By Thomas Daniell
Within the overdue Eighties, Japan used to be awash in likely limitless wealth and emerging towards what will be the height of its smooth financial luck, energy, and impression. In 1991 a similar deadly mixture of dicy loans, inflated shares, and actual property hypothesis that created this "bubble financial system" brought on it to burst, plunging the rustic into its worst recession for the reason that international warfare II. New Zealand-born architect Thomas Daniell arrived in Japan on the sunrise of this turbulent decade. After the Crash is an anthology of essays that draw on firsthand observations of the outfitted surroundings and architectural tradition that emerged from the economically sober post-bubble interval of the Nineteen Nineties. Daniell makes use of initiatives and installations through architects akin to Atelier Bow Wow, Toyo Ito, and the metabolists to demonstrate the recent relationships cast, such a lot of necessity, among structure and society in Japan.
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Additional info for After the Crash: Architecture in Post-Bubble Japan
3 feet) below ground level are excluded from the calculations. Bringing fresh air to the lower levels, the deep courtyard has become a resonant chamber of reflected light and sound. The built result is a set of simple structural planes that penetrate deep into the earth, with scattered openings for framed views of sky 63 Domestic Spaces and street. A transparent waterproofing compound applied to the outer left to right: Kiyoshi Sey Takeyama + Amorphe, Sky Trace, Tokyo, 2006 surfaces enables the extraordinary lucidity of the form, removing the need for membranes, parapets, overhangs, joints, ledges, gutters, even drainpipes.
Architecture as experienced is never constant. Visiting ephemeral factors always modify and animate our relationship. The best photographs have always captured the resonance of the dancing of static objects and their fleeting guests. —Kiyoshi Sey Takeyama Against the abstract white planes of the walls, the floor surfaces— terracotta tiles, wooden floorboards, tatami mats, polished concrete, strengthened glass, natural bamboo—vary widely in their tactile and acoustic properties. Takeyama’s architecture has always emphasized the experience of moving through its spaces, and the floor is the only surface with which the human body is always in direct contact.
Genealogies and Tendencies Jun Aoki, Fukushima Lagoon Museum, Niigata, 1997 Sejima and Nishizawa, for example, regularly apply graphic patterns to glass: text on the walls of the Kumano Kodo Nakahechi Museum (Wakayama, 1997), dots on the roof of the Gifu Multimedia Center (Gifu, 1996), leaves wrapping the Koga Park Cafe (Ibaraki, 1999). These applied textures are obviously decorative, and it is here that the work becomes the most contradictory and disturbs one of architecture’s most fundamental dichotomies: the relationship between structure and ornament, essential and auxiliary.
After the Crash: Architecture in Post-Bubble Japan by Thomas Daniell