Architectural Institute

ArchitecturalInstitute

of Japan
Japan

of

The Influenceof Milieuin the ResidentialArchitecture of ShinoharaKazuo

Study ofArchitectural Discourseand Spatial
Conception
Benoit Jacquet
GraduateStudent,GraduateSchoolefEngineering,

UniversityofKyoto,

Japan

Abstract

This paper summarizes

architect.
The evolution

itsrelationship

a survey
of

the influence
of

on

the residential

architecture

in the architectural cencepts of a Japanese

Shinohara Kazuo has been analyzed through

milieu
of

space
related
to the tendencies ofmilieu
in the spatial
physicaland mental
environment,
Reference to Society (through
tradition and modernity),
to Nature (in
the perception of
concepts)
reveaied
landscape),
and to Space(physical
space of the city and mental
space of architectural
the infiuenceofmilieu. The data was compiled
from the architecVs discoursein writing and drawings,
The
architecture
has been stressed through the modelization
ofhousing
spatial
infiuence
of milieu on residential

structures

with

and urban

social,

pattems.

Keywords: ShinoharaKazuo; milieu; discourse;

spatial

conception

1.Introduetion
1.1 Aim

of

keywerds
The aim
between
considering

the
of

thinking. Through the

research

the

presentation of

and

is to stress the relationship

this study

architectura]

conception

in which

that the milieu

and
a

milieu,

building is

placedhas an effect on the conception

of architecture,
To test this idea,the evolution of
how the residential architecture of ShinoharaKazuo
has been confronted
by the infiuenceof the Japanese
milieu
isdiscussed.
Milieu is definedas:
The relationship
of a society
1986),
and
it
istherefbre
to nature and spacer' (Berque,
related to the natural and cultural aspects
of the
environment
where
the architecture takes place.To
survey the relationship between architecture and milieu
ithas been necessary to consider the architectural
work as a partof a generalprocessof space creation.
The conception
of a work
of architecture
cannot
be isolatedfrom: site cost (econorny),
legislation,
topography, surrounding
landscape,climate, history,
conceived

and

"

natural

environment

(seeFig,1,), Based
to analyze

CMdo),
and

on

cultural

this fact,the

environment,
author

decided

the production of the architectural

through the definition

ofa

work

Space",a
Space",and a "Menta1
Space" (see
Lefebvre,1974).
1.2Methedology and choice of the case study
The influence of milieu can be observed
in the
architect's conception
of space and in his way of
"Social

"Physical

analysis

and comparisons

ofhis

drawingsand writings we can extract the concepts, the

ideasand the discoursethat support the work of the
architect, The architect
produces drawings,sketches,
and
texts
that
form
the primarymaterial
from
pictures,
which

we

can understand

his intentionsin his work

(see

Boudon, 1992).
Throughout his career as a professor-architect,
ShinoharaKazuo always triedto definethe relationship
between thinking and designing in his practiceof
architecture.
In hislaboratory,
at the [[bkyoinstitute
of
rlbchnology,
he concentrated on the space ofresidential
architecture,
as a type of architecture
on a human scale
interacts
with
society.
For more than
that
Japanese
thirty years,he developed spatial
and
philosophical
between his
concepts
out of the confrontation
architecture
and itssocial, cultural, and physical
contexts.

2. Postwar Japan and the reinterpretation

of
Japanese traditional architecture
2.1Historical background
As Professor Masuda Tomoya explained,
the
isolationof Japan from 1636 to 1868 had a strong
influenceon spatial conception
and
it's
relationship
to
1969).The prenature in Japanesesociety (Masuda,
Surroundings

History

Naturul
Legislation

environment

Auther/ Benort Jacquet,PhD Student,University

of Kyoto, Graduate School of Engineeting,Labor4tery of
Architectural
Design,Katsura Carnpus,C-Cluster2, Nishigyoku,Kyoto 6l5-851O,Japan
Tel1Fax:+81-75-383-2906
"Contact

e-mail/

Cultural

ClimaLe

cnyironment

44
Economy

Topography

aa.benoit@archi.kyoto-u.ac.jp

October Z 2005
(Received

,'

acceptedDecember

13,2005)

