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JA 93, Spring 2014 篠原一男 Kazuo Shinohara

JA 93, Spring 2014

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日本語 + 英語/144頁/226x297mm/A4変型/平綴じ

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We consecrate “JA93” entirely to the work of Kazuo Shinohara, a name universally familiar as denoting a key player in the realm of heroic controversies and achievements of postwar Japanese architecture.It is also well attested that as an architect Shinohara placed a strong emphasis upon the initial presentation of his oeuvre, namely in “Shinkenchiku” and competing Japanese publications. Naturally, the circumstance that the majority of his early work was for private residences contributed to this priority. His usual practice was to ensure that his architectural beliefs were affirmed through carefully selected photographs, hand-redrawn plans and sections, and meticulously self-composed project descriptions, even while continuing to seek out further methods of expression. As explained in the lead article of this issue, Shinohara’s design philosophy was substantially predicated upon these continual media representations, over which he increasingly exerted a near editorial control.In this issue, original items that were first presented in “Shinkenchiku” and “JA” as the product of in-depth dialogue between Shinohara and the magazine’s chief executive and his staff of editors and Shinkenchiku’s in-house photographers have been reproduced as nearly as possible in their original form. We take the opportunity for an overview of Shinohara’s complete works— from the “House in Kugayama” (1954) through his last and unbuilt project for a small vacation “House in Tateshina.” We believe this issue of “JA” offers an authentic and straightforward approach to the houses and other buildings— to which Shinohara without cease applied an uncommon talent and his own unique way of seeing.Following his death in 2006, Kazuo Shinohara was posthumously awarded the first-ever Golden Lion in Memoriam on the occasion of the 12th Venice Architecture Biennale (2010). Since then, a major series of retrospective exhibitions has taken place in China— with showings now also planned for the United States and Europe. Why does this architect’s presence continue to resonate within our disparate modern age? We invite our readers to reexamine the documentation set forth here and draw their own conclusions from an individual perspective.

 Essay4 Architecture’s Self-Referencing Orientationー Reexamining Shinohara’s Aphorism “A House Is Art”Shin-ichi Okuyama141 Data 55 Works10 House in Kugayama14 Tanikawa House16 House in Kugayama No.218 House in Komae20 House in Chigasaki22 Umbrella House26 House with a Big Roof28 House with an Earthen Floor30 House in White38 House of Earth40 Yamashiro House44 Suzusho House46 North House in Hanayama46 South House in Hanayama50 The Uncompleted House52 Shino House54 Cubic Forest56 Repeating Crevice60 Sea Stairway62 Sky Rectangle64 House in Seijo68 House in Higashi-Tamagawa70 House in Kugahara72 Prism House74 Tanikawa House78 House in Uehara86 House in Hanayama No.388 House in Ashitaka90 House on a Curved Road94 House in Karuizawa96 House in Itoshima98 House in Hanayama No.4100 House under High-Voltage Lines104 Ukiyo-e Museum106 Higashi-Tamagawa Complex108 House in Yokohama114 Centennial Hall, Tokyo Institute of Technology120 Clinic in Hanayama122 Hanegi Complex124 Tenmei House126 K2 Building128 Kumamoto-Kita Police Station130 DOM Headquarters /Köln130 Goto House Project131 The Second National Theater131 Repeating Crevice Annex Project132 Euralille Hotel Project133 Agadir Convention Center134 Uncompleted House Annex Project134 Ukiyo-e Museum Annex Project135 Helsinki Contemporary Art Museum136 Paris: Circus on Seine136 Project for Hamburg Urban Vision138 Yokohama International Port Terminal140 House in Tateshina Project

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