• 한국실내디자인학회논문집
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• 제27호
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• pp.43-50
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• 2001

This study examines how various elements characteristic of the traditional Japanese architecture are applied to contemporary architectural designs in japan. The issue of how to incorporate cultural tradition into architectural design has become one of central questions cast on modern architects. In this sense, the Japanese contemporary architecture has often been touted as infusing Japanese traditional elements into modern artifacts both functionally and aesthetically. That is, while Japanese architecture encompasses the essentials of Western modern techniques and styles, it obviously embodies Japanese tradition. Through the examination of various contemporary buildings in Japan, this study specifically explores how the vernacular forms and elements unique to Japan are reinterpreted and reinvigorated in contemporary architectural designs.

• 한국실내디자인학회논문집
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• 제22호
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• pp.69-76
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• 2000

Contemporary architecture in Japan is entering an entirely new phase in the second half of the 1980s. In the late 1960s, doubts began to be expressed about Modernism, which until then had been the recognized mainstream of architecture. There was much discussion, but it was only in the early '80s that an active debate was initiated concerning Post-Modernism. Today, however, matters have gone beyond this, and the situation appears particularly significant. The Japanese architecture world was hitherto understand to be fundamentally very different from its western counterparts. There are several trends in current Japanese architecture which have still come out of the Japanese tradition of life, culture, region, climate itself. At the same time, stance of contemporary Japanese architecture start from a common basis in world's design stream which can be called Post-Modernism, Deconstructivism, Neo-Modernism. This study is aimed at analysis of 'Regional Characteristics' in Contemporary Japanese Architecture.

• Architectural research
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• 제21권4호
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• pp.99-109
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• 2019

'Superflat' is a hugely influential contemporary art movement founded by Takashi Murakami. The concept of Superflat art is based on the notion that there exists in contemporary Japanese culture an inherent inclination for two-dimensionality devoid of perspective and hierarchy with all elements existing equally and simultaneously. The theory is defined in broad terms and asserts that this inclination for flat aesthetic has its roots in the traditional Japanese art and the development of post-war Japanese subculture. As such, Superflat as a theory possesses a capacity to engage and explain wide-ranging conditions in contemporary Japan. Taro Igarashi has made such a point and argues that the generations of leading Japanese architects practicing today possess Superflat 'tendency' for flat aesthetics and are inclined to focus on the expressive possibilities of the building's skin. While such sensibility could simply be interpreted as a stylistic trend that has emerged over the years, when examined against the characteristics of the art movement, there exist unmistakable similarities in terms of the design sensibility and techniques applied. Furthermore, the theory has become a force in how Japanese architecture is defined and understood internationally in the past decade.

• 한국실내디자인학회논문집
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• 제22권2호
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• pp.39-47
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• 2013

The purpose of this study is to search for values and meanings of everydayness as a design concept by organizing concepts of 'everydayness' shown in contemporary architecture and systematically describing its characteristics through various analysis methods. 'Eerydayness' shown in contemporary architecture is defined and the criteria of case study are suggested, so that characteristics of everyday can be identified by systematically classifying and analyzing the Japanese cases in order to find the values and meanings of everydayness. The findings of this study are as follows: first, materials that show users' everydayness has indefinite potential as an element of architecture concept, and they play the role of communication and sympathy between architecture and users; second, implementation of everydayness leads to design emergence; third, everydayness can be widely applied to architecture; fourth, everydayness can be implemented regardless of architecture uses. In conclusion, the value of everydayness in contemporary architecture is that it draws user-based diverse and fresh architectural expressions that lead to opulent designs. To users, everydayness improves satisfaction of life gained from architecture and provides rich life environment because it changed common human life to a form of art.

• 대한건축학회논문집:계획계
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• 제34권4호
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• pp.45-55
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• 2018

The purpose of this study is to analyze common features and methodological differences of PN-spatial characteristics found in architectural theories and works of contemporary young architects in Japan, such as Sou Fujimoto, Yo shimada, Keisuke Maeda and Junya Ishigami. These architects have paid attention to space between nature and inner space and have tried to establish their own architectural theory on that. Such space is ambiguous and PN-spatial in a way that it has features of both nature and inner space. Ambiguousness is a characteristic of modern architecture and PN-spatial characteristics are one of the features of Japanese architecture. This study aims to analyze the architectural theories and works of contemporary young architects in Japan from the perspective of PN-space and to draw methodological differences and common features. Their theories and works have common features in terms of 'ambiguous spatial boundary', 'unregulated spatial territory', 'detoured circulation' and 'architectural motifs', but each has their own methodology. To sum up, the works and theories of the Japanese young architects contain the philosophy and discourse of modern architecture in general. To be sure, they clearly have characteristics of Japanese architecture, which needs to be studied constantly.

