Transcript of 7 일본의 소주택과 ‘작음’의...
(USC) .
, (2015), “Tange Kenz’s Tokyo Plan, 1960, A
Plan for Urban Mobility”(2018), “Metabolism and Cold War
Architecture”(2014), “The Making of Postwar Japanese Architecture:
Hiroshima Peace Memorial Park”(2012) .
2016 ()
(No. 2016S1A5A8017820).
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EUFTA, 213(3), 2016, 16 .
5 Cathelijne Nuijsink, How To Make A Japanese House, Rotterdam:
nai010 publishers, 2012, pp. 23~29; Naomi Pollock, Jutaku: Japanese
Houses, London: Phaidon, 2015; Igarashi Tar, “Japan’s Housing
Conditions and Residential Architects,” in From Postwar to
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9 . Karel Teige, The Minimum
Dwelling, Cambridge and London: MIT Press, 1932. 10 . Jonathan M.
Reynolds, Maekawa Kunio
and the Emergence of Japanese Modernist Architecture, Berkeley and
London: University of California Press, 2001, pp.142~149.
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Venturi), (Denise Scott Brown), (Steven Izenour)
(Learning From Las Vegas, 1972),
(Bernard Rudofsky) (Architecture without Architects, 1964),
(Delirious New York, 1978)
24 1980, ‘’
. Jasper Morrison et al., MUJI, New
York: Rizzoli, 2010. 25 Igarashi Tar & David Noble trans.,
Contemporary Japanese Architects, JPIC, 2008, p. 199. 26 , ··, ,
2001; ·, ·
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27 Robert Venturi, Denise Scott Brown, Steven Izenour, Leaning from
Las Vegas: Cambridge and Lon- don: MIT Press, 1972; Bernard
Rudofsky, Architecture without Architects, New York: MoMA Press,
1964; Rem Koolhaas, Delirious New York, New York: Oxford
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28 , , , ··, 9.
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36 Karatani Kojin, “Japan As Museum: Okakura Tenshin and Ernest
Fenollosa” in Japanese art after 1945: Scream Against the Sky,
edited by Alexandra Munroe, New York: H. N. Abrams, 1994,
pp.33~40.
37 Kengo Kuma, “What is a Teahouse,” in Kengo Kuma: Breathing
Architecture, edited by Volker Fischer and Ulrich Schneider, Basel:
Birkhäuser, 2008, pp.8~16.
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particularly asks how his photogrpahs of Buddhist statues were
received as masterpieces of
photography within the rapidly growing market of art publication in
the postwar era; and
how his works provided a wider range of audience a new
interpretative frame through which
to perceive ‘Japanese art’ as the object for pure love and
appreciation, as well as a recuperative
object to obliterate the contested memories of the wartime past. •
Keywords: Domon Ken, Photographs of Buddhist Statues, ‘Japanese
Art’ in the Mid-Twentieth
Century, Koji Junrei(Pilgrimages to Ancient Temples)
smallness in Japanese house: from postwar to post-postwar Japanese
architecture | CHO Hyunjung The development of small and unique
housing in Japan was a phenomenon that has not
been seen anywhere in the world. Responding to Western expectations
of ‘small Japan,’ one
of the most influential stereotypes of Japanese people and its
culture, the radical designs of
small detached houses have attracted international attention. This
paper aims to examine the
‘smallness’ of Japanese housing not merely as Japan’s essential
nature or a clever adaptation to
dozens of constraints, but rather as a strategic choice of
architects who try to present a new
concept of architecture at the critical juncture in postwar
Japanese society.
In the wake of World War II, architects’ radical proposals for
minimum dwelling were
associated with American lifestyle and its democratic ideals, which
were clearly distinct from
feudalism and imperialism of prewar Japan. Entering the 1990s, the
popularity of extremely
small detached houses was identified with an alternative minimalist
life of post-postwar
Japan. The Great East Japan Earthquake of 2011 served as a turning
point in the discourse of
‘smallness’ in Japanese architecture. The past few years have
witnessed the refashioning of the
implication ‘smallness’ as a highly ethical and therefore superior
Japanese quality compared
with the bigness in Western modernism. Japanese architect Kuma
Kengo is a key figure who
tries to promote Japanese peculiar ability to design small as an
invaluable cultural asset and a
key survival skill in a time of global economic and environmental
crisis. • Keywords: Small house, minimum dwelling, 9 tsubo house,
Kuma Kengo, Atelier Bow-
Wow
arTiCLes arrogant nation, anxious empire: a search for new national
and imperial identity in Taish Japan, 1912~1926 | HAN Jung-Sun This
paper explores the changing national identities and foreign
policies of Taish Japan by
focusing on its attitudes and policies toward China. During the
Taish era, Japanese foreign
policies toward China oscillated between cooperative and unilateral
policies. I argue that
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