DojunkaiTokyo

• 001
  Dojunkai Apartments
  どうじゅんかい
  Dojunkai
  どうじゅんか
  1928
  Tokyo
  The government established the Dojunkai Foundation to supply good quality housing to people in need after the Great Earthquake of 1923. The series of Dojunkai’s multi-level apartments in reinforced concrete construction was a pioneering effort and the most progressive work. The individual apartments were equipped with the latest modern amenities such as gas, electricity and water services, as well as water flushed Japanese-style toilets in family units. Some of the apartments featured communal spaces and facilities such as solariums or sunrooms, music rooms and lounges for socializing, and even communal baths, shops and dining cafe-restaurants that were also open to the people in the neighborhoods. The Dojunkai apartments offered the high technology of reinforced concrete construction with the flexible application of programs like the inclusion of the Japanese tatami-mats in some rooms, in attempting to establish the appropriate housing for the emerging middle class. Most of the apartments have already been demolished. Regrettably, there are only two surviving complexes today.

Sumitomo Eizen Design Office (Eikichi HASEBE, Kenzo TAKEKOSHI)Osaka

• 002
  Sumitomo Building
  すみともび
  Sumitomo Eizen Design Office (Eikichi HASEBE, Kenzo TAKEKOSHI)
  すみともご
  1926
  Osaka
  On a site in central Osaka, stands one of the prime examples of early modern office buildings in Japan. It is the headquarters for Sumitomo, one of the major conglomerates of Japan. The objective in design was to demonstrate the fluency in the European architectural historic styles, (i.e., the assimilation of which by Japanese architects was a long sought ambition since the Meiji era), while at the same time, to disclose developing buds of the architectural aesthetics of the modern movement. The five-story bank/ office building has a parti of two internal light courts. The bank interior affords a distinguished three-level atrium space defined by 31 Italian travertine Corinthian columns. By contrast, the exterior facade, composed in a flat and thick wall made of ivory color Ryuzan stone with the systematically aligned orthogonal window cutouts, imparts the modern austere look almost like that of rationalism. When most of the banks preferred the classical architectural style for their buildings, it is significant to note that the new architectural concept based upon the aesthetics of the modern architecture was considered, at least for the outside, appropriate for the headquarters of the major conglomerate.

Koji FUJIIKyoto

• 003
  Chochiku-kyo
  ちょうちっきょ
  Koji FUJII
  ふじいあつ
  1928
  Kyoto
  Koji Fujii was an architect and a professor in Kyoto University, who virtually started the fields of ecology, environmental design, analysis and science in Japan. He believed in fieldwork to actually test his theories scientifically. So he acquired a large amount of land of 33000m2 or 8.3 acres in the southwestern hilly suburbs of Kyoto; where he built 4 experimental houses successively to gather data as he lived there. Chochiku-kyo is the 4th and the last one he built. The objective was to manifest a new Japanese dwelling suitable for both a modern lifestyle and the Japanese climate, specifically the high precipitation, humidity and heat in the summer. Accordingly, the design featured sliding doors for the creation of a continuous spatial volume through individual rooms, and he devised a central ventilation system with the air vents below the floor, above the ceiling and the main air exhaust openings on the gable. With this house, Fujii boldly attempted to reinterpret tradition by way of perceiving through modern aesthetics, as he elegantly synthesized the Western and Japanese design particulars without fear of eclecticism.

The Ministry Justice (Shigeo KAMBARA)Tokyo

• 004
  Kosuge Prison
  こすげけい
  The Ministry Justice (Shigeo KAMBARA)
  しほうしょ
  1929
  Tokyo
  On a large site in Katsu-shika, in Tokyo, stands a modern prison complex built in 1929. The prison administrative office complex consists of office wings and a control/ observation/ clock tower. Shigeo Kambara, a young in-house architect in the Ministry of Justice, designed the complex. While the frontal view evokes an image of a bird with wings spread, the composition is the last specimen of the Japanese expressionism, since the movement that had begun in the early 1920's ended around the end of that decade, about the same time as the construction of this building. The complex was constructed in reinforced concrete, still a relatively new construction method at the time in Japan, with a cleverly developed foundation system to counter poor soil conditions of the site. Although the complex was built in the era of not really democratic socio-political condition in Japan, this work of Kambara surely belongs to a kind of architecture with a particular virtue that illustrates another facet of the early phase of Japanese modernism. The administrative office building was repainted in its original color, pastel light water green in 1983.

Ministry of Communications Building and Repairs Section (Tetsuro YOSHIDA)Tokyo

• 005
  Tokyo Central Post Office
  とうきょうちゅう
  Ministry of Communications Building and Repairs Section (Tetsuro YOSHIDA)
  ていしんし
  1931
  Tokyo
  On a trapezoidal site across form Tokyo Station, stands the Tokyo Central Post Office building. It is considered, by many including Bruno Taut, to be the first genuine modernism inspired architecture in Japan. Tetsuro Yoshida, a principal architect in the Building and Repairs Section of the Ministry of Communications designed the building, and it was completed in 1931. Yoshida and the Ministry paved the way for an endorsement of architecture based on the principles of the modern movement in Japan. A unique facade with a bend in the middle caused by the site form contributed to its compelling presence. As the formidable pilasters rise in array across the facade, it projects a noble lucidity that is altogether modern, yet almost classical in milieu without any use of classical orders. The disciplined facade is augmented by a simple and rhythmical fenestration design with a sense of vertical accentuation upwardly while the introduction of a pronounced cornice-like band between the 4th and the 5th floors gives a countering horizontal emphasis.