• 한국실내디자인학회논문집
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• 제23권4호
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• pp.72-82
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• 2014

The Contemporary paradigm to understand the complexity and diversity is moving to 'Becoming' that taken place in reviewing at the relation of various concepts. In Japan, After the collapse of modern architecture has been declared 'Metabolism' was appeared. They tried to apply organism's metabolic system to buildings based on ecological thoughts. But Metaboilsm's projects had revealed limitations of representation that the city on the mechanical system became a huge scale. As a result, It caused a break the cultural context of the region in Japan. After then, Japanese Architects expressed a pluralistic aspects of modern society for the restoration of disconnected cultural context. From this perspective, The thought of 'becoming' is a new role for Contemporary Japanese Architect. This research is focused of projects of SANAA, Ito Toyo, Sou Fujimoto, because they have spatial thought about realizing the space through the ways organizing the various potential possibilities in the simple external form not stimulated. They are realize the 'becoming-space' within the architecture. This 'becoming-space' gives people in building the new characteristics and experience that potential interactions among user, architecture and nature. It is non-representational space not fixed, but changing organically and variably.

• 한국농촌건축학회논문집
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• 제12권1호
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• pp.41-48
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• 2010

A house is basic unit of human being living space and it reflects an occupation, family relation, a life style and sense of value of resident. The purpose of this study was to research the continuity of traditional elements and contemporary change of Japanese houses by field study and literature research. The subject of this study was sixteen houses of Miyashiro, Saitama pref. in Japan. The results of this study are as follow as. First, the traditional elements of contemporary Japanese houses are tatami floor room, tsuzukima, zashiki, dokonoma, butsudan, amado. Second, the tatami is symbol of Japanese living space. Wasizus maintains a traditional characteristic, but it is developed and fixed properly change in contemporary life. Third, the traditional elements of Japanese houses are continuing in the modern houses, and they are continuously changed the feature from recreate. It can be a connection of a hereditary factor of residential culture. Four, the continuity of modern change and traditional element of the Japanese houses can be understood the change of the structural and spatial responding method to accommodates a life.

• 한국실내디자인학회논문집
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• 제13권2호
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• pp.20-28
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• 2004

This paper aims at researching the characteristics in Bruno Taut of architecture and its influence In Japanese modern architecture. We also can study how to harmonize Japanese traditional architecture with western architecture through activities of Bruno Taut in Japan. Especially, Japanese architectural society had a dispute on their national architectural style in 1910. During the 1930's, however, the rationalist architects denied this 'Jaegwan' style architecture, and insisted a different new Japanese architectural style. Thus Japanese modem architecture adapted two axis of Western and Japan, it had been developed with their conflict and harmony by turns. This activities of Bruno Taut in Japan deeply and freshly influenced on the contemporary Japanese Architectural situation.

• 건축사
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• 3호통권251호
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• pp.48-55
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• 1990

• 한국산학기술학회논문지
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• 제12권12호
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• pp.5974-5983
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• 2011

본 논문은 6.25전쟁이후 한국현대건축 형성에 미국과 일본건축이 미친 영향에 관한 연구다. 2차세계대전 종전과 함께 광복을 맞이한 후 미군정과 6.25전쟁을 거친 한국 건축계는 미국의 원조를 통해 미국식 건축교육시스템과 건축생산시스템의 영향권에 빠르게 편입되지만, 동시에 일제강점하에 형성된 인적 제도적 관성에 기초한 일본건축의 지속적인 영향 속에서 재편되었다. 본 연구의 목적은 미국과 일본에서 수학한 두 건축가(김정수와 김수근)의 작품을 분석하여 미국과 일본의 건축이 전후 한국의 현대건축 형성기에 어떠한 영향을 미쳤는지 밝히는데 있다. 전재 복구가 마무리된 후 경제개발 과정에서 낙후된 한국의 건축생산시스템의 한계를 극복해야 하는 당면과제를 김정수는 개인적 차원에서 새로운 재료와 구법 그리고 국제주의건축의 구현을 통해 실현시켰다면, 김수근은 한국종합기술개발공사를 통한 국가적 지원을 통해 극복하고자 했다. 두 건축가가 취한 해법의 차이는 국비와 개인부담이라는 유학자금, 미국 연수와 일본유학이라는 교육배경과 유학동기의 차이에 기인하고 있음을 밝혔다.