Minoru takeyama biography
- Takeyama, Minoru (1934–86).
- Follow Minoru Takeyama and explore their bibliography from Amazon's Minoru Takeyama Author Page.
- Since the late 1960s Minoru Takeyama's work has contributed to, and continues to shape, the course of Japanese architecture through numerous award-winning.
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Takeyama: Superurban #3
[continued from part 2] Encyclopedia.com gives you the ability to cite reference entries and articles according to common styles from the Modern Language Association (MLA), The Chicago Manual of Style, and the American Psychological Association (APA). Within the “Cite this article” tool, pick a style to see how all available information looks when formatted according to that style. Then, copy and paste the text into your bibliography or works cited list. Because each style has its own formatting nuances that evolve over time and not all information is available for every reference entry or article, Encyclopedia.com cannot guarantee each citation it generates. Therefore, it’s best to use Encyclopedia.com citations as a starting point before checking the style against your school or publication’s requirements and the most-recent information available at these sites: 1977: an enigmatic Japanese building, the Niban-kan, appears on the cover of Charles Jencks' The Language of Post-Modern Architecture. Its rise to the status of an icon of Supergraphics, along with its adjacent brother building the Ichiban-kan, would overshadow its great urban qualities. Accompanied by the exceptional guides Yoshiharu Tsukamoto and Yasutaka Yoshimura, Domus visited and discussed the building with its architect Minoru Takeyama, gaining a pretext to explore the ineffable rules underlying architecture in the city of Tokyo.
Domus: One of the notable aspects of Ichiban-kan is the social importance of the spaces for circulation. Neither of the two buildings have doors so you can enter from the street and go straight to the sixth or seventh floor. It's like the street entering the building, which is something we no longer have.
Minoru Takeyama: When I was a child there were no keys. To me the building evokes the same atmosphere, even though all the tenants have a lock or a shutter.
Yasutaka Yoshimura: The building transmits a feeling of public space and this is really special and typical of Tokyo. Girls even do their make-up in the street, so they perceive the street as a private space. We can say that the border between these two kinds of spaces is melting away in Tokyo, and in this sense I really think your building is representative of the city. It's not about a facade, but about planning.
Yoshiharu Tsukamoto: Could you tell us how Charles Jencks discovered your building and put it on the cover of his book The Language of Po •
Takeyama, Minoru
Citation styles
Notes:
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Takeyama: Superurban #1
This is the first of a three-part feature.
Domus: Your story is quite peculiar. You left Japan to study at Harvard before going on to work with Josep Lluís Sert and then with Harrison and Abramovitz. You then went to Denmark to work with Jørn Utzon and Arne Jacobsen. When you returned to your home country you constructed a building that became an icon of its time.
Yoshiharu Tsukamoto: My feeling is that Japanese architects in the '60s worked for the public with big hopes of constructing a new socie
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