It was in 1966 that Ventury said that simplicity was effective when it contained complexity, but about 20 years back, Philip Johnson held at the Museum of Modern Art in New York in 1947 Mies van der Rohe exhibition. He also published a book of the same name, where he praised Mies’s simplicity as being born of complexity. I feel the eyes of reading the era of Philip Jonso, as if he had predicted the Venturi 20 years later.
Looking over the Tokyo bay area from Yurikamome, new condominiums are built everywhere, and it seems that they are selling well to young people. Our generation is screaming at the terrible town, but young people may like this wilderness landscape. The origin of New Urbanism, which denied modern city planning started from Prince Charles’ claim. When you become old you come to like stability if the scenery, whereas young people may prefer chaos. And both chaos and wilderness stabilize over time. Toyoshu, which was a wilderness, is now a town.
Looking at Kengo Kuma’s covering, we can see that the covering is not limited to walls. He wrap as much as he can. Tokyo Institute of Technology’s International Student House is an application of la kagu, a landscape of the architecture that Ziella Polo and his colleagues have come to, but also an extension of the covering.
This month’s “When Architecture was Born” is a sketch of the moment when the flow of “House in Nakanohonmachi” by Toyo Ito was born. Initially, he located the entrance in the middle of the R part of the house, and upon entering the door, the flow was divided into two parts. As soon as he moved the entrance to one side, space began to flow as symmetry breaking. This flow was necessary for this house alone, but it had a significant influence on future design.
In this interview, I followed this flow. I was surprised to find out that the flow source was in the Suwa Basin, where Mr. Ito grew up. Moreover, it is not the flow of a lake, but rather the flow of people and things around the lake. Mr. Ito’s flowing space is of two kinds: one is a regression in the womb, starting in Nakano-Honcho and bearing fruit in Ghent and the Taichung Opera House. The other is the light and open one found in Silver Hut and Mediatheque. These alternately appear, but it seems that Ito is comfortable in the former type of regression space.
As the most reliable historian, Tom Heneghan recommended this book by Malgrave is the best introduction to modern architectural theory, as it says in the obi. It would be an excellent textbook for third-year college students, including the reflections on modernism by Rossi, Venturi, Law, and Eisenman in the 70s. Koolhaas’s pragmatism in the 80s and 90s was a reaction to Eisenman’s excesses of theory and others. Furthermore, Herzog and others’ flow of the explanation of introspective minimalism, which runs parallel to it, is convincing. While all the principal architects were in the United States in the 1970s, the sovereignty has moved to Europe half a century later.
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トム・ヘネガンが最も信頼できる歴史家だと推奨するマルグレイブによる本書は帯に書いてある通り現代建築理論の最良の入門書だと思う。大学３年生くらいの教科書に最適だろう。７０年代のロッシ、ヴェンチューリ、ロー、アイゼンマンたちによるモダニズムへの反省。８０年代から９０年代にかけて、アイゼンマン等による過剰理論からそれへの反動としてのコールハースに代表されるプラグマティズム。さらにそれと並走するヘルツォーグなどの内省的なミニマリズムという説明の流れは実に腑に落ちる。それにしても７０年代、主要な建築家は皆アメリカにいたのに、半世紀後ヘゲモニーはヨーロッパに移動した。
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