Kameki TSUCHIURATokyo

• 006
  TSUCHIURA House
  つちうらか
  Kameki TSUCHIURA
  つちうらか
  1935
  Tokyo
  In Shinagawa, in Tokyo, stands a small yet remarkably modern house built in 1935. Kameki Tsuchiura, a disciple of Frank Lloyd Wright, designed it as his own house. He utilized a dry-wall, wooden construction method to shorten construction time and hence, reduced the cost. His house, painted in pure white, boldly expressed a cheerful and optimistic belief. On the outside, it is a simple white cube with a large opening. The inside, however, offers a much richer milieu of spatial composition with a sequence of spaces. At each step, the space is at once expanded and liberated, then quickly compressed and contained, much in a Wrightian mode. He treated space as a malleable medium, and created a fluid spatial progression that was simply rewarding and delightful to experience. Likewise, his designs for the built-in furniture such as kitchen cabinets, as well as pipe-framed chairs in Marcel Breuer fashion show his belief in modernist intentions. Coupled with the dry-wall construction method and his irresistible display of the modernist persuasion, the architectural presence of his works has had a lasting and profound influence on the development of the modern movement in Japan.

Yoshiro TANIGUCHI + Sone Chujo Architectural OfficeTokyo

• 007
  Keio-Gijiku Yochisha/ Primary School
  けいおうぎ
  Yoshiro TANIGUCHI + Sone Chujo Architectural Office
  たにぐちよ
  1937
  Tokyo
  The administrators and educators of Keio-Gijuku Primary School, which was founded in 1874, had high ideals toward education, and placed an importance on a modern school environment with innovative systems and facilities. Yoshiro Taniguchi, the architect-in-charge, considered the health and well-being of pupils as the top criteria in designing this school. Consequently, he designed a 3-story school structure in reinforced concrete construction with setbacks on the second and the third floors to provide a terraced roof-deck space in front of each classroom for better natural lighting and ventilation. He also implemented a gentler radiator heating system with paneled heater units. As Taniguchi paid particular attention to ecological concerns and human ergonomics, the building became among the earliest modern architecture based on the concepts of environmental design in Japan. The simple and graceful composition of this school is not only a representative early work of Taniguchi with an imaginative primary school design backed up by thorough planning and research, but also qualifies as a major pre-WWII, modernist building in Japan.

Togo MURANOYamaguchi

• 008
  Ube City Public Hall 　(Watanabe Memorial Hall)
  うべしみん
  Togo MURANO
  むらのとう
  1937
  Yamaguchi
  Ube city had been a home for Ube Industries, a major coal mining company. To celebrate its 40 years as an industry leader, and to recognize the company’s contributions to the thriving industrial area of Ube, Ube Industries with its 6 affiliates donated the cultural complex in honor of its founder, Yusaku Watanabe in 1937. It was Togo Murano in a fan-shaped plan in a meticulously symmetrical order with axial composition of its elements; i.e., from the rear, the backstage/ stage area, then, the seating arena area, through the lobby/ foyer area, to the expansive outdoor open space in front. The bronze statue of the founder, Watanabe, in center, along with the 3 free standing columns on each side symbolizing the 6 affiliated companies, are placed along the curvature of the outer circumference of the elevated pavement in the fan-shaped open space. By facing the numerous thick columns with marble and paving the floor with terrazzo in a checkerboard black and white pattern in the lobby/ foyer area, Murano successfully created a captivating space that fits well with the celebrating character of the complex, all without the use of classical decorative styles.

Sutemi HORIGUCHIAichi

• 009
  Miyuki-no-ma, Hasshokan
  はっしょう
  Sutemi HORIGUCHI
  ほりぐちす
  1950
  Aichi
  Within the Hassho-kan complex -- a ryo-tei, or luxurious Japanese style restaurant -- in the suburbs of Nagoya, stands a Japanese style building called, Miyuki-no-ma, or a casual lodging facility for the imperial family. It was constructed to accommodate a visit of the Emperor and Empress in 1950. Therefore, the owner commissioned Sutemi Horiguchi, an esteemed architect, to do the design. The detached structure consists of a main 16-tatami-matted room and a subsidiary 10-tatami-matted room, along with a 6-foot wide buffering corridor, and a deck on the northeastern corner. As true to the innate nature of Japanese traditional architecture, this building was designed to be flexible via removable shoji screens, and was adorned with many exquisite traditional details that recall the design of Villa Katsura. Because he believed the essence of Japanese architecture could be discovered in tea ceremony room design, many parts of the building offer such details. Nonetheless, the Japanese Sukiya concept and its style was never simply a mere source of design, instead, for Taniguchi, it was an expressional carriage for his representation of modern architecture.

Junzo SAKAKURAKanagawa

• 010
  The Museum of Modern Art, Kamakura Main Building and New Building
  かながわけ
  Junzo SAKAKURA
  さかくらじ
  1951
  Kanagawa
  In the compound of historic Tsuruoka Hachiman Shrine, on a tranquil site facing the Heike Pond in the ancient city of Kamakura, stands a small but stylish museum. It is the first dedicated modern art museum in Japan. The design was chosen through an invitational competition held in 1950, and Junzo Sakakura, who apprenticed under Le Corbusier from 1931 to ‘36 in Paris, won the first place. The parti features a courtyard design in a square donut plan with pilotis. The composition in the form of a white box made of asbestos boards and aluminum clips containing exhibition gallery spaces on the 2nd level is elevated from the ground level by a grid of slender steel columns and Oya, or Japanese tufa, stone walls. While utilizing modern, industrially manufactured materials, he skillfully combined the modern, Corbusien architectural concepts with the hints of traditional Japanese architectural concepts found in such places as Villa Katsura, to create a museum structure that is as comfortable as it is complimenting with nature in the surrounding environment. Although there were several renovations and the addition of an annex Sakakura in 1966, today the museum continues to maintain the spirit of its original form.