Journal ofAsian

Fig.1 .Architectural Wbrk

confronted

by Milieu Tendencies

Architectureand Building EngineeringlMay

200612015

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Architectural Institute
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of

house

(minkaor

than that of the minka,

and
itsroots can
- Yayoi comes
be found in Yayoi era storehouses
after J6mon - thathave an elevated
floor(takayuka
The lightstructure
of Katsura's shoin, and its
ju'kyo).
relationship
to the garden,has been considered
as
the premise of the modern movement
in architecture
in Japan due to itstransparency and open space.
diseovery
of new building
methods
and techniques,
According to Shinohara, the shoin's spatiality is
such as reinfbrced concrete, led to the developmentof
differentfrom that of the open space of European
"glass
a modem
architecture thatwas used to rebuild Japanese
modernism's
box" and itis rather a "non open
cities after the war,
space" (Shinohara,
1960,1996),The origin ofJapanese
From the mid-fifties, some architects started to refer
space
comes
from the Indian theory of void, a void
to Japanese tradition in order to develop an original
made ofsymbolic enclosure and physical
openness, the
architecture.
For instance,professorTange Kenz6
opposite
ofa
box".
referred
to the Royal Villaof Katsura(Katsorra
rikyfi)
The tearoom combines
the spatiality of boththe
thatwas seen by modern
western architects as a symbol
space
of
the
minko
and
the aristocratic space of
popular
of the modernity
inherentin traditional Japanese
the shoin. Itisalso an example of the non-openness
of
spatiality (see
Taut,1937; Gropius,[fange,Ishimoto, Japanesespace, The space ofthe chashitsu (tearoom)
is
1960).In the same periodSeikeKiyoshi,professorof
theexpression of human sensitivity, where the human
ShinoharaKazuo, designedhousesusing contemporary
emotions
are awakened
by itsornamentation
and by
materials and teehnology likesteel, glass,
and concrete
reference to the aesthetic of wabi
and
sabi
(Suzuki,
while at the same time referring to Japanesetradition,
1959;Shinohara,1960).
2.3Restoration of irrationality
city
rnountam
: garden l
In the fifties
and
sixties,
lilHeuse
duringthe construction of
lt
modern
the
Japanese
landscape,
reference to Japanese
lt,.L.-----"'
:tsttt...ttt.
traditional
space
was
an
opportunity
to think about the
tttl
role oftradition in contemporary
Japan.The originality
of ShinoharaKazuo's point of view comes
from his
Int, engqiva
cxt.
11borrowedlandscape
I,fhidden)city
/
understanding
of Japanese space
and
itsapplication
Fig.2. Traditional Pattern ofUrban House
in the design of housing projects.Shinohara Kazuo
opposed
his theory of residential
architecture
to the
2.2Japanese space referenees
rationalism
and
that
leading
functionalism were
the
From the beginningof hiscareer in 1953 Shinohara reconstruction
of post-warJapan. Shinohara stressed
Kazuo studied
Japanese space composition,
from
the importance of human scale inthe spatiality of
which
he developed a methodology
forthe design Japanesearchitecture. He also developed
the ideathat
of residential
architecture
using
Japanese spatiality,
Japanesespace had an irrational
structure,
(hig6riteki)
rnost
Shinohara's
representative Japanesespace models
which
is different
frornthe conception of space that
are: the minka, the shoin of the aristocratic residence,
was developedin parallel
to the evolution of Sciences
and
the ehashitsu. He referred to these archetypes in
in the West (Shinohara,
1964).
hisfirst
theory of residential architecture (Shinohara, By using a spatiality thathe extracted from hisstudy
1960).
of the structure
of Japanesespace,
Shinoharawanted
One of ShinoharaLaboratory's
first
research themes
to add another dimensionto the Cartesian
modern
was the survey ofavillage
ofminka,
in the suburbs of
movement
ofpostwar
Japan.On this new dimensional
Nara (see
Shinohara,1966,1996).Shinoharahad been
axis, he would
set the
of irrationality"
interestedin the strong relationship betweenminka
1960, 1996),This irrationality
refers to
(Shinohara,
architecture
and
nature.
He stated that the minka was
the aspects of the Japaneseconception
of space that
not architecture buta partofnature
1960), were not definedby rational principles,
but rather by
(Shinohara,
According to him, the minka isthe expression of the sensitivity specific to human senses and emotions.
In
"the
natural milieu and itis also the result of collaboration
other words, Shinoharaconsiders that
house isart"
between man and nature. This relationship contributes
1960, 1962), Hence, a work ofarchitecture
(Shinohara
to giving a meaning
to human dwelling (Shinohara,
is similar to a work of art when the architect invests
1960).The origin of the minka has been datedback to
much
ofhis
personaland mental energy in it.
war

