text in Japanese) Ohkawa, Mitsuo and others. “Modernism in Wooden construction 1930-1950: Japanese Approaches Transform Materials” in Space Design (SD) n.432 (9) September 2000 (text in Japanese) Oshima, Ken Tadashi et al. “Antonin Raymond” in Japan Architect n.33 Spring 1999. Special Issue ____. “Modernism Japan 1950s-1970s” [part 11] in Kenchiku Bunka v.49 n.567 January 1994 (text in Japanese, English summary).

Muramatsu, Teijiro, Hiro Sasaki, and Hiroki Onobayashi. History of Modern Japanese Architecture, 1840–1945 special feature issue of JA, The Japan Architect (06/1965) 1965. Muramatsu, Teijiro. “Ventures Into Western Architecture” in Chisaburoh F. Yamada (ed.). Dialogue in Art: Japan and the West. Tokyo and New York: Kodansha International, 1976, pp.113-148. Nute, Kevin. Frank Lloyd Wright and Japan: The role of Traditional Japanese Art and Architecture in the Work of Frank Lloyd Wright. London: Routledge, 2000. Polledri, Paolo (ed.). Shin Takamatsu. San Francisco: MOMA and New York: Rizzoli, 1993. Reynolds, Jonathan M. Maekawa Kunio and The Emergence of Japanese Modernist Architecture. Berkeley and Los Angeles, CA: University of California Press, 2001 Ross, Michael Franklin. Beyond Metabolism: The New Japanese Architecture. New York: McGraw–Hill Co., 1978. Roulet, Sophie and Sophie Soulie. Toyo Ito – Architecture of the Ephemeral. Paris: Editions due Montieur, 1991 (in English). Sasaki, Yoji. “Modernism meets tradition: a New Design Vocabulary Emerges for Japan’s Public Spaces” in Landscape Architecture vol.79 n.2 March 1989 Sejima: ____. Kazuyo Sejima 1988-1996. El Croquis No.77, 1996 Sejima: ____. Kazuyo Sejima, Ryue Nishizawa 1995-2000. El Croquis No.99, 2000 Shinohara: ____. Kazuo Shinohara. New York: IAUS Catalogue 17, 1982. Shinohara, Kazuo. "The Context of Pleasure," JA, The Japan Architect (09/1986), p. 22. Shinohara, Kazuo. "A Program from the `Fourth Space,'" JA, The Japan Architect (09/1986), p. 28. Speidel, Manfred (ed.). Team Zoo - Buildings and Projects 1971-1990. New York: Rizzoli International, 1991. Stewart, David. The Making of a Modern Japanese Architecture. Tokyo and New York: Kodansha, 1987. Stewart, David B. and Hajime Yatsuka. Arata Isozaki: Architecture 1960–1990. New York: Rizzoli, 1991 Suzuki, Hiroyuki and Reyner Banham. Contemporary Architecture of Japan. New York: Rizzoli, 1985. Takamatsu: ____. Shin Takamatsu. SD, Space Design (01/1988). Tokyo. Takamatsu: ____. Shin Takamatsu. GA, Architect No. 9, 1990. Tokyo. Takamatsu: ____. Shin Takamatsu. JA Library 1, 1993. Tokyo.