Makoto MASUZAWATokyo

• 011
  HARA House
  こあの あ
  Makoto MASUZAWA
  ますざわじ
  1953
  Tokyo
  In Todoroki, a quiet residential area in Setagaya, stands a seemingly unassuming wooden single story house, which discloses a candidly modern design with a surprisingly prescient compositional concept. The house in a rectangular plan was designed with a wide and open perimeter. The parti is simple and very contemporary, i.e., by placing bedrooms on both ends of the building, a large continuous space containing the combined functions of living/ family, kitchen and dining elements is created - a great room as it is called today. A freestanding concrete block service box inside the great room contains a bathroom suite. All of the openings facing the garden are designed with floor-to-ceiling sliding door-windows, bestowing an effusive link between the interior space and the garden, thus enabling the union of the two realms. Makoto Masuzawa, the architect responsible, designed this house in 1953. This house presented a modern, logical spatial composition with a concept that introduced a new design vocabulary in a stunningly contemporary domestic architectural paradigm, and consequently represents a major house design in the post WWII era.

Kunio MAYEKAWAKanagawa

• 012
  Kanagawa Prefectural Library and Music Hall
  かながわけ
  Kunio MAYEKAWA
  まえかわく
  1954
  Kanagawa
  On a trapezoidal site in a hill that overlooks the Port of Yokohama, stands a public cultural complex made up with a library and a music hall. Through the process of an invitational competition, the design commission was given to the first place winner, Kunio Mayekawa, a renowned architect who apprenticed under Le Corbusier from 1928 to ’30 in Paris. Mayekawa utilized a parti that featured the two structures to be slid fore-and-aft with a connecting concourse, to create an inviting piazza space in front for the music hall and a serene garden space in back for the library reading rooms. He also placed the load-bearing earthquake resistant walls to be positioned internally so that the perimeter walls were liberated structurally to create bright and cheerful interior spaces with expansive glass curtain walls, white lightweight concrete panels and perforated brick-blocks. He designed the complex with Corbusien details and expressed structural elements. The complex continues to be used today, and the quality of acoustics in the wood veneer finished music hall is highly regarded among performing musicians and artists.

Yoshiro TANIGUCHI + Nikken SekkeiSaitama

• 013
  Chichibu Cement Company Factory No.2
  ちちぶせめ
  Yoshiro TANIGUCHI + Nikken Sekkei
  たにぐちよ
  1956
  Saitama
  As part of the national drive to rebuild the cement industry in the 1950’s, Chichibu Cement, an industrial leader, built a new factory implementing the technical advances and utilizing the specialized equipment of the Smith Company of Denmark, then considered to have the latest technology in cement manufacturing. The architect-in-charge, Yoshiro Taniguchi, attempted to bestow the complex with a disciplined architectonic presence while providing a clean, cheerful, beautiful and productive factory environment. The factory complex consists of the low-rise vaulted structures and the tall smokestacks with a unique oval plan-form. The impression of the capacious low-rise buildings was overwhelming; however, he countered it by designing a composition of slick and airily curtain-walls made with slate panels in steel frames placed between the rhythmically disposed pilasters. The complex displays amply, a virtuous and elegant design drawn from the principles of modern architecture so characteristic in the works of Taniguchi.

Kenzo TANGEHiroshima

• 014
  Hiroshima Peace Center
  ひろしまぴ
  Kenzo TANGE
  たんげけん
  1955
  Hiroshima
  On August 6, 1945, over 200,000, mostly civilian people had been annihilated in Hiroshima by an atomic bomb dropped for the first time in human history. Through a competition, this structure was erected to remember the horror and the victims, and as a symbol that would, in perpetuity, deliver a message of hope and peace. Kenzo Tange won the project with a simple rectangular structure on pilotis a la Corbusian style. Its urban design sets the building on a large piazza to form an axial connection with the Memorial Monument and the famous half torn and melted building, registered as a UNESCO’s World Heritage, the Gembaku or Atomic Dome. This is one of the earliest Japanese architecture to receive an international acclaim after the WWII, and it also marked the starting point for Tange ‘s architectural career.

Masatsune MATSUMURAEhime

• 015
  Hizuchi Primary School
  ひづちしょ
  Masatsune MATSUMURA
  まつむらま
  1958
  Ehime
  In a small inland town of Hizuchi in Ehime, stands this, all wooden, daringly modern, Primary School. Masatsune Matsumura designed this school in 1958. The zone of classrooms is detached in the plan from the circulation spine with the short access feeders allowing better through ventilation and natural lighting from both sides. The design features such user/ pupil friendly amenities as wide corridors, gentle staircases, wood decks along the river facing side of the building, and other amicable places set aside for pupils. Matsumura received the attention of various institutions, professionals and educators by showing how a school in a new age of the early post WWII era may be designed with a correspondingly new thinking and concept. It is also cited as one of the significant wood structure buildings to express architecture of the modern movement.

Kenzo TANGEKagawa

• 016
  Kagawa Prefectural Government Hall
  かがわけん
  Kenzo TANGE
  たんげけん
  1958
  Kagawa
  In Takamatsu city in Kagawa prefecture on Shikoku Island, facing the inland sea coast of Seto, stands a tour de force modern prefectural hall complex. The complex consists of a brand-new 8-story administrative office tower and a low-rise legislative assembly hall in reinforced concrete construction. It was Kenzo Tange, and was completed in 1958. The design for the office tower features a square plan with a square central core that affords a flexible open plan for the spacious work area. Since the columns on the elevations were designed to carry only the vertical load structurally, Tange was able to design them very thinly to give the entire facade a crisp, stylish composition with large glass surfaces. The legislative wing is elevated on pilotis, which act as a suggestive gate for an honorific entry promenade that leads to the office tower. Tange managed to consolidate the notion of functional office and the notion of an open, public architecture, in a striking modern edifice with an interpretation of abstracted traditional style. Accordingly, Tange is acclaimed for the design of this complex, which qualifies as one of his finest projects.

