Japanese Houses Reading Response 1: Japanese Taste and its Recent Historical Construction / Isozaki

06 February 2020

Japanese Houses Reading Response 1

Article: Japanese Taste and its Recent Historical Construction / Isozaki

Summary
“Japan-ness” is an external gaze of an insular nation. The Japonisme craze in mid-19th Century Europe influenced artists of the Art Nouveau and Impressionism art movements. Interestingly, objects fascinated in Japonisme are everyday objects that are not considered as art in Japan; producers are also not recognized as skilled craftsmen. Over time, the obsession on “Japan-ness” shifted from material objects to concepts amplifying simplicity and omnipresent emptiness.

“Japan-ness” architecture began in 1920s, coinciding with heightened modernization and nationalism; and featured 2 distinct interpretations and styles. The first group included Kikutaro Shimoda, who used new techniques and materials to construct Japanese-style elements, producing the “teikan-heigo” style. Another group comprised of Bruno Taut and returning Japanese Architects who experienced Japonisme overseas and grasped the notion of “Japan-ness”. They integrated the essence of simplicity in traditional Japanese architecture with principles of modern architecture to create “Japan-ness” through concept rather than visual or material. In addition, there are foreigners like Frank Llyod Wright who misinterpreted “Japan-ness” and created cultural confusion by using weird materials and omitted spatial flatness.

After World War II (WWII), Kenzo Tange successfully integrated modern style with “Japan-ness” at the Hiroshima Peace Memorial Park. However, the debate on “Japan-ess” continues.

Opinion
“Japan-ness” is indeed a concept, rather than material visualization.

Besides the overarching concept of simplicity and emptiness, “Japan-ness” also encompasses the zen concept of wabi-sabi, which embraces the beauty of imperfection and asymmetery. Wabi-sabi is exemplified by Kintsugi, the art of using gold to glue broken ceramics and accentuated the cracks. The Zenkai House would not be considered an architectural showcase without its connotation with Kintsugi.

Japan’s economy skyrocketed after WWII and Japonisme Nouveau conquered the world through fashion, J-pop, electronics etc. Japonisme Nouveau influenced a new generation of artists and architects who are still trying to integrate the concept of “Japan-ness” with modern styles.

Nevertheless, there is striking differences in the works produced by Japanese artists and Japanophilia. Non-Japanese artists seems to have difficulty producing the same type of simplicity without losing the sophistication in meaning and aesthetic.

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