commoner's

machiya)

and

the

"modern"

illustrate
the particular
relationship
betweenarchitecture,
garden and landscape
(seeFig.2.).Japan started to open to western culture
in the Meiji era but itwas not until after the Second
WorldWar thatsome Western building
methods
were
widely
adopted.
The declineof craftsmanship
and the
architectonic

of

the engawa

"glass

i,

"coordinates

the prehistoricJ6mon

found in thecharacter
which
had an underground

era

of

to 300
(prior

BC),

and

can

be

earthen-floor.

Royal Villaisanother example

Japanese space representative
of the Japanese
sense of beauty.This kind of architecture looks more
The shoin ofKatsura

of

16

2.4 Japanese

spaee

methodology

thepithouse (tateanaJ'u'kyo),
In order to moderate

JAABEvoL5no.IMay2006

theratienalist and functionalist

Japanese
architecture, Shinohara
postwar
Kazuo inventeda methodology
based on the use ofthe
spatial concepts that he drew from the abstract spaces
of Japanesetraditionalarchitecture
1967).
(Shinohara
rnethods

of

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ArchitecturalInstitute

The

of Japan
Japan

of

Shinohara'sdiscourserevealed five
"coordinates
can be classified as
of
irrationality":
First,
the "division''
composition
(bunkatsu)
plan:
itconsists of dividingthe whole shape of a room in
- by using sliding doors
order
to make
smaller
rooms
It is the opposite
of western
or height difference.
analysis

concepts,

of

which

(renketsu)

"connection"

architecturets

composition

plan that is composed

of spatial units

rooms)
(closed

of the minka
and J6mon era's prehistoric
Japanesepithouse.With itscubic shape and itsclear
Japaneseplanning (division
1 frontality)
the "House
in White" is closer to Yayoi tradition.In other words,
one could see in these two houses the two pulsesof
aesthetics
describedin Friedrich Nietzsche's The birth
of Tragedy (Nietzsche,
1872).The "House
of Earth"
belongs to the Dionysiac side of the irrational
and
fbrces of nature,
and
the
in White"
obscure
incarnates
the plastic
beautyof theApolloniantradition
fbrms,
ofGreece's
white
pure
In "House
in White", the
of
irrationality"
are presentedand abstracted in the white,
high-ceilingedmain room,
Compared to previous
houses,Shinohara emphasized
the organicity of the
ddikokubashira (central
the
pillar),By contrasting
bark
with
the
white
walls,
he
wanted
pillar'sorganic
to stress a new
relationship
to nature, which
he called
atmosphere

"House

together(Shinohara,
1996);
it comes
from the
(sh6mensei):
"division",
It is a two-dimensional
picture-like
elevation
seen from a perpendicular direction.In
traditionalarchitecture,
a representative
frontality
is
thatof the upper stage of NishiHonganji's Hall (k6no
ma)
inKyoto (Shinohara
1964;Inoue,1969);
"Wastefu1
it is an extra
space"
(mudana kfikan):
space
that has no particular
functionin the house. It
nature''
hasbeenproposed against the minimal measurement
construction
ofman-made
Uink6shizen
of rational and functional
architecture. According to
no k6chiku),
as a relationship between
nature and manShinohara,space must be
and involve
made construction.
human scale, in such a way that even a small room
can providean impressionof spaciousness
(Shinohara,
(1)Division
1960).
"Style''
(2)Frontality
and
ornament:
they are the artistic
tv6shiki)
(3)Wastefulspaee
expressions
of an epoch.
They correspond
to some
(4)Centralpillar
social and aesthetic rules that partakeof architecture
(S)Connectiellwindow
connected

"Frontality"

"coordinates

''the

"immeasurable"

1960).
(Shinohara,
elements
minka,

(6)Zcnithalwindow
(7)fraversality

itcan be found in the

Cydikisei):

"Organicity"

thatsymbolize nature. In hisanalysis

Shinohara mentioned
the organicity

of
of

the
the
the

doma, the earthen-floor, and the claikokubashira,

central pillar,
as symbols
of a relationship to natural
elements (Shinohara,
1967).