Antonin RAYMONDGunma

• 017
  Gunma Music Center
  ぐんまおん
  Antonin RAYMOND
  あんとにん
  1961
  Gunma
  The city of Takasaki, in Gunma and its citizen jointly funded the construction of a major music hall. A centrally located site where a feudal castle had once stood was chosen, and the design commission was given to Antonin Raymond, a Czech architect of Bohemian origin who came to Japan via the U.S. with Frank Lloyd Wright as his assistant. Because the budget for the hall was limited, he economized the structural system by utilizing a series of 12cm thin, reinforced concrete plates in identical dimensions to be connected in accordion folds, providing a maximum span of 60m. Raymond cited three objectives; first, to be economical by providing a structure with a long life span to show respect for the citizens sponsorship; second, to design a unified hall space in the spirit of democracy with equally good sightlines and acoustics for every one of the 2000 seats; and third, to maintain a low overall profile without having a stage area tower for flies in respect of the site’s historic connotations. In nearly 40 years of his career in Japan, this building, completed in 1961, qualifies as one of the most important works of RAYMOND.

Kenzo TANGETokyo

• 018
  National Olympic Stadiums
  こくりつお
  Kenzo TANGE
  たんげけん
  1964
  Tokyo
  Standing on a huge open site in the area next to Yoyogi Park and Meiji Shrine is the gymnasium complex, Kenzo Tange, for the Tokyo Olympics in 1964. It consists of two arenas, used primarily for a variety of athletic events, however, it also accommodates today such non-athletic events as concerts, and other cultural venues. Set against the context of streets, JR railroads, a huge park and a solemn shrine, as well as the beckoning urban dynamism from near by Shibuya and Harajuku, it casts a sharp image as an impressive urban architectural object sitting on an enormous piazza with its bold composition derived from the city axes. His design of a unique suspended roof structure with its beautiful roof silhouette captivated the people with delight and amazement. This multi-functioned athletic and cultural facilities offer, in addition, a spatial realm that bestowed the visitors with creative sensations to be one with architecture.

Takamasa YOSHIZAKATokyo

• 019
  Inter-University Seminar House
  だいがくせ
  Takamasa YOSHIZAKA
  よしざかた
  1965
  Tokyo
  Located in the densely forested hills in the outskirts of Tokyo, is a complex of facilities for university students and faculty members. The complex offers overnight accommodations for seminars, conferences and other academic activities, and was built collectively by a consortium of universities in the Tokyo metropolitan area. Takamasa Yoshizaka designed the complex in 1965. The complex consists of several groups of wooden housing units on concrete slabs with a fan-shaped layout, a pyramidal shaped windowless central seminar house, dining and lounge facilities, a wedge-shaped main building in coarse exposed concrete finish, an open auditorium with a shell-structure roof, and so on. The entire complex is assembled to simulate an image of village-like clusters. Yoshizaka attempted to create an architectural realm that sponsors free exchange of ideas through more relaxed relationships between people with his own unique architectural theory; i.e., a unity achieved via discontinuity. Hence, this complex became a testing ground for his theory. The complex continues to preserve the original character of Yoshizaka’s design today.

Nikken Sekkei (Shoji HAYASHI)Tokyo

• 020
  Palaceside Building
  ぱれすさい
  Nikken Sekkei (Shoji HAYASHI)
  にっけんせ
  1966
  Tokyo
  Facing the moat of the Imperial Palace, this multi-faceted complex stands on an irregularly shaped site, featuring the headquarters for a major newspaper, Mainichi Shimbun, its printing plant, office spaces, and shops. The complex is laid on a huge site and its design is based upon a parti of a prominent horizontal circulation apparatus on axis connecting a tangential pair of two diametrically positioned cylindrical cores containing elevators and bathrooms. The complex has been rewarded with his concept as it successfully accommodated the various equipment and other changes over the years. It continues to be used today and still displays the original touch of his design from the details of aluminum gutters and brise-soleil louvers to the overall spatial quality of its staunch modernity.

Ministry of Communications, Building & Repairs Section (Roku IWAMOTO)Kyoto

• 021
  NTT WEST Kyoto Branch Nishiijn Annex
  きょうとに
  Ministry of Communications, Building & Repairs Section (Roku IWAMOTO)
  ていしんし
  1921
  Kyoto
  In downtown Kyoto, stands a significant modern telephone exchange building that represents as the architectural milestone of the early modern movement in Japan. The modern movement of architecture in Japan was initiated circa 1905, by deviating from the accepted practice of just following the western architectural historic styles as the only legitimate expressive model, and in the 1910's, the creativity and rationalism was adopted as the guiding fundamental in design. The architect responsible, Roku Iwamoto (1893-1922) was especially radical, and in conjunction with other forms of the fine arts, he had come to consider the architecture as a mind game to play. This building was his debut work. The laissez-faire facade design is a remarkable specimen of the early Japanese architecture of the modern movement, and testifies that he created independently a striking composition of his own similar to the compositional quality of the German Expressionism.

Frank Lloyd WrightTokyo

• 022
  Myonichikan, Jiyu Gakuen
  じゆうがく
  Frank Lloyd Wright
  ふらんく・
  1921
  Tokyo
  Only a short distance away from the bustle of the Ikeburo Station, in a surprisingly quiet area, stands a school complex Frank Lloyd Wright. Yoshikazu and Motoko Hani gave the commission to Wright while he was in Japan for the Imperial Hotel project. The complex, built in the American style of wooden stud and plywood 2 by 4 construction system, consists of the west and east wings of classrooms and a central structure in a meticulously symmetrical “U” shaped layout. Wright fully implemented his Prairie Style concept; e.g., the lawn design for establishing the prairie like ground base, the adoption of a smaller, house scale as opposed to the public scale in design for a more human, personal feel, and the setting of the first floor level at the same level as the ground plane for horizontal emphasis. Consequently, it succeeded in giving a warm and unified ambience. The complex was designated as an Important Cultural Property in 1997.

