the Kiwari method, with all its rooms being laid out on the tatami module, the building has no central axis and no single focal point but with its mar- velous manipulation of space, it has prompted experts to call it "an elegant avoidance of symmetry." The delicate proportions of the Katsura, the ex- quisite craftsmanship exhibited in its exposed structural members, its flow- ing plan, and the harmonious integra- tion of house and garden are still as meaningful today as they were more than three centuries ago.
Modern Trends
With the termination of Japan's period of isolation in 1868, there followed an influx of western in- fluence which brought about striking changes in the architectural picture. European architects and technicians introduced new styles, different materials, and a variety of construc- tion methods. Brick, steel and con- crete were used in public halls, school, factories and stores. Even vaults and arches appeared as the pendulum swung far from Japan's architectural traditions.
It wasn't until the great earthquake of 1923 when many rigidly construct- ed western buildings were razed (the ingeniously built Imperial Hotel by Frank Lloyd Wright being a notable exception) that the surging tide of western influence was partially check- ed and thoughtful Japanese began to look back to their own architectural heritage for inspiration. It was be- coming increasingly apparent that for a people whose way of life was markedly different, the western ap- proach could not be applied per se. In their homes, for example, the Japanese had always sat, ate, and slept on the tatamied floor. Furniture such as chairs, sofas, and beds, was existent and shoes were never worn inside the house. The indigenous architecture, in turn, was geared to this way of life.
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And so the modern Japanese archi- tect aims at a combination of tech- nology and tradition. One of the most successful in this endeavor is Kunio Maekawa whose Cultural Hall in Kyo- to and the Tokyo Metropolitan Fes- tival Hall while bearing strong in- fluences of the great French architect, Le Corbusier have not neglected the Japanese tradition.
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Another architect whose works fuse the traditional with the modern is Kenzo Tange whose dignified and graceful work in reinforced concrete, as seen in the Kagawa Prefectural Hall
Exhibition Hall No. 2 of Tokyo International Trade Centre in Harumi, designed by Masachika Murata and built in 1959. The top portion of the dome can be opened and closed by remote control
occupies the site of the famed old Imperial Theatre and incorporates the most modern stage facilities together with a lavish decor in keeping with world trends in theatrical design.
Nippon Budokan Hall in Tokyo. This octagonal structure, designed by Mamoru Yamada was built in 1964 for the Olympic judo competitions. It is reminiscent of the famed Yumedono Hall of Horyuji Temple in Nara at Takamatsu, the City Hall of Kura- shiki and St. Mary's Cathedral in Tokyo, has gained world-wide re- cognition. His National Indoor Gymnasium, designed for the 1964 Tokyo Olympic Games, was awarded the Olympic Diploma of Merit by the International Olympic Committee. He International Olympic Committee. He has also been honoured with the Gold Medal of the Royal Institute of British Architects.
The practical application of this new surge in Japan's architectural renaissance can be found in three recent additions to Tokyo's expanding skyline.
The Imperial Theatre, housed with in the new International Building,
The National Theatre, dedicated to the preservation of Japan's traditional theatrical arts, is patterned after the ancient "Azekura" style as represented by the Shosoin, or Imperial Store- house, built in the 8th century in Nara.
Inaugurating the skyscraper age in Japanese architecture is the Mitsui Building, completed around the end of 1967. This office building rises 147 metres (489 ft.) into the sky with a total of 36 storeys.
Far East BUILDER, October 1969
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