Gotowa bibliografia na temat „Architecture – japan – exhibitions”

Historical wooden buildings can be seen not only in Japanese open-air museums and in the Japanese countryside, but also in the largest metropolises. On the individual Japanese islands we can find almost ten open-air museums, all of a different character. They include local, regional and national museums - thereby presenting several areas at the same time. Most of them are rural buildings that are primarily related to agricultural subsistence, while some of them also exhibit urban life. In addition to exhibitions of real life and thematic exhibitions, the museums also prepare such programmes as traditional festivities and handicraft courses. Numerous information boards in the museums that are visited, however, are already obsolete in terms of their technical workmanship and their graphics while at the same time they display a lot of information, which also makes the exhibitions chaotic. An interesting concept for using historic buildings is The Art House Project, where endangered buildings were offered to leading Japanese artists and architects for their up-to-date adjustment. A brief encounter with Japanese architecture at the same time confirms that the practical implementation of basic needs to ensure living is similar across the world.

On the behalf of the organizing committee, the 2024 2nd International Conference on Civil Engineering, Architecture and Transportation (CEAT 2024) was successfully held in Kyoto, Japan during January 20-21, 2024. Related exhibitors from research laboratories, industrialists and suppliers were invited to propose exhibitions and demonstrations. CEAT 2024 allows for the free exchange of ideas and challenges faced by these two key stakeholders and encourage future collaboration between members of these groups. The conference also fosters cooperation among organizations and researchers involved in the fields of civil engineering, architecture design, urban planning, transportation, and intelligent logistics. We enjoyed 4 keynote speeches and many oral presentations made by the authors which lasted for 15-20 minutes each, and a lot of inspiration sparked during the Q&A parts. Researchers who have contributed their work to CEAT 2024 shared their findings and experience with other researchers and attendees. Many participants without any contribution of research paper have also been allowed to attend the conference to gain knowledge in their respective areas. Within all contributions from the participants, less than 40 papers were final accepted from more than 60 submissions. Thanks to the dedication of every committee member and reviewer, we finally made this conference. CEAT 2024 Conference Committee Kyoto, Japan

Western fascination with Japan and Japanese design is long established. The popularity of the recent exhibition The Japanese House: Architecture and Life After 1945 at London's Barbican illustrates that this fascination remains. This ‘blockbuster’ review of postwar domestic Japanese Architecture, supported by The Japan Foundation and previously hosted at MAXXI, National Museum of 21st Century Arts, Rome, responds to an enormous challenge: to try to account for the range and diversity of architectural approaches to domestic design within the broader contexts of traditional Japanese architecture and national life after 1945.The seven decades covered in the exhibition span postwar reconstruction, rapid economic expansion, bubble-era boom and bust, and deflationary stagnation, brought up to the present day. Material is organised ‘genealogically’ rather than chronologically, drawing together certain threads and traditions. It makes connections across time periods to suggest how the design of the Japanese house has dealt with sociological changes over this period, from the fracturing of the nuclear family and an increase in single-person households to an ageing population.

The article presents analytical material on the experience of organizing World Exhibitions, special attention is to EXPO-2020. The main postulates of the EXPO-2030 program in Ukraine are provide.
 Modern scientific approaches to the study of the problem of sustainable development, the economics of organizing exhibitions, social tasks, the aesthetics of the symbolism of the architectural composition of pavilions of different countries and exhibition sites in Dubai with the final Program for People and Planet are considered.
 The purpose of the publication is to identify the main characteristics and critically analyze the ideas of past exhibitions in order to adapt the best proposals for holding an exhibition in Ukraine, indicating the expected benefits and motivations.
 All countries and cities in which World Exhibitions held since their inception are lists. Attention is focuses on the theme of the exhibition: "Connecting minds, creating the future", which is dedicated to the goals of sustainable development and sounds like a call to unite different countries, peoples, and people for the sake of planetary development. A description of the main thematic areas with author's photos of the most significant pavilions illustrating "Opportunity", "Mobility" and "Sustainability" is present.
 A comparison of the results of the participation of representatives from Ukraine in the EXPO exhibition in 2010 and 2020 is given. The topic and tasks of the future exhibition in Japan EXPO 2025 are considered. The main postulates of the ODESA EXPO 2030 project on the theme "Renaissance. Technologies. Future" as a Post-war Reconstruction Plan. The motivation for Ukraine is express in the development of the National Economic Strategy until 2030, the prospects for the promotion of the national brand "Ukraine Now".

