黑川纪章

在设计领域，共生理念最早由日本建筑设计师黑川纪章运用在建筑设计领域，在他的著作《新共生思想》中指出处理好不同元素之间的关系，从“新陈代谢”、“变生”到“共生”三个 ...

日本黑川纪章也表达过模糊空间在功能上具有不确定性和多重意义。微空间本就是面积有限的空间设计，设计考虑时对于空间中的功能区是否必须明确分割，寻找削弱或消失的 ...

其中，在建筑学领域，首次提出共生概念的是日本建筑师黑川纪章，其代表著作《新共生思想》提出共生思想，后该理论在城市规划和建筑设计中得到广泛普及，为城市 ...

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The article examines the uniqueness of modern architecture in Japan from the point of view of combining aesthetic principles, the origins of which go back to the traditional religious and philosophical thought of the Far Eastern civilization, with new design techniques. The author gives a retrospective analysis of its formation, starting from the Meiji era. The phenomenon of the naturalness of the architecture of metabolism and minimalism is revealed based on the analysis of the most important Japanese aesthetic principles, the observance of which allowed modern Japanese architects to create an architectural sign-symbolic space filled with deep meanings reflecting the connection of times and generations. The understanding of form in the Far Eastern aesthetic tradition is considered, through the analysis of the concepts of katati, kata and sugata, as well as its determination within the framework of the ‘aesthetics of wind’. The importance of the ideological principles of kaei and ma in shaping in the architecture of metabolism and minimalism, as well as in the organization of space, is revealed. The concretization of the kaei principle in relation to the architectural form is the recognition of layering and the duality of the latter. The form hides the inner semantic content of an architectural object, being a kind of shell, a symbol. In addition, the explication of the kaei principle is observed in the transition of internal space to external space. This is how a sense of unity with nature is achieved, even in an urbanized environment. This principle is embodied in the aesthetic concept of renmentai. The category of the main architecture is a space–time interval. Applied to architectural space, ma reflects emptiness and rhythm. Ma unites and fuses space and time; it is expressed in such things as openings, transitional spaces, space defining the form, smoothly changing forms. The analysis of the principle of excess of color comes to the conclusion that the formation of the aesthetics of black and white is a reflection of the characteristics of wabi – simplicity. Using the example of a semiotic analysis of the works of architects-metabolists and minimalists, including the projects of Kisho Kurokawa, Kenzo Tange, Tadao Ando, the implementation of some traditional aesthetic principles in modern Japanese architecture is considered, that allowed us to achieve harmony of architecture and nature.

If the entire Japanese architectural fraternity was one big royal family, then Isozaki Arata would be a king approaching the end of a long and glorious reign.The "pedigree" of this majestically silver-maned 76-year-old is, quite simply, faultless.Architecturally speaking, Isozaki's “father” was the great Tange Kenzo — best known for his 1950 Hiroshima Peace Memorial Park and the National Gymnasium in Yoyogi built for the 1964 Tokyo Olympics. Isozaki was taught by Tange at the prestigious University of Tokyo in the early 1960s — along with those other architectural luminaries, Kurokawa Kisho and Maki Fumihiko.

The word aesthetic has been generally found dangerous by architects. The subjective values related to aesthetics play a role in the perception of the discipline as related to ambiguous notions, in today’s architecture. However, the heart of the discipline resides in the universally recognized qualities/values in the periods of both when it was coined by Aleksander Gottlieb Baumgarten in the eighteenth century and when it was handled with the twentieth century’s phenomenological perspective toward the spatial atmosphere. While aesthetics in today’s architectural design trend proceeds on the basis of sensory experience and sensation, it also includes the concept of emotion that emerges behind this experience and sensation. Thus, while the atmosphere of space becomes the aesthetic object of architecture, it can be said that the phenomenon it corresponds to is a structure consisting of multi-layered architectural components and an organism that can be called more than this structure, including the experiencers and their pasts, and therefore constantly changing. At this point, it seems inevitable for the spatialized space to continue spatializing and thus become a narrative.   When the traces of the nature of the spatializing and narrated space, aiming at the continuity of the experience-oriented movement, are followed on the basis of cultures in history, we encounter Japanese space aesthetics as a profound effect. The phenomena of Japanese culture, especially based on religion and geography, have taken place both in space and in words, and have become the genetic codes that ensure the transfer of culture between generations. Therefore, when a space and a poem are compared in Japanese culture, it can be seen that the creation intentions that shape these two tools, the phenomena conveyed and the messages presented are parallel to each other. The words that play a role in the design of the space and create it, and the spatial experience that is conveyed by the poetic can be read with different aesthetic codes in the genes of Japanese culture. One of these codes is the hanasuki aesthetic effect, which points to the symbiotic existence of opposite concepts and was brought to the literature by Kurokawa Kisho. When the concepts/language that creates the space and the space created in language/words are considered on the basis of hanasuki aesthetic effect, it gains legibility in both contexts.   In this framework, the current study plans to question and read the aesthetic effect that encodes/creates space, first through the explanations of Japanese architects focusing on aesthetics in spatial design, and then through the spatial descriptions that we encounter in the works of Japanese poets. The content of the study focuses on the concept of contrast, which has aesthetic and philosophical foundations in Japanese culture and language and is based on a dynamic and symbiotic relationship, through texts describing the spaces belonging to this culture. The spatial structure connected by special bridges by the aesthetic effect arising from the symbiotic coexistence of opposite concepts in Japanese architecture corresponding to the word in the space and Japanese architecture in the word will be examined, and the correspondence of this effect, which takes place between the experiencer and the experienced (subject and object), in the Western theme, will also be referred.    Therefore, the texts are divided into two groups on the basis of a view (as words in the space) that can be seen as the reflection of cultural codes in the language, and readings of the representational existence of which the space is reconstructed through the references in the language (as space in the word). While the first group is trying to understand the aesthetic codes that appear in the language of the physical creation of the space through the explanations made by Japanese architects on the basis of aesthetics, the second group focuses on understanding the components and structuring of the same aesthetic codes by looking at the representation of the space in literary texts. The aim is to show that the basis of space creation and representation practices that shape Japanese architecture, in theory, corresponds to one of the aesthetic effects that have deep roots in this culture, hanasuki, which is born from the dynamic and symbiotic unity of contrasts. Understanding the past can guide the future: approaching the deficiencies and reservations about aesthetic tendencies in contemporary Western and Eastern architecture, including all architectural traditions and cultures, by looking at the relationship between Japanese aesthetic philosophy and architecture, which has a deep history in this field, can serve as a guide for us on the way to solution and progress.

