Minoru takeyama biography

Minoru Takeyama

Since the late s Minoru Takeyama's work has contributed to, and continues to shape, the course of Japanese architecture through numerous award-winning projects and achievements. This text discusses the development and significance of his architecture in the contexts of both contemporary Japanese and international architectures. It contains an introduction and critical analysis of Takeyama's architecture by Professor Botand Bognar, an essay by Takeyama, and two articles by critics Charles Jencks and Kazukiyo Matsuba. In addition it features 20 of the architect's most important buildings and projects, including Tokyo Port Terminal, the Egyptian Embassy in Tokyo and the Pepsi Canning Plant.

&#;The most vivid, built example of Venturi&#;s contradiction in architecture&#;: Ni-Ban-Kahn by Minoru Takeyama, Shinjuku, Tokyo ()

&#;Built example of Venturi&#;s C&C&#; you say and reference Jencks&#; book.
Here&#;s some ancient history: my review of Jencks in Building Design (UK), May &#; 39 years ago.
SURELY we have suffered enough under the yoke of puritanical morals in architecture.

Now, years after Pugin so subtly and insidiously muddled pleasant architecture and honest behaviour, a century after Ruskin confirmed this poisonous confusion of beauty and morality, at last we are fighting free. And, as we sense with embarrassment, we now realise that the architect-designed environment has been thinned out and simplified — literally, in terms of planes, materials, mouldings, colours — but, more, it has been reduced in richness of meaning over this century.
It has thus lost its power of appeal but, rather more than that, it has quite clearly been communicating meanings very different from the designers’ usually vague intentions. Now enter Mr Jencks.

Charles Jencks is a lively writer with the knack of flogging dead horses in an original way and with an easy and jaunty

TOKYO (TR) &#; The nightlife quarter of Kabukicho, just east of JR Shinjuku Station, bristles with non-stop activity. Amid the garish flashes of neon are touts cruising for clients, drifting drunks, hostesses hustling off to bars and the occasional gangster tiff. In the late s &#; a time when young architect Minoru Takeyama was commissioned to design a pair of buildings a block apart for accommodating adult entertainment businesses &#; it wasn’t quite as active.

&#;Back then there were not a lot of people around. It was a residential area with low buildings,&#; says the now retired year-old, who also designed the iconic Shibuya building near Shibuya Station. &#;I wanted to make designs that really stood out, something that caught people’s attention.&#;

The result was a pair of eight-floor structures that housed bars, clubs and saunas and opposed one another to create a sense of balance. The monochrome Ichibankan () is dark and sleek, its front is similar to a Transformer character whose sides take the shape of arms ready to embrace entering guests. The colorful Nibankan () features a &#;supergraphic&#; of red, yellow and white lines and concentric circles emblazoned across

Takeyama, Minoru

Takeyama, Minoru(&#x;86). Japanese architect. Educated in Japanand the USA, he worked with, among others, Harrison& Abramovitz, Arne Jacobsen, H. Larsen, Sert, and Utzon. He established his reputation with certain buildings incorporating aspects of popular culture in his designs, becoming a member of ArchiteXtin , and developing an interest in architecture as a system of signs and language. His most highly acclaimed buildings were the populist Ichiban-kan and Niban-kan, Tokyo(&#x;70), the &#x;Renaissance&#x; Cultural and Commercial Complex, Kyoto(&#x;6), and Tokyo International Port Terminal Building (&#x;91).

Bibliography

Bognar ();
Kalman ();
Ross ();
Jane Turner ()

A Dictionary of Architecture and Landscape Architecture

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