arata isozaki 磯崎新 presented by : aarti saxena b. arch 4
TRANSCRIPT
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Arata Isozaki
磯崎新
Presented by :Aarti SaxenaB. Arch 4
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Biography
• born July 23, 1931, Oita, Kyushu, Japan Japanese avant-garde architect. • He studied at the University of Tokyo and opened his own studio in 1963.
• His first notable building is the Oita Prefectural Library (1966), which shows the influence of the Metabolist school.
• In his later works, which often synthesize Eastern and Western elements, he used bold geometric forms and frequently made historical allusions.
• Among his innovative structures are the Los Angeles Museum of Contemporary Art (1986) and Art Tower (1990) in Mito, Japan.
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m• Japanese architect, teacher and theorist. One of the leading architects of his generation, he became an influential proponent of the avant-garde conceptual approach to architecture that characterized the New Wave in Japan in the 1970s and after .
• He studied at the University of Tokyo under Kenzo Tange and after graduating (1954) he worked for Kenzo Tange & Urtec until 1963.
• From 1960 Isozaki began to develop his own practice Medical Center (1960) and Oita Prefectural Library (1966) as an architectural designer , and then as a theorist, loosely associated with Japanese Metabolism and creating projects as his 'Ruin Future City' and 'Clusters in the Air' (both 1962).
• His first large public commission was the Oita branch of the Fukuoka Mutual Bank, completed in 1967. Other important public works followed , buildings as the Gunma Prefectural Museum of Modern Art (1971-4), Takasaki; the Kitakyushu City Museum of Art (1972-4); the Kitakyushu Municipal Central Library (1972-5); and the West Japan General Exhibition Center (1977), Kitakyushu.
Biography
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Other works 1986/92 - The New Brooklyn Museum, New York, U.S.A.
1987/89 - Bond University: Administration/Library/Humanities, Gold Coast, Queensland, Australia1987/90 - Team Disney building, Florida, U.S.A.1987/90 - Kita-kyushu Unternational Conference Center, Fukuoka, Japan1990/94 - The Center of Japanese Art and Technology in Kraków, Poland1991/95 - Toyonokuni Libralies for Cultural Resources, Oita, Japan1991/95 - Kyoto Concert Hall, Kyoto, Japan1991/95 - B-con Plaza, Oita, Japan1993/95 - DOMUS: La Casa del Hombre (Interactive Museum about Humans), La Coruña, Spain1993/96 - Okayama West Police Station, Okayama, Japan1992/98 - Nara Centennial Hall, Nara, Japan1993/98 - Higashi Shizuoka Cultural Complex Project, Shizuoka, Japan1995/98 - Akiyoshidai International Arts Village, Yamaguchi, Japan1996/02 - Ceramics Park MINO, Gifu, Japan1997/03 - Ymaguchi Center for Arts and Media, Yamaguchi, Japan1998 - Shenzen Cultural Center, China
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Kyoto Concert Hall Team Disney Building, Florida
Museum of Contemporary Art, Los Angeles
Art Tower ,Mito
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PHILOSOPHY
• His style was combining Japanese sensibility with Western post-modernism.
• He has employed complex asymmetrical forms, innovatively juxtaposed materials and used sophisticated technologies.
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Influences:The New Wave Movement• In the earlier days, he was identified with
Metabolism.
• Metabolism developed in Post-war Japan when in 1959, a group of Japanese architects and city planners had a vision for future cities that enabled organic growth.
• This scheme aimed to create radical solutions for restructuring Tokyo's rapid and uncontrolled post war growth.
• As a theorist, Arata was loosely associated with Japanese metabolism. He proposed concepts like Ruin City and Clusters in the air.
• He dismissed it later as overly utitiarian
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Key Metabolists:Kiyonori Kikutake, Fumihiko Maki, Masato Otaka, Kisho Kurokawa and Kiyoshi Awazu
The laws of space and functional transformation hold the future for society and culture
A plug-in city
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Kikutake city
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JOINT CORE SYSTEM
• Isozaki proposed for a multilevel urban construction above the city.
• Massive pylons supported elevated transportation, housing, and office systems as well as parks and walkways,
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The City In Air or Joint Core System
Isozaki proposed round columns that permitted growth in any direction, instead of a square support system limits expansion to four directions,
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Cluster City1960-62
• The concept of the clusters was to develop a new way to structure housing around Tokyo.
• The Cluster represent leaves from trees which are the housing units and the core represents the trunk of the tree.
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MUSEUM OF CONTEMPORARY ARTS, LOS ANGELES, ARATA ISOZAKI, 1981-86
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MUSEUM OF CONTEMPORARY ARTS, LOS ANGELES, ARATA ISOZAKI, 1981-86
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MUSEUM OF CONTEMPORARY ARTS, LOS ANGELES, ARATA ISOZAKI, 1981-86
The building built around a
terraced courtyard
Under the courtyard, galleries lead
into each other from left to right.
Above the courtyard, only the
administration section stands out
with a roof in the shape of a
semicircular dome
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Exterior a natural reddish colored
stone, contrasting with the
transparent skylights and the
luster of the semi-cylindrical roof
of the offices.
Volumetrically pure shapes -
various pyramids and a series of
linear skylights
MUSEUM OF CONTEMPORARY ARTS, LOS ANGELES, ARATA ISOZAKI, 1981-86
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The whole building is constructed in concrete with regular glass fenestrations
TEAM DISNEY BUILDING, FLORIDA, ARATA ISOZAKI, 1989-90
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• The Team Disney Building serves as the office for IT personnel of the Walt Disney Corporation.
• Won a prestigious National Honor Award from the AIA in 1992.
TEAM DISNEY BUILDING, FLORIDA, ARATA ISOZAKI,
1989-90
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TEAM DISNEY BUILDING, FLORIDA,
ARATA ISOZAKI, 1989-90
• Architect responds to context - amusement park by using warm colors both inside and outside the building
• Building is symmetrical about a central cylinder
• The oddly looped gateway suggests gigantic Mickey Mouse ears
• The entrance to the sundial is similarly shaped
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Isozaki designed this playful entrance that lives up to the client’s requirement of “ entertainment architecture”.
LARGEST SUNDIAL IN THE WORLD
To capture the essence of the ‘sunshine state’, Isozaki designed a large , colourful sundial to rise out dramatically from the
centre of the building.
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• He coupled two office wings with a long gray big carnival color tower in the center as a large funnel pointing to the sky.
THE TIME THEMETHE TIME THEMEIsozaki wanted the architecture to make a statement Isozaki wanted the architecture to make a statement about time since the offices were to be used by time-about time since the offices were to be used by time-conscious executives. conscious executives.
The courtyard also acts as a central atrium and houses a Japanese rock garden.
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Conclusions..
• Born and educated in Japan, Arata Isozaki often integrates Eastern ideas into his designs.For example, Isozaki wanted to express a yin-yang theory of positive and negative space when he designed the Team Disney Building in Orlando, Florida
• Isozaki's "style" has in fact been a series of modes that have come as a response to these influences. As a young architect he was identified with Metabolism, a movement founded in Japan in 1960. However, Isozaki minimized his connections to this group, seeing the Metabolist style as overly utilitarian in tone.
• In the 1970s Isozaki's architecture became more historical in its orientation, suggesting a connection with the burgeoning post-modern movement of Europe and the United States. His sources included classical Western architects, especially Andrea Palladio, Étienne-Louis Boullée, and Claude-Nicolas Ledoux.
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Thank you