)
Fig.3.ConceptualModel

of

''House

inWhite" (1966)

3. The crossing of modernism

3.1Abstraction of the Japanese space structure
Untilthe end of the sixties, Shinohara Kazuo only
designedhouses with a Japanese space structure,
according
to the methodology
he defined. This
methodology
can be dividedintothree main steps: (1)
"extraction"
of the specific Japanesespaces, taken from

3.2From open square to enclosed cube

The "House
in White" (1966)
is the finalmodel
in the use ofJapanese
space
references
(seeFig.3.),
t'second
and italso introducesthe
stylei'. Shinohara
to Japanese traditionafter
graduallystopped referring
"House
the completion
of the
in White",and another
relationship
to milieu
appeared.
He developed some
in the
in
spatial coneepts that were in gestation
White",such as the "constmction
ofman-made
nature"

tradition;(2)"simplification"

and

the space structure,

of the
(3)
space structure, in order to use and adapt the tradition
to a contemporary
context
and
expression.
The
"coordinates
of irrationality"
are the tools that result
from this process. They were used to buildthe series of
ornamentation

and

of

style;

"abstraction"

reinterpretation
housesthatrepresents Shinohara's

the traditionofJapanese

space.

of

"House

the abstraction ofthe relationship to nature.

The "Yamashiro
House" (yamashiro
san no ie)of
1967 is characterized by a central square shape and
"conneetion
the necessary
space"
1971).
(Shinohara,
Thissquare isan open-air interior
elevated
90
garden
centimeters
from the street and the carport - which is
connected to all the rooms.
In 1968, the

central

square

space

of

"Suzusho

In 1966, Shinohara Kazuo completed

two houses House" (suzush6
san no ie) takes the form ofa
in the suburbs of Tokyo: the "House
ofEarth"
no
spacious
main
room
where
Shinoharadevelopedthe
(chi
nature".
Although the main
ie)and the
in White" (shiro
no ie).
These two
ofman-made
houses are the representation of the two streams of
room isopened to thebeautifu1
surrounding
landscape,
Japanesetradition (asexposed by Shinohara,1958;
Shinohara wanted to recreate inside tbe house an
Tange, 1960). For the "House
of Earth" Shinohara
artificialperception
of the landscape,
The architectural
conceived
a
space"
with
an
underground
work
expresses
the interventionof human activity
1971).
bedroom.This pathological space refers to the dugout (Shinohara,
"House

"construction

"Black

JAABE

yoL5

no.1

May

2e06

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of Japan
Japan

of

Finally,in 1970, the "Incomplete

House" (mikan
no ie) ischaracterized
by a central enclosed cube that
has no relationship
with
the exterior
environment,
and no reference
to Japanese spatiality, Stepby
step, Shinohara Kazuo went from one architectural
expression
to another (see
Fig.4.),fi:omtraditional
to enclosed

open-square

cube,

(1)Houseinwhite(2)YamashiroHeuse(3)SuzushoHouse
I)iyidedrrminroom

Sqllareaccurtyard

Fig.4. Precess

of

an

(3)Connection window
(4)Zenithalwindow

AEntrance

(4)lncompleteHouse

Squarcdintoriorspace

ofAbstraction

(1)Cube(2)
Fissure kge

/'x

....,...-1,/;>

Cuhicinteiorspacc

Fig.5.ConceptualModel

InterierCubic Space

3.3Formation of an abstract milieu

According to Shinohara Kazuo, the

House" (1970)

''Incomplete

;-

l -,
r...f
rt

""Se

d'construction

of

...