Frank Lloyd WRIGHTHyogo

• 023
  YAMAMURA Residence
  やまむらた
  Frank Lloyd WRIGHT
  ふらんく・
  1924
  Hyogo
  On a hillside in Ashiya, is the site for a house Frank Lloyd Wright designed concurrently while he stayed in Japan for the Imperial Hotel project during the early ‘20's. Tazae-mon Yamamura, a sake brewer in the famous Nada region, asked him to design a villa. When the design was finished Wright left Japan, so Arata Endo and Makoto Minami, his disciples, did the working drawings and the site supervision. It is the only non-Prairie house he designed in Japan. The promenade of the house begins at the bottom in an ascending sequence as it follows the slope, until finally one arrives at the dining space on the top. The terraced roof-decks offer a ravishing panoramic view of the surrounding nature. This house, indeed, reveals his mastery in enthralling spatial developments and impressive delineation of the intricate relationships between the outside and inside. In terms of exploiting what the steeply sloping site set in the spectacular nature could offer, arguably, the experience of designing this hillside house might have prepared him for the design of the Kaufmann House ( Falling Water) he was to do 12 years later.

Seigo MOTONOKyoto

• 024
  MOTONO House
  もとのせい
  Seigo MOTONO
  もとのせい
  1924
  Kyoto
  In historic Kyoto, stands an amazingly modern house, built in 1924, and Seigo Motono as his own home. Its structure employs an easy to use concrete block construction system with steel reinforcement developed by Chin Nakamura. The small house, with a minimal, yet reasonable and comfortable space, offers an open space adequately proportioned to accommodate the requisite domestic activities. This house was designed with some convincingly modern and logical concepts as seen in the design of deep, oversized eaves to cope with the strong summer sun rays and high precipitation, and in the conception of a designated open space, combining the kitchen and dining functions in one. Thus, it qualifies as among the earliest houses built in the world with its architectural dispositions based on the modern movement.

Takenaka Corporation (Junichiro ISHIKAWA)Hyogo

• 025
  Haku-shika-kan, Tatsu-uma Honke Brewing
  たつまほん
  Takenaka Corporation (Junichiro ISHIKAWA)
  たけなかこ
  1930
  Hyogo
  Along the port of Nishino-miya, Tatsu-uma Honke built a complex of sake brewing related facilities, including the docomomo selected bottling plant built in 1930, Haku-shika-kan, measuring at 24m x 64m with an uninterrupted, enormous interior space supported by a continuous barrel vaulted structure. The exterior elevations feature a modern look without any decorative elements except for the cornice-like horizontal bands that bind the walls and eaves. Altogether, the expression this building emits, on one hand, reflects the poised esprit de corps of a brewery undertaking modernization with new machines and equipment, and on the other, reveals the struggling state of architecture in transition, of modern movement still under the explicit influence of the expressionism. The architect of this building, Jun-ichiro Ishikawa, with his insight and new architectural vocabulary of modern architecture in Europe, became the vanguard of this new generation of architects.

Togo MURANOTokyo

• 026
  Morigo Company Tokyo Branch
  もり ごし
  Togo MURANO
  むらのとう
  1931
  Tokyo
  Located in Nihombashi, is a 7 story modern building completed in 1931. It is a debut work of Togo Murano and the first project he undertook after he left the office of Setsu Watanabe in 1929. The rectangular shape windows are well proportioned and placed on the facade in an orderly manner. The windows are set deliberately flush with the wall surface so that the flat facade may highlight by contrast such exquisite details as the softly rounded building corners, the delicately elaborate design on the tip of eaves, etc. It seems almost that he was approaching and employing the methodology of modern architecture while simultaneously vacillating and distancing from it. Although the 8th floor was added on in 1960, the building is well maintained today with most of the original intricate details intact, including the exquisite glass mosaic of the entrance foyer ceiling and.

Takenaka Corporation (Junichiro ISHIKAWA)Osaka

• 027
  Asahi Building
  あさひびる
  Takenaka Corporation (Junichiro ISHIKAWA)
  たけなかこ
  1931
  Osaka
  On an elongated island in the middle of a river, stands the Osaka headquarters for a leading Japanese newspaper, Asahi Shimbun. It is a strikingly modern office building that manifested the architectural panache of the modern movement in Japan in the late 1920's to early 1930's, as well as being a major representative work of Jun-ichiro Ishikawa. The exterior design assumes a ship’s metaphor, and made up with the newly available materials such as large aluminum and stainless-steel panels and large glass panes. As evidenced in its inaugurate review, “the most sensational building ever built in Japan”, he attempted to depict the pioneering character of enlightenment that the newspaper media have to the society.

Antonin RAYMONDTokyo

• 028
  Tokyo Women’s Christian University
  とうきょうじょ
  Antonin RAYMOND
  あんとにん
  1924
  Tokyo
  On the women’s university campus in green-filled Musashino, Tokyo, an academic building complex comprised of dormitory, lecture rooms, gymnasium, library, official residences, chapel, and auditorium was built during the period from 1924 to 38. A variety of design styles were tried out, including the library and official residences with a strong Wrightian influence, the dormitory embracing the Czech Cubism, and the chapel and auditorium manifesting a reference to the design paradigm of August Perret’s Nortre Dame du Raincy. These buildings are significant representations of Antonin Raymond’s early works.

Kunio MAYEKAWAAomori

• 029
  Kimura Industrial Laboratory
  きむらさん
  Kunio MAYEKAWA
  まえかわく
  1932
  Aomori
  This is the debut work of Kunio Mayekawa, commissioned by a businessman from Hirosaki, Ryuzo Kimura with whom Mayekawa had become acquainted during his residency at Le Corbusier’s atelier in Paris. Thus, he brought in with him this project to Antonin Raymond’s office. The building reveals some clear influence of Le Corbusier’s Villa Garches upon his design. Bruno Taut, in exile in Japan in 1935, on visiting it in Hirosaki, wrote in his journal; “a white, Corbusien building”. In March 2004, this building was selected, for the first time among Mayekawa’s works, as the Registered Tangible Cultural Properties.

