Professor of Architecture Peter Carl reviews Revitalizing Japan: Architecture, Urbanization, and Degrowth, the latest installment in the Japan Story series by Mohsen Mostafavi and Kayoko Ota, highlighting how architects engage regional Japan through relational urbanism, participatory design, and degrowth strategies that reimagine architecture’s civic and ecological purpose.
Professor of Architecture Peter Carl reviews Revitalizing Japan: Architecture, Urbanization, and Degrowth, the latest installment in the Japan Story series by Mohsen Mostafavi and Kayoko Ota, highlighting how architects engage regional Japan through relational urbanism, participatory design, and degrowth strategies that reimagine architecture’s civic and ecological purpose.
Professor of Architecture Peter Carl reviews Revitalizing Japan: Architecture, Urbanization, and Degrowth, the latest installment in the Japan Story series by Mohsen Mostafavi and Kayoko Ota, highlighting how architects engage regional Japan through relational urbanism, participatory design, and degrowth strategies that reimagine architecture’s civic and ecological purpose.
All worldly things are transitory, but is this piece of ancient wisdom still applicable to or even necessary for living in Tokyo? The novelist Banana Yoshiomoto invites us to enter the mindscape of a resident watching her beloved neighborhood undergoing large changes.
All worldly things are transitory, but is this piece of ancient wisdom still applicable to or even necessary for living in Tokyo? The novelist Banana Yoshiomoto invites us to enter the mindscape of a resident watching her beloved neighborhood undergoing large changes.
All worldly things are transitory, but is this piece of ancient wisdom still applicable to or even necessary for living in Tokyo? The novelist Banana Yoshiomoto invites us to enter the mindscape of a resident watching her beloved neighborhood undergoing large changes.
New-generation architect Kumiko Inui seeks to understand truly “lived places” in order to access the power of the ordinary and the real in her own practice. Rather than set up an external model of the unusual and the fictional as her elder “author-type” architects did, Inui photographs and examines thousands of successful, anonymously created spaces to examine why they work.
New-generation architect Kumiko Inui seeks to understand truly “lived places” in order to access the power of the ordinary and the real in her own practice. Rather than set up an external model of the unusual and the fictional as her elder “author-type” architects did, Inui photographs and examines thousands of successful, anonymously created spaces to examine why they work.
New-generation architect Kumiko Inui seeks to understand truly “lived places” in order to access the power of the ordinary and the real in her own practice. Rather than set up an external model of the unusual and the fictional as her elder “author-type” architects did, Inui photographs and examines thousands of successful, anonymously created spaces to examine why they work.
From the thousands of photos taken for the research, Kumiko Inui selected 100 categories of landscapes, which she calls “photographic units,” in which she and her students detect expressiveness. Here is a further selection of four categories.
From the thousands of photos taken for the research, Kumiko Inui selected 100 categories of landscapes, which she calls “photographic units,” in which she and her students detect expressiveness. Here is a further selection of four categories.
From the thousands of photos taken for the research, Kumiko Inui selected 100 categories of landscapes, which she calls “photographic units,” in which she and her students detect expressiveness. Here is a further selection of four categories.
Kumiko Inui believes that what captures your mind in everyday landscapes is a source of imagination when designing architecture. In order to have a good grasp of what exactly enriches our mind in the scenes around us, she undertook full-scale photographic research (continued from Part 1).
Kumiko Inui believes that what captures your mind in everyday landscapes is a source of imagination when designing architecture. In order to have a good grasp of what exactly enriches our mind in the scenes around us, she undertook full-scale photographic research (continued from Part 1).
Kumiko Inui believes that what captures your mind in everyday landscapes is a source of imagination when designing architecture. In order to have a good grasp of what exactly enriches our mind in the scenes around us, she undertook full-scale photographic research (continued from Part 1).
What do our eyes perceive as “nice”? How do they make judgments? Inui conducted this research to understand the mechanism of how we see places that surround us. Like George Nelson, yet in a different manner from his classic How To See, Inui and her students take photographs in order to understand our world, designed without designers (continued from Part 1).
What do our eyes perceive as “nice”? How do they make judgments? Inui conducted this research to understand the mechanism of how we see places that surround us. Like George Nelson, yet in a different manner from his classic How To See, Inui and her students take photographs in order to understand our world, designed without designers (continued from Part 1).
What do our eyes perceive as “nice”? How do they make judgments? Inui conducted this research to understand the mechanism of how we see places that surround us. Like George Nelson, yet in a different manner from his classic How To See, Inui and her students take photographs in order to understand our world, designed without designers (continued from Part 1).