to the destruction
.rPun"M'"
of the natural landscapein Japan - due to the quick
expansion
of cities - and an attempt
to find another
Interiorspace
/
relationship to nature insidearchitecture (Shinohara,
1971), Indeed,during the period of high economic
Fig,6.Patternofthe Urban House inthe Seventies
growth between 1955 and 1973 the city of Tokyo
Shinohara modelized
the Cube in l970
perspective,
grew from about 6 million to 12 million inhabitants. after a series of abstractions of Japanesespaces, and
In the seventies,
a levelof prosperity
Japan reached
an adaptation to contemporary
expression, But, in the
equivalent
to most industrialized
and modernized
"House
same
way
as the
in Whited',the model of the
countries,
but itslandscape was totally changed
"Incomplete
House" was gradually transfbrmed by the
becauseof the expansion of theeityscape. In the urban
influence
ofmilieu.
environment,
the reference to nature became diMcult
After the
House", the Cube lost its
and some architects started to create introverted
houses
central and introverted
Fig.7.).
First,
in
position(see
designedto protect
their occupants from city activity as
the "Shino
House"
san
no
ie),
the
Cube
was
(shino
they searched
foranother relationship
to the changing
moved
to the periphery in order to have physical
"construction
milieu,
Shinohara's
concept of
ofman"Cubic
contact
with the outside. And then in the
made
nature"
was
an answer
to thisquest.
Forest"(chokuh6tai
no mori),
the fissure
connects
the
In the seventiest patternof the urban house
cubic
entrance
hall
to
a
main
room
composed
by
a
Fig.6,)- which corresponds
to the structure of the
double
cube
with
large
lateral
openings.
The
design
House" -, the densification
of the land is
houses mirrored
thisdeterioration
of
fo11owedby the disappearanceof the exterior garden of the fo11owing
the interiorCube model
until itstota1disappearance
in
and engawa.
The house is closed to the cityscape
In
the
in Itoshima"(itoshima
no ju'taku),
the
and the traditionalinnergarden (nakaniwa)
has been
"House
in
Itoshima",
Shinohara
Kazuo
reversed the
replaced by an interior
space
inthe centre of the house,
A six-meter
high,central, white, concrete
cube,
lit concept of the enclosed Cube and designedan exterior
by a two meter-diameter
domed skylight, dominates cubic frame opened to an ideallandscapeofmountain
The fissureand Cube compose
a
the
house".The use of a three dimensional and water (sansui).
kind of spatial instrumentthat borrows the landscape
cube
isa means to eliminate
and
Fig,8,),
(shakkei)
(see
the main features
ofthe Japanesespatiality,
"construction
of man-made

nature"

was

a reaction

"Incomplete

(see

''Incomplete

"House

"Incomplete

"frontality"

d'division",

ShinoharaKazuo

succeeded

in creating

that refers to an artificial milieu, made

ofvoid

(cube)

air conditioning
zenithal

"valleys"

and

dome

4. Towards

landscape

of a

space

topology

(fissure),
with

meehanical

light,
which isfiltered
by
Fig.5.).
(see

and neutral
opening

a mental

and

new

milieus

the Cube to landscape

"Incomplete
of the
House" isShinohara's
response
to the modernist
cube,
but Shinohara
Kazuo reached this fbrm through a totally different
4.1Opening
The Cube

18

of

JAABEyol.5no.IMay2006

The theme of the

the will to enclose

and

enclosed

cube

is

ofman-made

architectural
to the
comparable

nature"

nature

inside
an

Enclosed Garden

Conclusus) of Middle Ages European cities

(Hbrtus
(seeAben & de Wit, 1999).Both spatial structures
aim

to concentrate

domesticatedand

the expression
reinterpreted

by

idealnature,
in a delimitated

of an
man

space,42

Literarymilieu
House"

"Tanikawa

was

designed
under

(tanikawa

san
noju"taku,
1974),
influence
the literary
of the client -

thepoetTanikawa Shuntar6-

and

Shinohara's
intention

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ArchitecturalInstitute

of Japan
Japan

of

thathe could not control thewhole cityscape,

Using the concept of the spatial machine, Shinohara
Kazuo started to experiment
with
an architecture
that related
to the urban
confusion.
The "House
in
Uehara" (orehara
d6rino y'u"taku),
builtin 1976 in the
livelydistrict
of Shibuya (Tokyo)
is an example
of
the urban house of the mid-seventies
Fig.11.).
(see
conscious

