JA 93, Spring 2014 Kazuo Shinohara
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
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