William Merrell VORIESOsaka

• 030
  Daimaru Osaka Shinsai-bashi Store
  おおまるし
  William Merrell VORIES
  うぃりあむ
  1933
  Osaka
  Daimaru, in business since the Edo period, with its first retail store built in 1726, in Shinsai-bashi, Osaka, revolved through the ages, and, with the esprit nouveau of the time, it built on the very same site of its original store in 1922~25, a thoroughly modern department store in a 6-story reinforced concrete structure William Merrell Vories. And in 1933, coinciding with the opening of a new boulevard, Mido-suji, and the start of a new subway line service, a 7-story west annex with a neo-gothic motif facade was built. Its design introduced a series of vivacious features as in the glass faced show windows along the sidewalk, modern lighting, an impressive series of Art Deco ornaments displaying the pictorial designs taken from Aesop’s Fables, etc.

Design Section of the Special Railway Construction Department of the City of OsakaOsaka

• 031
  Osaka Municipal Transportation Bureau Subway System
  おおさかし
  Design Section of the Special Railway Construction Department of the City of Osaka
  おおさかし
  1933
  Osaka
  Osaka is known for its rivers and canals that roughly divide the city into two halves, as the division encouraged a tandem growth of centers. On the northern half is Umeda with the Osaka Terminal Station and its downtown district, and on the southern half is Namba with a corresponding railroad station and shopping center. Wherein, by the 1920’s, there arose a need to better connect the two centers along the Mido-suji Boulevard. The underground subway system was combined with the Mido-suji widening project in 1925, and the construction of the Mido-suji subway line began in 1930. As the subway was dug deep underground to cross the rivers, it effectively made possible for the stations to be designed with large high-ceilinged barrel vaulted spaces.

Takeo YASUI: South building, Shoichi SANO: North buildingOsaka

• 032
  Osaka Gas Building
  おおさかが
  Takeo YASUI: South building, Shoichi SANO: North building
  やすいたけ
  1933
  Osaka
  The Osaka Gas building by Takeo Yasui was built in 1933, as the corporate headquarters, which also provided a showroom, a restaurant, a cooking class and a multi-use hall spaces to the public. On the elevation, Yasui broke away from the common prejudice of avoiding black color by featuring the black mikage-ishi, or Japanese granite, on the lower, the ground and second floor levels, in contrast to the ivory color tile finish on the upper levels. The deep set eaves above each floor give a dominant horizontal emphasis to the building while the provision of pilasters supplement the auxiliary vertical accentuation. The tautness of contrasts on the facade by the black and white, as well as by the horizontality and verticality bestows a positively modern look that fits well with the spirit of the new showcase street, the widened Mido-suji Boulevard. The addition in 1966, by Shoichi Sano, follows the basic parti of the original in terms of the color scheme and the gridded composition with a more contemporary interpretation on the lighter fenestration design.

Antonin RAYMONDNagano

• 033
  St. Paul Church
  せいぱうろ
  Antonin RAYMOND
  あんとにん
  1934
  Nagano
  In the heart of Old Karuizawa (Japan’s choice resort), finds a small wooden church Antonin Raymond. Its shingled roof and unique shape of the belfry suggest their inspirational origin as, most probably, from the distant images of rustic houses in the Bohemian forests in the Czech Republic where he was originally from. A simple yet solacing interior space is created with the bare chestnut logs ruggedly crisscrossed in scissors truss structure and with the delicate details of Japanese Washi papers applied on the panes. This is among Raymond’s major pre-WWII works that illustrates a strong and almost primordial power in his architecture.

Design Section of Tokyo Municipal Office (Tadao SUZUKI), Nobuo Araki (renovation)Tokyo

• 034
  Yotsuya Daigo (No.5) Elementary School (Currently/ Yoshimoto Kogyo Tokyo Branch), Nobuo Araki (renovation)
  よつやだい
  Design Section of Tokyo Municipal Office (Tadao SUZUKI), Nobuo Araki (renovation)
  とうきょうしど
  1934
  Tokyo
  Standing in the central part of Shinjuku is a remarkably modern elementary school built in 1934. When the Earthquake Restoration effort for the rebuilding of elementary schools damaged by the great earthquake of 1923 was completed, the city of Tokyo continued the modernization of the elementary schools. This building is a showcase example of such an upgrading effort. The old wooden structure was replaced by reinforced concrete construction with the same standard and specifications applied to the quake damaged schools. With its architecture of a truly avant-garde design of all glass curtain-wall for the staircase walls, it was cited as “the most modern school building in Asia”. The two wings, --- one for primary grades, the other for upper grades ---, are connected by a pair of corridors in a central courtyard form, to provide pupils with free circulation. In order to attain the more comfortable, healthier and hygienic environment, various water faucets are facilitated along the corridors, in addition to the provisions for the conveniences with the radiator style steam heating system, water-flushed toilets, and the extensive rooftop gardens.

The Architectural Section of Tokyo City GovernmentTokyo

• 035
  The Tokyo Metropolitan Central Wholesale Tsukiji Market
  とうきょう
  The Architectural Section of Tokyo City Government
  とうきょうしど
  1934
  Tokyo
  While Tokyo’s central market goes back to the early Edo period (1603-1867), it was after the Meiji Restoration (1867), the national government passed the Central Wholesale Market Act of 1923 to restructure the nation’s market system. The Tokyo City government, then, decided to reorganize its market system with the construction of a new modern market. The city sent out architects and engineers for information gathering field trips to study in Europe and the US. Nonetheless, because the number of traded items in Tokyo market greatly exceeded those overseas, the city was forced, in the end, to come up with its own original design. Thus, the Tokyo’s central wholesale markets were established in 1935 as the principal central market in Tsukiji. Tsukiji market, the largest market in the world as it opened with the prestige as among the largest steel structures, was designed in a unique quarter circular shape to allow the easier and more efficient cargo handling from freight trains. This main building in steel, set in a massive quarter circular form, offers a uniquely dynamic market place in one great, unrestrained, continuous space without any blocking or sub-dividing walls.