In a recently discovered photograph of German architect Bruno Taut's retrospective exhibition at the Istanbul Academy of Fine Arts, which opened on 4 June 1938, Taut in-exile stands with Erica Taut and his assistant Şinasi Lugal in front of a display (see Figure 1). What interests me in this image is not so much the frontal figures who posed for it as the documentary value of the exhibit in the background, the photographs inside the photograph. These images display Taut's Siedlungen (residential settlements/collective housing projects), designed and constructed as part of the Berlin Housing Program (1924–33) just before Taut was exiled from Germany due to the rise of National Socialism. After stays in Russia and Japan, Taut moved to Turkey, where he became head of the Architecture Department at the Istanbul Academy. Through a seminar and a studio he taught on Siedlung, he participated in a translation of the idea of collective housing that would shape the discursive space and practice of architecture in Turkey for decades to come. Most of the images in the exhibition were taken by the now-famous photographer Arthur Köster. The exhibit bears witness to the fact that Turkish architects were exposed not only to the influential Siedlungen of the Weimar period in Germany but also to their soon-to-be canonical photographs earlier than most of their colleagues around the world.

This study analyzed 15 unique cases of buildings designed by the Japanese that had the exterior appearance of traditional Korean architecture while the Western timber truss was applied. The characteristics of Korean-style roofs were first categorized into three parts: structural frame, roof curve, and eaves space. Then, the analytic drawings were prepared in order to scrutinize the cases in accordance with these characteristics. The analysis revealed that the Western truss was hybridized to embody the Korean-style roofs. The truss was segmented, diagonal supplementary building components were added, or some components of the Korean or Japanese-style timber structure were partially applied. The advent of such a ‘hybrid roof’ shares a background with the westernization of the construction techniques of the timber structure since the late 19th century in Japan. The political initiatives of Japan deliberately led to the exhibition of exotic Joseon in the expositions, thereby requiring Korean-style pavilions. As a result, the pavilion reflected double layers of hybridization: a Korean timber structure transformed through the Japanese westernization method. Although the buildings studied in this research were designed by non-Koreans and were already demolished, they are noteworthy for the unprecedented attempts to realize the appearance of traditional Korean architecture by using truss structures.

The development brings inevitable changes to the built environment in which architectural design holds a significant part. Architecture, undoubtedly, has a strong association with identity and the character of a certain built urban environment. Changes in architectural principles and designs may bring two-side impacts, which may either strengthen or harm the existing urban identity. This is especially true when we discuss architectural changes and the formation of urban identity on the Island of Bali. This study aims to examine the conformance of numerous facades of commercial buildings located along the Danau Tamblingan Corridor in Sanur-Bali to the set of local government regulations that govern the implementation of local traditions in architectural design and practices. The study is approached with a qualitative method. The study result shows there are 5 groups of violations, which are: 1) violation of the tri angga principle; 2) the use of flat roofs; 3) minimum use of local decorative elements; 4) dominant exhibition of commercial identity; 5) the absent of handcrafted character, natural materials and the color derived from their uses.Keywords: Balinese Architecture; facade; commercial building
 AbstrakPerkembangan zaman membawa perubahan pada banyak hal dan tidak dapat dihindari. Salah satu hal yang mengalami perubahan adalah arsitektur. Arsitektur memiliki hubungan yang erat dengan tata ruang sebuah wilayah atau kota. Arsitektur berkaitan dengan karakter dari suatu wilayah tersebut. Perubahan dalam arsitektur yang tidak terkontrol dapat menghilangkan karakter dari sebuah wilayah. Arsitektur Bali adalah salah satu gaya arsitektur yang mengalami perubahan. Jalan Danau Tamblingan adalah salah satu koridor komersial di Kelurahan Sanur yang terdiri dari berbagai jenis fasilitas komersial dengan karakter bangunan yang bervariasi. Namun terdapat banyak bangunan komersial yang tidak menerapkan prinsip Arsitektur Bali sebagaimana mestinya seperti yang sudah diatur dalam Peraturan Walikota Denpasar No. 25 Tahun 2010. Penelitian ini bertujuan untuk mengkaji prinsip Arsitektur Bali dalam peraturan perundang-undangan yang tidak diterapkan pada tampilan bangunan fasilitas komersial di lokasi penelitian. Metode yang digunakan adalah metode kualitatif dengan strategi studi kasus. Hasil penelitian menunjukkan bahwa terdapat 5 pelanggaran yang dilakukan oleh bangunan-bangunan komersial di Koridor Jalan Danau Tamblingan, Sanur yaitu; 1) tidak menerapkan konsep tri angga; 2) menggunakan atap datar; 3) minimnya penggunaan ragam hias Arsitektur Bali; 4) dominasi identitas perusahaan pada tampilan bangunan; 5) tidak menampilkan karakter handicraft serta tidak menggunakan warna dan material alamiah.Kata kunci: Arsitektur Bali; fasad; bangunan komersial