[ig]
Hcuse" (2)''Shino
Hnuse''
(1)''Illcornplete
CcntralCube

Forcgt'' (4)"House
in lksh{ma"
(3)"thhic

Tramslatcdthhe

DeiiblcCube

Fig.7.Variations
ofthe Cube

Open-aircubicframe

Opening to Landscape

and

Shinohara

wanted

to

create

fragment of the urban

1979).He developedthe concept of

(Shinohara,
"savage
space", inspired
by hisinterpretation
of LeviStrauss's
SZivagemind (Shinohara,
1979;L6vi-Strauss,
1962),This savagery is represented by the strong and
imposingconcrete stmcture of the house (see
Fig,1O.).
In "Towards
an Architecture",
ShinoharaKazuo reevaluated
the Modernist tradition in regards
to the
relationship
between fbrm and function(Shinohara,
1981; Le Corbusier, 1923). From this analysis,
Shinohara developed the eoncept of
Machine" (neidb
no kikoi)
as a meaningfu1
architectural
work, In the urban milieu, residential architecture has
mutated
intoa degree-zero
machine
that has a degreezero levelof relationship with the environment
the
(fbr
"degree-zero",
concept of
see Barthes,1953),Itmeans
that the architecture has become a machine
whose
funetionis to produce a directrelatibnship
with
thc
milieu.
In other words, architecture
became milieu,
chaos

(1)Cube(2)Fissure(3)Connectianto1andscape

t.t.2)lttl
//,F

(1)<
Fig.8.Spatialinstrumentof
to experiment

inItoshima"

''House

philosophicalreferences,
"Machine
such
as Gilies Deleuze's concept
of
litteraire"
1964),These literary
references
(Deleuze,
an
original
feature
to
the
architectural
work.
The
gave
topography and the landscape were also physically
involveclin the design process.Shinohara invented
several

some

with

concepts

such

as:

"naked

space"

no
(ragy6

"traversality"
kfikon),
machine"
kihai),
(kfihan
According to Tanikawa, Shinohara designed
(6don).
"winter
a
house" that is likea "pioneer
cabin" and a
"summer
house" that "does
not need to be a house"
1975).In the "summer
room",
the fiooris
(Shinohara,
lefinaked: earthen and inclined.
This space isernptied
of everything
but the wooden
structure
pillars that
"spatial

sustain

the roog

and a

Fig,9,),
bench(see

l:/.ene
g\.X/i,iasc:
1sttt
ee!..
te,;i,:,:a,g,i;
03,kh:S,

encounter

lutermectiate level/creatlon
`'spatial

a]d

Lower leyel/separation
frorn .......----""'
the
street
(cantileyer);
workingspace(studio)

Fig.1O.ConceptualModel

Suburhs

House"

(1974)

5. Conclusion
In thisstudy, the evolution
design of Shinohara Kazuo

milieu

the discourse
on Japanesecities
changed, This was partlybeeause of the slow down in
urbanization
and partlybecause the architect became

voL5

no.1

May 2006

A'

of

theresidential housing

has been divided into

the crossing of

diffbrent
tendencies: (tradition,
and

(the

to landscape)and periods:
and the mid-seventies),
to diffbrent
types of relationship to

the opening

sixties, the early-seventies,

which

4.3 Confusion in urban

In the mid-seventies,

ll

Mountain/--"x....

Fig.11.Patternof the Urban House inthe Mid-Seventies

modernism,

JAABE

r'r
//rfA

,1spacc,

three
of'"Ihnikawa

D/

City

I{owse

inUehara" (1976)

of"House

1 '"x
irllefi'o'
r'

lt
../../.t,
ttttt
(1)Summerroom

Fig.9, Conceptual Model

artificial

landscape('`savagespace')

r-/''

Winter room
Trasrersality

'""""'----.

illterior

an

machine"

meamng.

l,,,. (2)
f
E.
(3)

2'ttL
'i')'

tc'f'

of

between the inclined ground and the

man-made
structure's (geometric
space) produces a
"illogical
fimctions".
According to the creator,
gap of
the work of architecture emerges from this accidental
encounter
1975),It is a spatial machine
(Shinohara,
that does not have any rational meaning
but provides
a naked space in which
the dwellercan freelycreate
hispeculiarspatial sensations. By proceedingthrough
the "traversality"
or this space,
the dwellerencounters
illogical
to which he can give a particular
functions
The

"Zero-degree

correspond

A specific urban pattern- in which Shinohara

Kazuo designedhisarchitecture - has been definedfbr
milieu.
each

ofthese

tendencies ofthe

milieu.