Bruno TAUTShizuoka

• 036
  Hyuga Villa (Detached) Extension (Currently/ Owner of Atami City )
  ひなたべっ
  Bruno TAUT
  ぶるーの・
  1936
  Shizuoka
  In the vicinity of the Atami Station, on a cliff edge site stands a villa extension for Rihei Hyuga, a noted businessman. This house, Bruno Taut, was built in 1936, and is the only remaining structure from his stay in Japan as a visitor-in-exile from the Nazi Germany. The Japanese style, two story wooden main villa in front was already finished with a concrete platform jutted on the steeply dropping ocean side terrain for a terrace-deck use. The extension, built under this platform in a narrow space, consists of 3 rooms, a play room embellished with a plenty of various bamboo materials, a western style gallery space with the stairs, built as part of the room furniture running the full length of the room for better ocean views, and a Japanese room. Taut gave a meticulous care on the every detail, and in turn, the Japanese carpenters built it with precision craftsmanship. Indeed it became a unique and rare architecture, as Taut, by happily endorsing the client’s curious request for a summer villa extension to be part modern, and part Japanese, superbly created something original yet Japanese with a new interpretation in an attunement of the two.

Goichi TAKEDAKyoto

• 037
  Kyoto Electric Company Building
  きょうとで
  Goichi TAKEDA
  たけだごい
  1937
  Kyoto
  Across from the Kyoto Station, stands a modern building completed in 1937. It is the work of Goichi Takeda, a main character who introduced the Art Nouveau movement in Europe to Japan at the turn of the century earlier in his career. More than 30 years later, having since become a member of the elder and respected architects of his time, he was set to demonstrate his mastery of techniques in modern architecture. He took a field trip in 1932, whereby he visited and studied at close hand numerous up-to-date examples of architecture in Europe and in the US. The austere modernity of this building with its simple, ornament free design and expressive emphasis on the structure reflect what he learned in the field trip. Upon visiting it, a successive presentation of a domed ceiling of the foyer and an array of astute design on the elevator doors will still marvel the beholder today with the same sparkle as it did before.

Jin WATANABETokyo

• 038
  HARA House
  はらてい
  Jin WATANABE
  わたなべじ
  1938
  Tokyo
  On a small hill in Shinagawa, in the historically important site area since the Edo period, formally know as Goten-yama, stands a mansion built in 1933, for Kunizo Hara, a businessman in the early 20th century. Jin Watanabe (1887-1973), known for his numerous major public works such as Tokyo National Museum, designed it in his prime. While he emphasized the elements of modernism, he layered the entire exterior walls with mosaic tiles in porcelain blue. The plan, too, denotes the not-so-simplistic exhibition of modernism by way of arranging a wing with a gentle circular curve. The mansion is now converted to Hara Museum of Contemporary Art.

Bunzo YAMAGUCHIToyama

• 039
  Kurobe No. 2 Power Plant and Dam
  くろべがわ
  Bunzo YAMAGUCHI
  やまぐちぶ
  1938
  Toyama
  Along the great Kurobe River in the Japanese Northern Alps, stands a complex, known as the Kurobe No.2 power plant facilities and dam, constructed by the Kansai Electric (ex-Nippon Electric) Power Co., in an unusual collaboration with an architect, Bunzo Yamaguchi. Because of the site limitation, he integrated such normally separately placed facilities as transformer, high voltage apparatus etc., with the power generator in one structure based on the three dimensional and functional requirements. Wherein he let, the internal forces caused by the various components, be reflected on the massing, in creating a structure with striking expressiveness. A rewarding facade in perfect composition is the result of contrasting the horizontality of the eave lines and terraces, the flatness of large glassed surfaces as well as the post and beam expressions on the elevation. Yamaguchi created, by combining civil engineering and architecture into one discipline, a structure with dynamic forms that situate well in nature and its breathtaking scenes. The complex is the only surviving example of the International Style design in Japan.

Ministry of Communications, Building & Repairs Section (Tetsuro YOSHIDA)Osaka

• 040
  Osaka Central Post Office
  おおさかち
  Ministry of Communications, Building & Repairs Section (Tetsuro YOSHIDA)
  てんしんしょう
  1939
  Osaka
  On a corner site by the Osaka Station, stands one of the most pivotal architectural examples of Japanese modernism. Tetsuro Yoshida, a principal architect in the Building and Repairs Section of the Ministry of Communications, designed this building in 1939. Yoshida and the Ministry paved the way for an acceptance of architecture of the modern movement. Throughout his life, he consistently sought to express in his design the beauty of Japanese traditional wooden architecture with its timeless clarity and simplicity in a modern architecture of reinforced concrete. Thus, the disciplined facade is composed with the column and beam structure with large glass infill in a simple and rhythmical fenestration design, while offering a sense of vertical accentuation upward, until it culminates with the horizontal line of the wide eaves at the top. He designed the building using a specific proportional system in the modern minimalist practice with no decorative frills or any other unessential elements whatsoever, to bestow the structure with a sharp image.

Isoya YOSHIDAKanagawa

• 041
  YOSHIDA House
  よしだ い
  Isoya YOSHIDA
  よしだいそ
  1944
  Kanagawa
  Evacuating from Tokyo a year before the end of World War II, Isoya Yoshida built his own house in the country. He needed to design and build his house according to the dimensions of furniture, glass, tatami-mats etc., he brought in from Tokyo as building materials were scarce because of the war. Isoya affectionately called his house “Museki-an” which was originally compact at only 49m2 to comply with the building codes and regulations at the time. Eventually, it grew as additions were made. Today, the house with a resonant garden, set amongst the deep green of the foliage around, and underscored by the metaphoric water flow of white pebble stones marks the starting point of Isoya, a genuine Edokko, as one of the pioneers in modernizing the Japanese architecture, who discovered the common threads between the traditional sukiya and modern architecture to come up with his own fascinating and aesthetically stylish neo-sukiya architecture.

