[원문]about Kazuo Shinohara and his architecture from WERK, bauen+wohnen



스위스 매체 WERK, bauen+wohnen에 실린 카즈오 시노하라와 관련된 글들로

Tanikawa house(1972)의 실제 건축주인 시인 Shuntaro Tanikawa 와 

Christian Kerez와의 인터뷰 기사(2005.5월 진행) 등을 포함해 6개의 글이 실려있다.

독일어권 스위스 매체로 홈페이지는 기본적으로 독일어와 프랑스어를 지원하며

아카이브를 들여다보면 대부분 다른 권호의 기사는 짧은 요약문 외 내용 제공은 안되는데

다행스럽게도 이 기사의 글들은 영어 텍스트도 제공하며 공개되어 있다.



about Kazuo Shinohara and his architecture from WERK, bauen+wohnen

2015년 12월호(Volume102 Issue12)

잡지 홈페이지에 독일어 원문 및 영어 번역본이 잘 정리되어 있다.

 https://www.wbw.ch/en/magazine/archive/2015-12-kazuo-shinohara.html








Kazuo Shinohara





The Japanese architect Kazuo Shinohara, who was born in 1925, is regarded as a master of the late 20th century. The influence that he exerted on the work of many great architects extends far beyond the borders of his native country. His work aims for autonomy with each of his buildings. But — and this does not represent a contradiction — it is also deeply influenced by his view of Japanese culture and history. It was this internal tension in Shinohara’s work that made it of particular interest to us. This trained mathematician’s mercurial way of thinking paired with an unquenchable urge to nevertheless systemise it led to buildings that oscillate between the expression of a highly differentiated culture and formula-like myths of modernism. Shinohara’s elementary architecture brought his later works close to the deconstructivism of the 1980s. With an affirmative interest Shinohara constantly sought for the spiritual, the significant and the living. The efforts he made from the mid-1970s onwards to conceptualise the urban chaos of Tokio as a “machine” created with every building an ordered present that transformed the contradictions of the times into a positive force. If architecture is to venture beyond atmosphere, program or social convention then this issue of our magazine can document the direction in which this journey leads. Shinohara’s architecture also embodies a great yearning: that architecture should directly express something about life — about its intensity and its contradictions.









The Japanese master architect himself divided his creative work into four styles. His design interests moved from a conceptual view of the Japanese architectural tradition to a confrontation with the chaotic metropolis of Tokyo. Accompanying Shinohara’s unusual view of his own work, a particularly fascinating aspect of Shinohara’s oeuvre is his vision of a close connection between practice and theory and finally an approach that consciously situates his own work in a charged relationship to social and cultural themes.
........... 이하는 링크에서 원문 확인



“I Had Acquired a Sculpture”

The Client of the Tanikawa Residence Speaks with Christian Kerez

Shuntarō Tanikawa and Christian Kerez


The well-known Japanese lyric poet and writer Shuntarō Tanikawa commissioned Kazuo Shinohara to design two houses for him. This conversation took place through the mediation of Eduard Klopfenstein on 22 May 2008 in Zurich. It was realized as part of a translation project of Shinohara’s writings and a lecture series at ETH Zurich.

Christian Kerez (CK): When still a student I attended a lecture in Eindhoven (Holland) by Kazuo Shinohara with the title: “In Preparation of the Fourth Space”. That was more than 20 years ago and ever since then I have been fascinated by his work. One of the houses I like best is the Tanikawa Residence – the “mountain hut” in Kita-Karuizawa, Naganohara (1974). I once said to a Japanese collaborator of mine that if I were offered the chance to see a house of Shinohara this would be the one I would most like to visit. He replied that this was absolutely impossible. In Japan everybody, he explained, had such great respect for Shuntarō Tanikawa that no one would even dream of asking whether it would be possible to see this house. And therefore I am extremely happy to be sitting here with you today and I’m curious to find out how you actually met Shinohara.
........... 이하는 링크에서 원문 확인










Vital Encounter

Kazuo Shinohara and the Philosopher Koji Taki

Shin-Ichi Okuyama


Many of the photographs printed in this issue come from the camera of a Japanese critic and philosopher. It cannot be due to mere chance that a brief encounter on the fringes of the Japanese culture business resulted in a brilliant work and a close friendship.

In 1964, a joint exhibition by Kazuo Shinohara and Setsu Asakura was held at Odakyu Department Store in Tokyo. Although the work of two individuals, it more resembled a one-man showing of a contrasting pair of revised ideals Shinohara was proposing as residential spaces. Full-scale, fully finished mock-ups replete with furnishings of two Archetypal House designs by Shinohara occupied most of the exhibition area, while the stylish graphic works by Asakura served only to ornament the walls of these spaces. Moreover, several models of earlier houses already completed by Shinohara were exhibited together with elegant texts composed by the architect.
........... 이하는 링크에서 원문 확인










Coming to architecture from mathematics, Kazuo Shinohara distanced himself from Metabolism by employing elements of tradition in untraditional ways and defeating the reduction of “style” to a mere echo of lifestyle.

“…je me demande continuellement moi-même ce que je suis en train de faire.” Jean-Luc Godard (1966)

At Tokyo Institute of Technology Kazuo Shinohara, having formerly been trained in the field of mathematics, executed a sudden (and, in Japan, rare) career shift— retraining in architecture under Professor Kiyoshi Seike (1918-2005), who in 1946 had first begun to teach there. Shinohara received his bachelor’s degree in engineering in 1953. He began at once to teach as Seike’s assistant in the latter’s architectural design lab.
........... 이하는 링크에서 원문 확인










The Beauty of Chaos

Plea for a City of Tolerant Coexistence

Mathias Müller and Daniel Niggli





A correspondence between Kazuo Shinohara and Jacques Herzog & Pierre de Meuron from 1998 throws some light on the city in which we live today. Here two different readings encounter each other: one of the “Japanese” city, an open system, and one of the “European” city as a closed form – much the way in which it was seen by Aldo Rossi.

“I hope to have the opportunity to hear how you in Switzerland, a country that has constructed cities that are beautiful in a more widely accepted sense, view this theory of Tokyo.”1 This was how Kazuo Shinohara ended a brief correspondence with Jacques Herzog and Pierre de Meuron in 1998. In this correspondence he explains his hypothesis that the contemporary city cannot express anything other than the beauty of confusion. We are not aware whether his friendly enquiry was ever answered and so this text could be understood as an effort to provide one.
........... 이하는 링크에서 원문 확인



The Enigma of the Prism House

The Quest for a Puzzling Work by Shinohara

Christian Dehli



This record of a voyage of discovery to one of Shinohara’s least well-documented houses exemplifies the fascination of his buildings. Our author’s report recounts the persistence required to unravel the mystery of Shinohara.

I first came across the work of Kazuo Shinohara while serving an internship in Tokyo in 2005. His frequently small single-family houses with their very unusual spaces and spatial sequences fascinated me, particularly those of his so-called Third Style. In leafing through his books I found myself lingering repeatedly at one particular work. This house with its rather curious name of Prism House was documented in rudimentary fashion only – plans, an exterior photo and two interior shots.
........... 이하는 링크에서 원문 확인








추가로 ETH의 e-Periodica에서도 잡지판형 그대로 원문을 확인할 수 있다.

홈페이지에서는 막혀있는 부분도 2018년도 판까지 확인할 수 있다.

https://www.e-periodica.ch/digbib/view?pid=wbw-004%3A2015%3A102%3A%3A795#807













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