scholarly journals Jørn Utzon's synthesis of Chinese and Japanese architecture in the design for Bagsværd Church

2018 ◽  
Vol 22 (4) ◽  
pp. 339-360 ◽  
Author(s):  
Chen-Yu Chiu ◽  
Philip Goad ◽  
Peter Myers ◽  
Nur Yıldız Kılınçer
Keyword(s):  
Cultural Practices ◽  
East Asian ◽  
Exact Nature ◽  
Chinese Architecture ◽  
Critical Regionalism ◽  
Building Culture ◽  
Church Design ◽  
Yingzao Fashi ◽  
Japanese Architecture ◽  
Art And Architecture

In his essay of 1983, ‘Towards a Critical Regionalism’, Kenneth Frampton referred to the Bagsværd Church as a primary exemplar, briefly citing the architect's representation of ‘the Chinese pagoda roof’ in this project, to emphasise the importance of crosscultural inspiration in the creation of ‘critical regionalism’. Peter Myers followed Frampton in his 1993 ‘Une histoire inachevée’, arguing for the significant role that Chinese architecture played as a source for Utzon's Bagsværd Church design and further variations on the theme of Chinese and Japanese exemplars on Utzon's work follows. Françoise Fromonot established the importance of the 1925 edition of the Yingzao-fashi (State Building Standard, first published in 1103 ad) and Johannes Prip-Møller's 1937 Chinese Buddhist Monasteries for Utzon; Philip Drew pointed out the significance of the work of Chinese writer Lin Yutang (1895–1976) and historian Osvald Sirén (1879–1966) as important channels through which Utzon perceived East Asian art and architecture; while in 2002, Richard Weston suggested Das Japanische Wohnhaus (1935), written by Japanese architect Tetsuro Yoshida (1894–1956), as a formational influence in Utzon's early perception of Japanese building culture. However, none of these works attempt to clarify the precise role that Chinese and Japanese precedents play in Utzon's architectural career. Two more recent studies, by Philip Goad and Michael Asgaard Andersen, have confirmed the role of Chinese architecture in Utzon's church design and have introduced new evidence and details, but there are still unanswered questions about the exact nature of these influences. This article attempts to address the detailed process of Utzon's cross-cultural practices for his design of the Bagsværd Church in order to reveal how Utzon interpreted specific ideas, ideals, and artefacts from East Asian building culture.

Documentation of Indo-Islamic architecture built along a 16th-century highway

2019 ◽  
Vol 44 (3) ◽  
pp. 98-107
Author(s):  
Vandana Sinha
Keyword(s):  
Cultural Heritage ◽  
East Asian ◽  
16Th Century ◽  
American Institute ◽  
Islamic Architecture ◽  
Indian States ◽  
Critical Information ◽  
Built Heritage ◽  
Art And Architecture

An internationally recognized presence in the documentation of Indic and South East Asian art and architecture, the Center for Art and Archaeology (CA&A) of the American Institute of Indian Studies (AIIS) conducted a documentation project in 2007 that explored an interesting range of built heritage arrayed along a 16th-century highway, the Agra – Lahore route, laid by the Mughal rulers of India. The stretch of the Agra – Lahore highway this project traced, crossed two north Indian states of independent India – Haryana and Punjab, and documented built heritage that survives on that road. The documentation revealed edifices unique to a travel environment including Caravansarai (rest house), Kos-Minars (distance markers), bridges, stepped-wells and Bagh (pleasure gardens) built under the patronage of Mughal elites. The project emphasized the importance of identifying the strands of cultural heritage and the processes of documenting them. A major aim of such documentation was to aid preservation of the monuments themselves by providing critical information for future decisions.

