Nilai-Nilai Shintoisme pada Perbedaan Warna dan Bentuk Gerbang Dunia Dewa di Awal dan Akhir Film Spirited Away Karya Studio Ghibli

Spirited Away is an animation made by Ghibli Studio on 2001 under Hayao Miyazaki direction. This movie awarded as The Best Animation by The 75th Academy Award. This movie tells about the journey of Chihiro, the protagonist who’s been “spirited away” to the spirit world. There’s a significant difference on the visual and surounding of the scene when Chihiro went inside the spirit world through the gate in the beginning of the movie and when she’s back from that world at the ending. Even it’s pretty clear that it is the same place, but the gate, the colors, material, and the environment seems to be different. This visual generate a long controversy, include of how excactly the story end. Question arise of the significant distinction on the visual of the gate between the scenes, like why on the beginning the color of the gate is red with some characteristic of Shinto’s Temple architectural, but then the gate at the ending is white and made from stone piles. Hayao Miyazaki as creator of the movie has never explicitely answer the question on this matter. This qualitative study using visual examination method on colors and material of the gates, from the perspective of Shinto’s and Japanese architecture, to know the reason behind the importance of differentiating the visual of the gates in the beginning and the ending of the movie.

Lao Tze and Confucius' philosophies influenced the designs of Kisho Kurokawa and Tadao Ando

Japanese architecture retains the characteristic of appreciating its culture, despite the growing influence of Western architecture. Based on this issue, it is a very interesting area to study to understand the design concepts behind two masterpieces from the world’s architects Kisho Kurokawa and Tadao Ando. This study uses a qualitative method by analyzing theories and case studies in the work of the architects Kisho Kurokawa and Tadao Ando. It conducts the following detailed analyses; (a) Western architects who influenced both design concepts; (b) The primary considerations of the two architects in facing the demands of the times. The study concludes that Kisho Kurokawa was influenced by Kenzo Tange, while Tadao Ando has been influenced by Le Corbusier and Louis Khan. The primary consideration of Kisho Kurokawa is Hanasuki, while for Tadao Ando it is Shintai. The findings in this study are that the two architects in the design concept were inspired by Japanese culture, where Japanese culture is influenced by the philosophy of Lau Tze and Confucius.

Demolition traditions: Isozaki and Sakaguchi

If ever an architect bit the hand that fed, it was the young Arata Isozaki, a mercurial and uncompromising architectural talent who would go on to secure establishment respectability with the Pritzker Prize of 2019. But he made his renown with designs and exhibitions exploring themes of death and destruction, not least his ‘Fractures’ pavilion for the 1996 Venice Biennale, which sought to stage the aftermath of the Kobe earthquake from a year earlier, while also being a leading proponent of a playful, almost saccharine postmodernism, with projects including the Team Disney HQ of 1991. Immersed in the leading currents of Japanese architecture from the 1960s onwards, his tendency to snipe at the motives of his collaborators was legendary. Commentators have tried to account for these professional shifts and antagonisms, his dour and contrarian thematic obsessions, as well as his critiques of architectural traditionalism and technological progressivism. Why did he conduct his professional life and art this way? The conclusion seems to be that he was a nihilistic maverick pushing at the outer limits of architectural culture and even taste.