Lawang Sewu is a historic building owned by PT KAI in Operational Area 4 Semarang, Central Java. Lawang Sewu is a relic from the Dutch Colonial period. Now Lawang Sewu has become a cultural heritage building that is included in the building protection law. In this museum we can find the legacy of the old PT KAI. Lawang Sewu is also one of the leading tourist attractions in the city of Semarang and witnessed the 5-day battle in Semarang which took place from 14 to 19 August 1949 and is marked by the location of the Tugu Muda Monument which is on the west side of Lawang Sewu or more precisely at the Jalan Pandanaran roundabout. As an architectural and tourist object, Lawang Sewu has the value needed in the definition of a monument and monumental nature. These values include aspects of history, technology, architecture, and culture. Currently the Lawang Sewu building houses a collection of trains in Indonesia from time to time. Collections such as Alkmaar, Edmonson machines, calculating machines, typewriters, replica steam locomotives, securities, and several other collections. This place is also often used for community activities such as exhibitions, festivals, art performances, shooting, wedding parties and photo shoots.
 

Mamoru Kawaguchi (1932–2019) was one of the great structural engineers of the late 20th century. He developed his career mostly in Japan and he has also superb works in China, Singapore and Spain. The spectrum of his structures is manifold: he designed shells, space frames, inflatable structures, tension structures, timber–steel hybrid systems and so on. With them, he conceived and provided the bones and muscles of sports halls, exhibition halls, museums, railway stations, towers, bridges and sculptures. Kawaguchi collaborated with some of the best architects of his time: Kenzo Tange, Arata Isozaki and Kazuyo Sejima just to cite some of the internationally most renowned. For his works, he was awarded many times in Japan, as well as internationally (the Architectural Institute of Japan award, the International Association for Shell and Spatial Structures Torroja Medal, the International Association for Bridge and Structural Engineering International Award and many others). In this article, I review Mamoru Kawaguchi’s main professional and academic achievements, and discuss his design philosophy, sources of inspiration and means to develop his ideas from my own personal experience.

