Kazuo Shinohara
著者
書誌事項
Kazuo Shinohara
Ernst & Sohn, c1994
大学図書館所蔵 全10件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references
内容説明・目次
内容説明
Kazuo Shinohara is one of Japan's leading architects. Since his career began, in the 50s, he has designed over 30 residential buildings. More recently he has turned to museums and other public institutions. His early work is clearly linked to Japanese tradition. This is particularly clear in his concept of space and in the integration of symbolic elements, such as the free-standing column in the House in White in Tokyo, 1966. In the 70s he increasingly tried to avoid traditional Japanese building forms. Circles, squares and rectangles, combined in any number of ways, are now the dominant feature of his buildings. Machines, anarchy, chaos and vitality have become the central concepts in his theory. For him machines represent a physical system in which objects are related functionally, as in the Centennial Hall for the Technical University of Tokyo, which, with its raised half-cylinder in the interior, steel braces and diagnonally divided wall areas, is like a giant machine or a fantastic space ship.
Individual elements are combined arbitrarily and apparently illogically, providing a visual correlative to the chaos, anarchy and vitality of the city that the building faces, plunging into its total lack of planning. This work contains an essay introducing Japanese architecture and giving a critical appraisal of the architects's work. Shinohara puts his philosophical viewpoint in other essays, in his characteristically forceful language.
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