Benoit Jacquet19

NII-Electronic
NII-Electronic

Library Service

Architectural Institute
ArchitecturalInstitute

of Japan
Japan

of

no kOkan wo
6dan suru toki",
thatthereisan evident influence 17) Shinohara,K. (1975)
Shinkenchiku.Ibkyo: Shinkenchiku-sha,October 197S.
ofmilieu in Shinohara's
architectural design,giventhat
18) Shinohara,
K. C1979) SavageMachineas an Exercise",
The
eaeh series ofhouses
are characterized by unique space
Architect.
Tbkyo: Shinkenchiku-sha,
MaTeh 1979.
Jt\Jan
stmctures
and concepts, and a particular
19) Shinohara,
K. (1981)
an Architecture", The JQpan
perceptionof
Arehitect.
Tbkyo: Shinkenchiku-sha,September 1981,
the landscape.
20) Shinohara,K. (1996)
Shinohara Kazuo, Tbkyo: TOTO Shuppall
This study
focused on the transformation
of
"ouses and People ofJZu)an.
Londoll-Tekyo:
21)
Taut, B, (t937)
architecture,
on the variability
and
evolution
of urban
-Sanseido.
Gridford
but italso revealed
some
constant
features,
patterns,
There is constancy
in designpattern(the
square
shape,
the structural pillarsystem), inrelation to man-made

The

survey

"Ragy6

revealed

"The

"Towards

in some

and

nature,

the

space,

spatial concepts

(the

"division"

of

"traversality").

In general,the influenceof milieu in the residential

of ShinoharaKazuo can be characterized
by:1The reaction of ShinoharaKazuo towards Japanese
society
and
its"social
space"
by the
(created
architecture

rationalist

2- The

and

creation

functionalist
post-war streams);
landscape
insidethe

of an artificial

house, in relation
"physical

space",

growth;
3- The architectural
of

the cityscape

"mental

The

to the transfbrmation of Japan's

the destruction
of nature, and city
conception

that express

understanding

space",

relationship

between

architecture

interacts
inside
this comprehension
and

and

Shinohara'speculiar

of

and

milieu

Society,
Nature,

Space.

References

'(1999)

1) Aben, R & de Wit, S,

71leeEnclosed GaFdlan.Rotterdam/
OIOPublishers.
2) Barthes,R, (19S3)
Le degrti
ztiro de t'ticriture.
Paris:Editionsdu
seuil.

3) Berque, A, (]986)Le sauvage et l'artdice,

Les kponais devant la
naiure.
Paris/Gallimard.
4) Deleuze, G. (1964)
Prvust et lessignes. Paris:Puf.
5) Inoue, M. (1969)opacein JopaneseArchitecture. New YorkTbkyo: Weatherhill,
6) Le Corbusier (1923)
lers une arehitecture. Paris/EditionsCre et
Cie.
7) Lefebvre,H.(1974) Laproduction de tlespace.
Paris:Anthropos.
8) Levi-Strauss,C.(1962)Lapenstiesauvage.Paris:Plon.
9) Masuda, T, (1969)Architecture universeUe,'
Jupvn. FTibourg/
Ornce du liyTe.
10) Nietzsche, F. (1872)
TVieBirth
7>'agedy.New Ybrk: Vintage
Books, 1967, trans.W Kaufinarm.
11) Shinohara,K. (1958)
no fudo no naka kara'",
Shinkenchiku,
Ibkyo: Shinkenchiku-sha,September 1958.
12) Shinehara, K. (1960)
Shinkenchiku. Tokyo/
Shinkenchiku-sha,April 1960.
13) Shinohara, K. (1962)
ha geijutsu
de aru'',Shinkenchiku.
Ibkyo: Shinkenchiku-sha,May 1962.
14) Shinohara, K. (1964)
Japanese conception
of space'',
the
Japan architeet.
Tokyo: Shinkenchiku-sha, speciat issue,June
1964.
15) Shinohara, K. (1967)
Shinkenchiku. Tokyo/
Shinkenchiku-sha,July 1967.
16) Shinohara, K. (t971)Shinohara Kazuo. 11 Houses and
Arehitectttral
Theory.Tokyo: BijutsuShuppan-sha.

of

''Nihon

"Mtakuron",

''JOtaku

''The

"Jatakuron",

20

JAABEyoL5no.IMay20e6

BenoitJacquet

NII-Electronic Library Service