Au croisement de disciplines telles que l’architecture, la muséologie, la muséographie-scénographie, l’histoire des musées et de l’architecture, et avec l’objectif de dépasser l’approche historique et la simple description, cette recherche étudie l’espace muséographique dans les musées d’art au Japon. Depuis la première apparition dans le vocabulaire japonais du mot « musée d’art », bijutsukan, à l’occasion de la participation du Japon à l’Exposition universelle de Vienne en 1873, les musées du XXIe siècle portent des valeurs esthétiques et culturelles spécifiquement japonaises. Cette recherche s’interroge sur l’évolution des musées dans le temps, à travers l’étude des typologies de musées et d’expositions, entre lieux d’expérience esthétique et espaces de sociabilité. L’architecture japonaise prémoderne a développé des modalités particulières de création et de construction, notamment une spatialité ouverte sur le paysage, que l’on retrouve dans les réalisations contemporaines. À cet égard la recherche s’appuie sur les traditions pré-Meiji dans l’architecture, religieuse et domestique, et sur les codes de présentation des œuvres. L’approche du statut de l’œuvre d’art muséifiée et la notion de trésor national, kokuhō, ainsi que l’espace muséographique et le rapport à l’œuvre dans les musées d’art, sont considérés en parallèle à certains aspects de l’habitat traditionnel, comme les placements codifiés des peintures et des objets d’art dans le tokonoma. Les pratiques architecturales et muséographiques actuelles sont étudiées à travers les différents aspects de la conception et de l’aménagement de l’espace : de l’architecture du musée à la mise en exposition, jusqu’à la perception des œuvres. L’exposition est entendue comme communication de sens, l’espace muséographique comme espace culturel et physique, empreint de symboles, depuis l’approche classique de présentation, purement esthétique, à l’évolution contemporaine vers un espace conceptuel d’interprétation. La lecture de l’espace muséographique comme communicateur de sens et du parcours d’exposition comme espace-temps passe par la définition des termes et des notions spatiales, en tant qu’expression d’une forme de pensée de l’espace. Dans le but de cerner le lien entre les œuvres et l’espace muséographique, perçu comme support de contenu, cette recherche considère le dispositif spatial et les modes d’exposer dans leurs spécificités. Le musée est un espace public où une intimité doit pouvoir se créer avec l’œuvre exposée. Ainsi les espaces d’exposition se chargent pour le visiteur d’une émotion et d’une valeur presque affective. La littérature japonaise contribue à éclairer cet aspect de la perception du musée dans la société et dans l’imaginaire japonais. Par un travail de simplification et de synthèse dans la conception des espaces, en reprenant certaines pratiques spatiales de l’architecture prémoderne, les musées au Japon ont développé des modalités propres de création et de construction de l’espace. Construire en revisitant la tradition est la manière spécifiquement japonaise de faire revivre le patrimoine dans l’architecture et l’espace du musée, qui s’exprime notamment par l’attention à la nature, l’emplacement dans le site et le choix des matériaux, l’intimité du rapport intérieur-extérieur, le parcours et l’articulation des espaces. Alliant esthétique et fonctionnalité, qualité architecturale et environnementale, qualité muséographique et conservation des œuvres, les musées et les aménagements muséographiques contemporains, souvent l’œuvre d’architectes japonais reconnus internationalement, se révèlent ainsi des réalisations exemplaires et cohérentes, qui expérimentent avec succès une architecture d’interrelations complexes dans une vision du musée ouvert aux visiteurs, aux sensations et au monde<br>At the crossroads of disciplines such as architecture, museology, museum-scenography, history of museums and architecture, aiming to go beyond the historical approach and the simple description, this research studies the museum space in art museums in Japan. Since the appearance in the Japanese vocabulary of the word "art museum", bijutsukan, on the occasion of Japan’s first participation in the World Exposition in Vienna, 1873, the 21st century museums have evolved towards the expression of Japan’s very own aesthetic and cultural values. This research examines the museums evolution over time, between aesthetic experience and sociability, through the study of museums, exhibitions typologies, and models of spatial distribution. The premodern Japanese architecture developed particular forms of creation and construction, including a spatiality open to the landscape, which can also be found in contemporary achievements. In this respect, research is based on pre-Meiji traditions in religious and domestic architecture, as well as the display of artworks and objects. The approach to the status of museum exhibit and the notion of national treasure, kokuhō, as well as the museum space and its relation to the art museum collections, are considered in parallel with certain aspects of traditional housing, such as the codified placement of paintings and art objects in the tokonoma. Current architectural and museum practices are studied through different aspects of the museums layout and exhibition design: from the museum’s architecture to the exhibition space, up to the perception of the artworks. The exhibition is understood as a communication of meaning, the museum space as a cultural and physical space, imbued with symbols, from the classical approach to display, purely aesthetic, to contemporary evolution towards a conceptual space of interpretation. The reading of the museum space as a communicator of meaning and of the exhibition route as space-time passes by the definition of terms and spatial notions, as an expression of a way of thinking the space. In order to understand the link between the artworks and the museographic space, perceived as a medium of content, this research considers the spatial device and the modes of display in their specificities. The museum is a public space where intimacy must be created with the work on display. Thus the exhibition spaces are charged to the visitor with an almost emotional value. Japanese literature helps to shed light on this aspect of museum perception in Japanese society and imagination. Through a work of simplification and synthesis in the design of spaces, by resuming certain spatial practices of premodern architecture, museums in Japan have developed specific modalities for the creation and construction of space. Building by revisiting tradition is the Japanese way to revive heritage in the architecture and space of the museum, which is expressed in particular by the attention to nature, the location in the site and the choice of materials, the intimacy of the inner-outer relationship, the path and the articulation of spaces. Combining aesthetics and functionality, architectural and environmental quality, museographic quality and conservation of works, museums and contemporary museum installations, often the work of internationally renowned Japanese architects, are thus exemplary and coherent achievements, successfully experimenting an architecture of complex interrelations, in a museum vision open to visitors, sensations and the world