Architecture of China-Middle (Han - Yuan Dynasties)

2020 ◽  
Author(s):  
Alexandra Harrer
Keyword(s):  
Tang Dynasty ◽  
Mutual Influence ◽  
Han Dynasty ◽  
Shanxi Province ◽  
Original Text ◽  
Construction Technology ◽  
Technical Standards ◽  
Chinese Architecture ◽  
Spatial Design ◽  
Building Culture

More than fifteen hundred years separate the beginning of the Han dynasty (206 bce to 220 ce) from the fall of the Yuan dynasty (1267–1368). Milestones in the formation of traditional building culture were seen during the Han dynasty and the divided period of the Northern and Southern Dynasties (420–589); construction technology was still in an experimental phase and new cultural imports from Central Asia like Buddhism and influences from the politically separated but economically more advanced South stimulated the process of artistic exchange. New structural principles were imbued with philosophical meaning and connected to social status, once formulated in the Tang dynasty (618–907), were continued and perfectioned over the next centuries. It is an irony of history that the Liao (907–1125), a nomadic people who took over the rule of North China, preserved the iconic features of Tang architecture even better than the contemporary indigenous Northern Song (960–1279), which sheds light on the historical perception of Han-Chinese building culture and the culturally sensible process of Sinification. Design practice was rooted in China’s culture of institutionalization and normalization, and imperially commissioned technical standards for government sponsored construction have survived in the form of several almost intact manuscripts, namely through copies of the original text (Yingzao fashi 1103, 1145), that tell us about the superior level of craftsmanship at the Song court. But official, dynastic style and regional building styles developed next to each other under mutual influence, which is also evident in the architecture of the succeeding Jin (1126–1234) and Yuan dynasties. Magnificent palaces and temples with towering pagodas and multi-storied halls were built in great numbers in wood but due to the events of history, not a single pre-Tang timber building has survived even in the remote areas of Shanxi province. For the one thousand years between the establishment of the Han dynasty and the erection of the timber-framed main hall at Nanchansi (南禅寺, dedicated 782), the study of traditional Chinese architecture has relied on textual records, archeological evidence, and artistic representations on paintings and in relief. Architecture, and Chinese architecture is no exception, refers to both the process and the product of spatial design and in the material form of buildings. It is art, cultural heritage, and applied science, answering the needs of everyday life by providing physical and symbolic shelter. Thus, literature on Chinese architecture is multidisciplinary, interdisciplinary, and transdisciplinary, reflecting a variety of methodologies and a diversity of authors and readers.

The Golden Vine

2018 ◽  
Author(s):  
Mailan S. Doquang
Keyword(s):  
Global Trade ◽  
Islamic Art ◽  
First Crusade ◽  
Dome Of The Rock ◽  
New Perspective ◽  
Church Design ◽  
Art And Architecture ◽  
The Temple

This chapter posits a relationship between the foliate friezes that proliferated in French churches in the wake of the First Crusade and the golden vine of Solomon’s Temple in Jerusalem. It argues that builders drew on textual descriptions of the Temple vine and on the golden vines inside the Umayyad Dome of the Rock in Jerusalem, a building conflated with the Temple, to forge and promote connections to the biblical model. Identifying foliate friezes as the golden vine not only provides a new perspective on a ubiquitous element in French church design, but it also brings to the fore meaningful points of contact between Western medieval, Byzantine, and Islamic art and architecture in an era of pilgrimage, crusading, and burgeoning global trade.

The Effect of Critical Regionalism Thoughts in Architecture on Contemporary Chinese Architecture - Localization Trend of Chinese Architecture in 21st Century

2012 ◽  
Vol 209-211 ◽  
pp. 183-190
Author(s):  
Chang Rui Zhang ◽  
Yong Tian ◽  
Deng Jun Ren
Keyword(s):  
Sustainable Development ◽  
Social Practice ◽  
Future Trend ◽  
Early Years ◽  
Chinese Architecture ◽  
Critical Regionalism ◽  
The World ◽  
Cultural Pattern ◽  
Art Philosophy ◽  
Contemporary Chinese

This thesis makes an in-depth research on the contemporary condition and future trend of the critical regionalism in Chinese architectural field. In the world multi-cultural pattern, academic circles show more and more attention to and concern about local civilization. As a participator of social practice, architect is responsible for maintaining the insistence and sustainable development of local civilization. Chinese architects are preceding with a misbelief that heritage and adoption of “modernism” does not premise on the doubt and repulsion of “universalism” civilization, just as their counterparts in advanced countries in early years. How to treat technology, art, philosophy, tradition and innovation correctly is a lasting historic subject for Chinese architect.