Takamatsu: ____. Vitta, Maurizio (ed.). Shin Takamatsu: Architecture and Nothingness. Milano: l'Arcaedizioni, 1996. Tange: ____. Kulterman, Udo (ed.). Kenzo Tange 1946-1969: Architecture and Urban Design. London: Pall Mall Press, 1970. Taniguchi, Yoshio, and F. Maki. The Architecture of Yoshio Taniguchi. New York: Abrams, 1998 Taniguchi: ____. Yoshio Taniguchi. JA. The Japan Architect No.21 Spring 1996. Tokyo Team Zoo: ____. Speidel, Manfred (ed.). Team Zoo - Buildings and Projects 1971-1990. Contributions by Lucien Kroll and Patrice Goulet. New York: Rizzoli International, 1991. Tempel, Egon. New Japanese Architecture. New York: Praeger, 1969. Tipton, Elise K. and John Clark (eds.). Being modern in Japan: Culture and Society from the 1910s to the 1930s: Symposium July 1998, Sydney, Australia. Honolulu: University of Hawaii Press, 2000 Ueda, Makoto and others. “The architecture of Kameki Tsuchiura: a Reappreciation” (includes Nishizawa, Y. “Kameki Tsuchiura and new Modernism” in Space Design (SD) n.7 (382) July 1996 (text in Japanese) Varley, H Paul. “The Occident Expressed” in Progressive Architecture v.71 n.5 May 1990 (examines the work and influence of foreign architects working in Japan, reveals how modernism and American models influenced) Vitta, Maurizio (ed.). Kiyonori Kikutake: From Tradition to Utopia. Milano: l'Arcaedizioni, 1997. Vitta, Maurizio (ed.). Shin Takamatsu: Architecture and Nothingness. Milano: l'Arcaedizioni, 1996. Watanabe, Hiroshi. Amazing Architecture from Japan. Tokyo and New York: Weatherhill, 1991. Watanabe: ____. Makoto Sei Watanabe: Conceiving the City. Milano: l'Arcaedizioni, 1998 Witte, Ron. Toyo Ito - Sendai Mediatheque. Munich and New York: Prestel Verlag, 2002. Yamamoto: ____. Riken Yamamoto. Tokyo: Space Design, SD 95:01 Yasuo, Masai (ed.). Edo/Tokyo Through Maps: Atlas Tokyo. Tokyo: Heibonsha, 1986 Yatsuka, Hajime and Kenjiro Okazaki, “30 People who Moved Modernism: Rethinking the Modernists: the Japanese Perspective” (text in Japanese) in Kenchiku Bunka v.55 n.639 January 2000, special feature, Yatsuka, Hajime. "Architecture in the Urban Desert: A Critical Introduction to Japanese Architecture After Modernism," Oppositions (Winter 1981), No. 23, pp.3–35. Yatsuka, Hajime. "Post–Modernism and Beyond," JA, The Japan Architect (02/1986), pp.59–66. Yoh: ____. Shoei Yoh: In Response to Natural Phenomena. Milano: l'Arcaedizioni, 1997

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. B. Bognar. Contemporary Japanese Architecture: Its Development and Challenge. New York: Van Nostrand Reinhold, 1985. B. Bognar. The New Japanese Architecture. New York: Rizzoli International, 1990. B. Bognar. World Cities: TOKYO. London: Academy Editions, 1997. Bognar. NIKKEN SEKKEI 1900-2000: Building Future Japan. New York: Rizzoli, 2000. B. Bognar. Hiroshi Hara: The Floating World of His Architecture. London: Academy Editions, 2001. B. Bognar. Kengo Kuma – Selected Works. New York: Princeton Architectural Press, 2005 R. Boyd. New Directions in Japanese Architecture. New York: Braziller, 1968 Drew, Philip. The Architecture of Arata Isozaki. New York: Harper and Row, 1982 K. Nishi and K. Hozumi. What is Japanese Architecture. Tokyo: Kodansha, 1985 ____. Itsuko Hasegawa, Architectural Monographs No.31. London: Academy Editions, 1994. P. Jodidio. Tadao Ando: Complete Works. Köln: Taschen Verlag, 2004 M-F Ross. Beyond Metabolism. New York: Mc Graw Hill, 1978. ____. Itsuko Hasegawa: Selected and Current Works. The Master Architect Series. Mulgrave, Victoria: The Images Publishing Group, 1997 ____. Toyo Ito, JA Library 2, 1993. Tokyo. ____. Toyo Ito - 1986 - 1995. EL Croquis 71. Madrid: 1995. ____. Toyo Ito - Section 1997. 2G. Barcelona: No2 1997. ____. Toyo Ito. EL Croquis 123. Madrid: 1995. D. Stewart. The Making of a Modern Japanese Architecture. Tokyo: 1987 ____. SANAA 1983-2004, El Croquis ____. SANAA Sejima Nishizawa 2004-2008, El Croquis ____. Yoshio Taniguchi. The Japan Architect 21 (Spring 1996-1) Y. Taniguchi. The Architecture of Yoshio Taniguchi. New York: Abrams, 1999 ____. FUMIHIKO MAKI: Buildings and Projects. New York: Princeton Architectural Press, 1997.