After World War II, the creative thinking of architects in Japan resulted in metabolism, a new architectural direction with an ideology that corresponded to the culture and lifestyle of the state. The metabolism theory was based on the principle of individual development of a living organism (ontogenesis) and coevolution. Metabolism combined ideas about architectural megastructures with ideas of organic growth. In 1960 in Tokyo, Metabolist architects presented their manifesto "Metabolism 1960: Proposals for a New Urbanism", which proposed a vision of the city in constant change and growth. Sustainable Metabolism Architecture, the idea of separating building components and grouping them based on their lifespan, may be an effective resource conservation solution today. Also, the methods and means of metabolic architecture are appropriate for supplementing the destroyed housing stock of Ukraine. Bold planning decisions for the development of "cities on ruins" allow us to rethink the meaning of megastructures and the types of their filling. Numerous studies have been devoted to the architecture of metabolism, the summation of which is a critical photo album by Rem Koolhaas, where he reassessed this phenomenon from the distance of time (Koolhaas and Obrist 2011). In domestic practice, the metabolism ideas were combined with Soviet modernism, and the main concepts were introduced into the educational process (Cherkes Linda, 2011; Kryvoruchko, 2011). Modern researchers believe that disasters force us to reconsider our views on architecture and make decisions. What architects can do for people who have lost everything (Tamari, 2014). Also, modern studies link the metabolism in cities with the goals of sustainable development (Chen F. & Chen Y. 2022) and testify to a new understanding of the metabolism of the city as a whole (Céspedes Restrepo & Morales-Pinzón, 2018). The purpose of the article is to consider the phenomenon of architectural and urban metabolism and their connection with the growth, expansion, and reconstruction of cities; identify in the course of metabolism of approaches and means useful for the reconstruction of destroyed cities; reveal the formation of iconic objects by Japan's leading metabolic architects.

: Taking the reconstruction of Melbourne central bullet depot as the reading object, this paper reveals how the old and new buildings are connected and symbiotic in the intersection of history and modernity, and analyzes the relationship between their design strategies and symbiosis theory. Using the symbiosis thought put forward by Kurokawa as a theoretical framework, this paper discusses the historical background of Melbourne central bullet factory and its transformation method, and realizes the continuation of cultural memory and field integration through spatial reconstruction; Multi-sensory synesthesia evokes the memory of urban historical context; The integration of the individual and the whole promotes the dynamic balance within the city. Melbourne central's planning shows the characteristics of metabolic urban complex, the harmonious creation of old and new buildings, the revival of culture, and the connection and symbiosis of modern society. As a visual interpretation of symbiosis theory, it truly reflects the sustainable development idea of urban planning. The concept of symbiosis provides a new path for future urban development, so as to promote the inheritance of history and culture and the liveliness of space.

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This article focuses on the dwellings of the Villa in Beroun in the Czech Republic, designed by HŠH Architects, and Buckminster Fuller’s Dymaxion, with architectural designs inspired by games, toys and creative play. The architectural designs inspired by the stacking blocks Lego®, K’nex® and Cidori® are explored and compared to GC Prostho by Kengo Kuma. The environmental implications of housing designs with malleable layouts, which reduce the need for constant changing and moving of houses throughout occupant lifetimes, are explored. The melding of the house and the game as a basis for rethinking the home space, which allows for rearranging walls and renewable capsular compartments, are analysed through the unsuccessful Nakagin Capsule Tower case study. The Villa in Beroun was dissected using gestalt psychology in order to unpack how the human mind reads its enveloping, malleable design. Due to its unique approach to black steel, concrete and glass material, the Villa in Beroun was analysed against new brutalist definitions.