The appearance of Korean architecture in the modern West

2010 ◽  
Vol 14 (4) ◽  
pp. 349-361 ◽  
Author(s):  
Hyon-Sob Kim
Keyword(s):  
East Asian ◽  
Arts And Crafts ◽  
Late Nineteenth Century ◽  
Frank Lloyd Wright ◽  
Lao Tzu ◽  
Spatial Concept ◽  
The Arts ◽  
China And Japan ◽  
Japanese Architecture ◽  
Korean Architecture

Although the general influence of the architecture of East Asian countries on the formation and development of modern architecture has been widely recognised, detailed evidence about the extent and nature of this influence has been accruing through a growing body of research. This began with Chinoiserie, a Chinese-style fashion around the eighteenth century in Europe, which was imprinted in the Rococo interior as well as in the jardin anglo-chinois with its Chinese pavilions. Then in the late nineteenth century there was a European zeal for Japanese art, Japonisme, which appeared in the Arts and Crafts Movement and Art Nouveau. Consequently, East Asian influences came to be reflected in the concepts and designs of numerous modern architects. The representative figure is the American master Frank Lloyd Wright, who adopted the spatial concept of Laozi (or Lao-Tzu) and the organic characteristics of Japanese architecture. China and Japan had also appeared in various publications and architecture played a typical role in the interchange. Also, some notable Westerners had visited China and Japan.

scholarly journals The Perpetual Other.

2015 ◽  
Vol 3 (3) ◽  
pp. 82-112 ◽  
Author(s):  
Beate Löffler
Keyword(s):  
Knowledge Management ◽  
Knowledge Production ◽  
Cultural Practices ◽  
Modern World ◽  
Cultural Narratives ◽  
Negotiation Of Identity ◽  
Complex Process ◽  
Japanese Architecture ◽  
Over Time

This paper describes cultural referencing as a complex process of knowledge production and knowledge management in which privileged interpretations shift over time. Using Japanese architecture as a case study and focussing especially on the second half of the nineteenth century as arguably the crucial period in this regard, it shows that knowledge gaps are crucial to the re-evaluation and re-interpretation of cultural practices, thus enabling a permanent adjustment of cultural narratives and the perpetual negotiation of identity in a contingent modern world.

scholarly journals Immigrant Southeast and East Asian mothers’ transnational postpartum cultural practices: A meta-ethnography

2021 ◽  
Vol 17 ◽  
pp. 174550652110606
Author(s):  
Timothea Vo ◽  
Manisha Desai
Keyword(s):  
Social Support ◽  
Cultural Practices ◽  
East Asian ◽  
Modern Technology ◽  
Care Providers ◽  
High Quality Research ◽  
Collaborative Search ◽  
Definition Of ◽  
Meta Analyses ◽  
Asian Mothers

Objective: Southeast and East Asian mothers experience the postpartum period differently than that of the general population. Despite the documented difference, there is limited representation of postpartum cultural practices in nursing and midwifery research. The purpose of this meta-ethnography is to synthesize qualitative findings from studies that examined postpartum cultural practices of Southeast and East Asian mothers globally to ensure better maternal health outcomes. Methods: Noblit and Hare’s seven-step meta-ethnographic approach was used. We analyzed constructs, concepts, themes, and metaphors using Krippendorff’s content analysis. The guidelines for preferred reporting the synthesis of qualitative research were adhered to enhancing transparency (Preferred Reporting Items for Systematic Reviews and Meta-Analyses). Results: The collaborative search process in the following databases, PsycINFO, CINAHL, and Scopus, resulted in eight high quality research studies published between January 2017 and February 2020. Five studies discussed postpartum traditions of immigrant mothers ( n = 67) living in North America ( n = 67), while three studies explored that of mothers living in Southeast and East Asian. Mothers ( n = 132) from China, Hong Kong, Taiwan, Korea, Vietnam, and Hmong participated. Findings: Three themes emerged: (1) importance of maintaining postpartum cultural practices; (2) barriers of “doing-the-month”; and (3) modification: practicality over tradition. Although participants recognized value in postpartum traditions, the lack of social support deterred more immigrant than non-immigrant Southeast and East Asian mothers from “doing-the-month.” Due to the influence of western medicine, clinicians’ postpartum care suggestions, and use of modern technology (e.g., Internet), Southeast and East Asian mothers had informed choices to adapt, modify, or “break with tradition.” Conclusion: Similarities and differences existed in how each Southeast and East Asian mother accepted and engaged with postpartum cultural practices, a process which aligned with one’s definition of health. Maternity care providers should further elicit Southeast and East Asian mothers’ needs based on individualized assessments beginning in prenatal care with emphasis on social support for mothers who have recently immigrated and given birth in their adopted countries.

