Japan

Architects

 

 

Historically, architecture in Japan was influenced by Chinese architecture, although the differences between the two are many. Whereas the exposed wood in Chinese buildings is painted, in Japanese buildings it traditionally has not been. Also, Chinese architecture was based on a lifestyle that included the use of chairs, while in Japan people customarily sat on the floor (a custom that began to change in the Meiji period [1868–1912]).

Architecture in Japan has also been influenced by the climate. Summers in most of Japan are long, hot and humid, a fact that is clearly reflected in the way homes are built. The traditional house is raised somewhat so that the air can move around and beneath it. Wood was the material of choice because it is cool in summer, warm in winter and more flexible when subjected to earthquakes.

In the Asuka period (593–710), Buddhism was introduced into Japan from China, and Buddhist temples were built in the continental manner. From this time on, Buddhist architecture had a profound influence on architecture in Japan.

In the Nara period (710–794), a capital city called Heijokyo was laid out in Nara in a manner similar to the Chinese capital, whereby streets were arranged in a checkerboard pattern. Horyuji Temple, built under the increasing influence of Buddhism in 607, is the oldest wooden structure in the world. It was registered as a UNESCO World Heritage property in 1993.

In the Heian period (794–1185), the homes of the nobility were built in the shinden-zukuri style, in which the main buildings and sleeping quarters stood in the center and were connected to other surrounding apartments by corridors. Tosanjo Palace (1043) was an example of this style.

Tea cottages, built when the tea ceremony became popular in the Muromachi period (1333–1568), employed a style called sukiya-zukuri, characterized by a delicate sensibility, slender wood elements and unornamented simplicity. Kyoto's Katsura Rikyu is a prime example of this style. People liked the harmony formed by the cottage and the landscaped garden.

In the sixteenth century, when feudal lords dominated Japanese society, many castles were built. Though constructed for military defense, these castles were also used to enhance the lords' prestige. A few of them remain today, admired especially for their tenshukaku (watchtowers). The living rooms inside the castles were tastefully decorated, and rooms for reading and waiting were developed in a style known as shoin-zukuri. The Shiroshoin at Nishi-Hongenji in Kyoto, a National Treasure of Japan, is an example of this style.

After the Meiji Restoration, Western architecture was introduced in Japan. Stone and brick came to be used in construction. In more recent times, the trend is toward the construction of buildings that incorporate aspects of traditional Japanese architecture, using modern technology and new materials.


Architecture is an artform to last for decades, selection of material, colours and technology
will change constantly but what will not change is the deepth of understanding the artform  many architects in Hiroshima has. It has in my first years beeing a pleasure to work with those people mainly on the software side giving the first steps towards computer generated drawings and art.
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By the simplest definition, architecture is the design of buildings, executed by architects. However, it is more. It is the expression of thought in building. It is not simply construction, the piling of stones or the spanning of spaces with steel girders. It is the intelligent creation of forms and spaces that in themselves express an idea.
Construction becomes intelligent and thus architectural when it is efficient and immediately appears so. If it is the simplest and most advanced type of structure, solving the task set for it, and conceivable in its age, construction will have the quality of perfect appropriateness and will also be the expression of the mechanical knowledge of a culture. It becomes intelligent also when it is made to emphasize its simplicity and to express its system of support so that both can be immediately understood.
Construction, however, only became a basic factor in architectural thought during the Roman era at the time of the birth of Christ. Before then architecture had been almost exclusively symbolic in form and decoration. The symbols that were materialized in the Egyptian pyramid, Sumerian ziggurat, Hindu stupa, and Japanese pagoda were the most powerful expression of each culture's religious beliefs. They were designed according to the most complex and all-embracing symbolic systems; their shape, decoration, dimensions, and orientation to the sun were the result of the most profound meditation. But they enclosed little or no internal space. They were works of architecture but not of construction.
When intelligent, permanent construction enclosing space replaced the symbolic architecture of primitive cultures, a new type of architectural art appeared. It became possible for a whole city to become a work of architecture with each contributing element places of worship, government institutions, markets, houses enclosed in an appropriate structure and decorated to express its individual character.
The cities of Rome, Ravenna, Constantinople, and Isfahan became possible with their colorful domes, cavernous markets, and decorated palaces. Their interior spaces also became symbolic in their shape and decoration as seen in the Islamic mosque and in Byzantine and Gothic churches.
With the Renaissance in Europe around 1400, there came a new sort of architecture in which mass and interior space were manipulated to produce aesthetically pleasing pictures like those in paintings and sculptures. The elaborate symbolism of primitive and medieval art disappeared. In its place was a purely human-centered handling of form and space to produce visual delight.
The demystification of architecture during the Renaissance prepared the way for modern design. In the 19th century the picturesque, the design of both buildings and their landscape surroundings as if they were pictures, evolved.
But the simultaneous evolution of society, science, and industry collided with this view of architecture, suggesting the very different idea that building could be an important instrument of social betterment if made healthy and efficient. Thus it has come about that next to the theater-set architecture of New York City's Fifth Avenue there is that of the hospital-like housing projects, which has left many architects with the difficult choice between working as decorative artists or as social planners.
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