描述
Content
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.
JA93 SPRING, 2014
KAZUO SHINOHARA
Complete Works in Original Publications
Essay:
The Whereabouts of Metalanguage Architecture –– Revisitation “House is Art”
Shin-ichi Okuyama
Works:
House in Kugayama
Tanikawa House
House in Kugayama No. 2
House in Komae
House in Chigasaki
Umbrella House
House with a Big Roof
House with an Earthen Floor
House in White
House of Earth
Yamashiro House
Suzusho House
North House in Hanayama
South House in Hanayama
The Uncompleted House
Shino House
Cubic Forest
Repeating Crevice
Sea Stairway
Sky Rectangle
House in Seijo
House in Higashi-Tamagawa
House in Kugahara
Prism House
Tanikawa House
House in Uehara
House in Hanayama No. 3
House in Ashitaka
House on a Curved Road
House in Karuizawa
House in Itoshima
House in Hanayama No. 4
House under High-Voltage Lines
Ukiyo-e Museum
Higashi-Tamagawa Complex
House in Yokohama
Centennial Hall, Tokyo Institute of Technology
Clinic in Hanayama
Hanegi Complex
Tenmei House
K2 Building
Kumamoto-Kita Police Station
DOM Headquarters /Köln
Goto House Project
The Second National Theater
Repeating Crevice Annex Project
Euralille Hotel Project
Agadir Convention Center
Uncompleted House Annex Project
Ukiyo-e Museum Annex Project
Helsinki Contemporary Art Museum
Paris: Circus on Seine
Project for Hamburg Urban Vision
Yokohama International Port Terminal
House in Tateshina Project
Data
『JA93』は建築家、篠原一男を特集します。篠原一男は、戦後日本を代表する建築家のひとりとして、世界にその名が知られていることは異論はないでしょう。一方で篠原は、雑誌に作品を発表することをきわめて重視した建築家です。それは、作品のほとんどがプライベートな住宅であったことも一因しています。写真、図面、作品解説においても自らの主張を徹底し、表現方法を模索し続けました。篠原の思想は、そのほぼすべてが自身が心を砕いたメディアの上に定着したと言えます。本誌では、1954年の「久我山の家」から遺作となった未完の「蓼科山地の初等幾何」までの全作品について、篠原との綿密な打ち合わせの上に初出となった『新建築』『JA』発表当時の掲載写真、図面、作品解説をできる限りそのまま再録しています。それが、篠原が見つめた建築に、正面から迫るものであると考えたからです。2006年に亡くなってからも、ベネチア・ビエンナーレでは特別金獅子賞が贈られたほか、中国、アメリカなどで回顧展が次々に開催されています。多様なる現代に共鳴し続けるのはなぜか。その理由もまた本誌から読み取って頂ければと思います。
巻頭論文4 高次言語建築の行方ー 再考「住宅は芸術である」奥山信一141 データ 55作品10 久我山の家14 谷川さんの家16 久我山の家 その218 狛江の家20 茅ヶ崎の家22 から傘の家26 大屋根の家28 土間の家30 白の家38 地の家40 山城さんの家44 鈴庄さんの家46 花山北の家46 花山南の家50 未完の家52 篠さんの家54 直方体の森56 同相の谷60 海の階段62 空の矩形64 成城の住宅68 東玉川の住宅70 久ヶ原の住宅72 直角3角柱74 谷川さんの住宅78 上原通りの住宅86 花山第3の住宅88 愛鷹裾野の住宅90 上原曲り道の住宅94 軽井沢旧道の住宅96 糸島の住宅98 花山第4の住宅100 高圧線下の住宅104 日本浮世絵博物館106 東玉川コンプレックス108 ハウス イン ヨコハマ114 東京工業大学百年記念館120 花山の病院122 ハネギ・コンプレックス124 テンメイ・ハウス126 K2ビルディング128 熊本北警察署130 DOM本社屋130 後藤さんの住宅計画131 第2国立劇場131 同相の谷 増築計画132 ホテル イン ユーラリール計画133 アガディア・コンヴェンションセンター134 未完の家 増築計画134 日本浮世絵博物館 新館計画135 ヘルシンキ現代美術館136 「パリ、建築とユートピア」出展作136 ハンブルグ都市開発ワークショップの計画138 「横浜港国際客船ターミナル国際建築設計競技」入選案140 蓼科山地の初等幾何
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