CATEGORY OF EMPTINESS IN THE WORLD ARCHITECTURE: JAPAN, WEST, RUSSIA

2019 ◽  
Vol 4 (10) ◽  
pp. 20-25
Author(s):  
Marina Kursova ◽  
◽  
Evgeniya Repina
Keyword(s):  
Zen Buddhism ◽  
Russian Philosophy ◽  
Avant Garde ◽  
The World ◽  
Japanese Architecture ◽  
Art And Architecture

The article analyzes the philosophical and psychological meaning of the category of emptiness and its reflection in art and architecture. The sacred meaning of emptiness in Zen Buddhism and its influence on Japanese architecture are considered. Differences in interpretations of the concept of “emptiness” in Eastern, Western and Russian philosophy and architecture are analyzed, it is highlighted how echoes of Zen teachings and the category of emptiness contributed to the emergence of the empty canon in the avant-garde. The devaluation of “emptiness” in the aesthetics of modernity and its transformation under the conditions of postmodernism are considered. In the course of analyzing the attitude of the modern generation to the categories of emptiness and space, the preconditions for the return of the attitude to emptiness and space as sacred categories of architectural culture are revealed.

Building Materials of Chinese Architecture

2020 ◽  
Author(s):  
Qinghua Guo
Keyword(s):  
Building Materials ◽  
Modular Design ◽  
18Th Century ◽  
Critical Study ◽  
Construction Technology ◽  
Construction Work ◽  
Chinese Architecture ◽  
Mud Bricks ◽  
Materials Used ◽  
Yingzao Fashi

This bibliography is a summation of our present knowledge of building materials used in China from prehistoric (c. 3000 bce) to premodern times (18th century). Earth, timber, stone, bricks, and tiles are the major materials developed with construction purposes. Earth and wood rendered as tu-mu are a synonym for construction work used throughout the history. In the case of earth, for example, it was used to build not only architecture but also infrastructure (such as city walls) with different techniques (e.g., direct molding and cob, rammed earth with framework and adobe [mud bricks]). China is well known for its long tradition of historical documentation; however building materials in early imperial times were only occasionally mentioned in literature, and their manufacture details were recorded in a few documents. The oldest written source in existence is the Yingzao Fashi (1103). A large number of historic buildings survived from the Ming-Qing times are timber-framed. Therefore, timber architecture has been studied more intensely than the others. And, scholarly attention has put more on the later period of Chinese architecture. Critical study of Chinese architecture did not begin until the 20th century. In the field of building materials, the academic work was scarce. Obviously, the study overlaps with a number of fields: construction, technology, architecture, and archaeology. Within the topic, this bibliography is organized in five categories: timber, stone and earth, bricks and tiles, mortars, coating and painting. Timber includes various prefabricated elements and units, such as columns, beams and block-bracket sets (dou-gong). Over time, Chinese timber architecture developed into a modular design and building standard as a system. Wooden buildings require coatings for weather proofing, which led to application of decorative coatings and paints. Drainage and waterproofing had been major issues for buildings and structures, which resulted in the development from adobe to bricks and tiles. Each section reviews main issues and lists recent scholarly contributions, as well as important database sources.

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