碩士<br>國立成功大學<br>建築學系碩博士班<br>97<br>The National Museum of Taiwan Literature is the first Literature Museum in Taiwan and is of large significance. Nowadays, the museums worldwide have an abundant research achievement in the study of Literature Museums. As for Taiwan, references on the related study for Literature Museums are rare. Besides the fact that the researchers pay less attention to the special attribute of literature museums, the public is even more unfamiliar with their role and meaning, either. Different from what previous museum researcher focused on: The management aspect, the re-use of cultural heritage, the emphasis on the question of reusability and authenticity, and also the aspect that the earlier study on museum architecture only emphasized the analysis of building environment. Starting from the angle of layout design; this study analyzes the effects that literature museums present in the interior display environment, conceptual techniques and the space formation. Furthermore, the study even tries to demonstrate the structure built among various elements, in order to make a reference for interior / layout professionals. Keyword：Museum of Literature, Layout design, The reuse of cultural heritage

Chapter 4 centers on the Crow lodge, a painted tipi by Blackfeet artist Darryl Blackman that was commissioned by the US Information Agency for the US Pavilion at Expo 70 in Japan. Garnering a record-breaking sixty-four million visitors, the first Asian exposition was charged with simulating a “city of the future” in an era of whole earth images, dome mega-architecture, and dystopian accounts of Western progress. During this period, Plains tipis circulated internationally alongside domes as icons of environmental holism and countercultural resistance. Yet comparatively little attention has been paid to tipis as a dynamic ecopolitical architecture in their own right. This chapter positions the Crow lodge within a longer history of exhibiting Native American architectural models in colonial exhibitions. The author demonstrates that Cold War World Fairs could became stages for Indigenous futurisms in which artists materialize ancient gifts from the earth to expand a circle of reciprocity.

Resumen: En 1937, Japón presentaba para la Exposición Internacional de París un pabellón que rompía con los modelos de arquitectura tradicional y vernácula que había construido en anteriores exposiciones. El descaro de la propuesta generó no poca controversia en el país nipón debido al lenguaje empleado, alejado de las tipologías y sistemas constructivos autóctonos para introducir un nuevo modelo, aplicando nuevos materiales como acero y vidrio. Entre el primer proyecto presentado a concurso, obra de Kunio Mayekawa y el proyecto finalmente construido, obra de Junzo Sakakura, aparecerá un común denominador en la figura del maestro: Le Corbusier. El artículo analiza la influencia que supuso el maestro en la realización de los proyectos. Mientras Mayekawa evolucionaba buscando su propio camino, Sakakura diseñará el pabellón en el estudio de la calle de Sèvres, influenciado por las enseñanzas y sugerencias de Le Corbusier, para conseguir aunar en su arquitectura la profunda tradición japonesa con la modernidad. El pabellón puede considerarse pionero de la arquitectura moderna japonesa que entra a formar parte de la escena internacional, alzándose con uno de los premios de arquitectura otorgados por la organización francesa, junto a los pabellones de Aalto y J. L. Sert. Abstract: In 1937, a Japanese Pavilion was presented to the International Exhibition in Paris. This pavilion broke with the traditional and vernacular architecture that Japan had built in previous exhibitions. The audacity of the proposal generated a lot of controversy in the japanese country, due to its language, away from the native typologies and constructive systems. Indeed, the approach introduced a new model, using new materials such as steel and glass. The first project submitted to the competition, designed by Kunio Mayekawa, and the final built project, designed by Junzo Sakakura, have a common denominator represented by the figure of the Master: Le Corbusier. The article analyzes the influence of the Master in the ejecution of the projects. While Mayekawa progressed looking for its own way, Sakakura designed the pavilion in Sèvres Street Studio, influenced by the training and suggestions of Le Corbusier. Then, he managed to combine in its architecture deep Japanese tradition with modernity. The pavilion can be considered as a pioneering work of modern Japanese architecture that becomes part of the international scene ,indeed, it was awarded with one of the architectural prizes granted by the French organization, together with the pavillions designed by Aalto and J.L.Sert. Palabras clave: Mayekawa; Sakakura; Le Corbusier; Pabellón japonés; Arquitectura moderna. Keywords: Mayekawa; Sakakura; Le Corbusier; Japanese Pavilion; Modern Architecture. DOI: http://dx.doi.org/10.4995/LC2015.2015.648