Kiyoshi SEIKETokyo

• 042
  Dr. MORI House
  もりはかせ
  Kiyoshi SEIKE
  せいけきよ
  1951
  Tokyo
  In Bunkyo, a choice residential quarter for the culturally inclined, stands a small house for Dr. Mori, a son of a famous Japanese novelist, Ogai Mori. Kiyoshi Seike designed a single story house in wood in 1951. Along with Saito House (1952) and his own house (1954), they make up as the major representative set of his early residential works. He was unconcerned with the zealous arguments, at the time, on the pros and cons of having the traditional elements, for his interest laid on how to utilize the traditional elements with all the intrinsic mystique pertained to, in a newly re-interpreted　posture; i.e., Seike was finding a way to use such items as tatami mats and shoji screens in a modern design inspired and inferred from the simple yet complex potential of the spatial realm provided in the traditional disposition of Japanese house design, as the spaces were subdivided or combined through the operable wall partitions. Thanks to the owner’s continuous care and love, the house still retains most of the original look today.

Department of Building Construction, Hyogo Prefectural Government (Yoshimitsu MITSUYASU)Hyogo

• 043
  Japan Pearl Center
  にほんしん
  Department of Building Construction, Hyogo Prefectural Government (Yoshimitsu MITSUYASU)
  ひょうごけ
  1952
  Hyogo
  In a corner site, in the central district of Kobe set aside for a new business center after WWII, stands a modern structure for the Japan Pearl Association. Hyogo municipal government erected the building in 1952 to promote the pearl industry with facilities for the inspection and auction of pearls. Yoshimitsu Mitsuyasu, the architect in-charge, provided the varied fenestration system on the design of facades with an original composition in the mode of a certain modern art based on the grid of vertical and horizontal lines, in order to meet the required specific lighting conditions, according to the separate requirements in the pearl inspection, display, and auction as well as for the general office areas of the building. While the building still carries a trace of the stylistic genes from the early, pre-WWII modernism (such as the facade of MoMA in NY, 1939), Mitsuyasu succeeded in transforming it into the pop and scintillating design of the ‘50-ish Japanese modernism.

Kunio MAYEKAWATokyo

• 044
  Nippon Sogo Bank
  にほんそう
  Kunio MAYEKAWA
  まえかわく
  1952
  Tokyo
  At the corner of Gofuku-bashi crossing near Tokyo Station’s Yaesu entrance, stands one of the forerunning office buildings in post-World War II Japan. With this building, Kunio Mayekawa attempted to create an open and vibrant office space as typical of modern architecture design through making the entire structure lighter by jettisoning the heavy earthquake resistant walls, and by adopting of new industrially manufactured products as building materials. The cutting edge items of the time such as aluminum window sashes and lightweight pre-cast concrete panels were used on the exterior finish, and the ground floor was awarded with a limpidly modern teller space.

Togo Murano, Masashi KONDOHiroshima

• 045
  Memorial Cathedral for World Peace
  せかいへい
  Togo Murano, Masashi KONDO
  むらのとう
  1953
  Hiroshima
  Halfway between the Peace Memorial Park and JR Hiroshima Station is the site for Catholic Cathedral for World Peace. The original church was destroyed by an atomic bomb dropped in 1945 during WWII. Togo Murano was given the design commission. The modern rectilinear church and belfry design based on a basilican profile, feature the exposed concrete columns and beams with the bricks inserted in seemingly the traditional Japanese wall, ”Shin-kabe” style, as well as the perforated windows with the Japanese, “Shuhama-gata” pattern. The space inside the church is rendered in a modern interpretation of the Romanesque style with the coarse simplicity. With the handcrafted appearance of various details, Murano successfully created a spatial realm with a unique religious connotation.

Kenzo TANGEShizuoka

• 046
  Tosho Printing Co., Ltd. Hara-machi Factory
  としょいん
  Kenzo TANGE
  たんげけん
  1954
  Shizuoka
  On a site near Numazu, a major fishing port in Shizuoka, Kenzo Tange was commissioned to build a new printing factory. He designed the factory equipped, for the first time in Japan, with full color high-speed circumferential printing machines. To complete the building in just 6 months, after rationally sorting the off and on-site construction merits, he simplified the utilizing pre-fabricated structural components, e.g., a central colonnade of 22 paired columns providing the vertical support, and the wing shaped roof trusses sustaining the large span horizontal support. The scheme was for the rapid construction of the structure while bestowing the liberated peripheral walls all around. In addition, to gain flexible factory space, he inventively designed it by adopting new ideas and methods; e.g., a new material dimensioning system, grid based plans, movable partitions, a new HVAC system, etc.

Junzo SAKAKURA, Junzo YOSHIMURA, Kunio MAYEKAWATokyo

• 047
  The International House of Japan
  こくさいぶ
  Junzo SAKAKURA, Junzo YOSHIMURA, Kunio MAYEKAWA
  さかくらじ
  1955
  Tokyo
  The Rockefeller Foundation et al. had provided a large endowment for the establishment of an international cultural exchange complex in Tori-i-zaka, the placid residential quarters only blocks behind the dazzling glimmer of Roppongi’s main streets, comprised of auditorium, seminar and conference rooms, banquet halls, and residential/ hotel facilities. The project became a uniquely rare interlude for it was designed jointly by three leading Japanese architects of the period, Junzo Sakakura, Kunio Mayekawa and Junzo Yoshimura. Constructed with poured-in-place thin-set reinforced concrete roofs, pre-cast concrete columns and beams, and Japanese tufa, Ohya-ishi, and combined with large wooden window sashes and shoji-screens; together, create the crisp and limpidly modern, yet implicitly Japanese spaces.

Mamoru YAMADAKumamoto

• 048
  Kumamoto Teishin Hospital
  くまもとて
  Mamoru YAMADA
  やまだまも
  1956
  Kumamoto
  Mamoru Yamada designed this hospital as he left the Ministry of Communications after the World War II. While he had done a numerous hospital buildings in his career, most of his hospital works have been torn down or drastically renovated today because of increasingly complex hospital requirements. This building is among few of his surviving hospital works. Even during his tenure of the Ministry, in contrast to Yoshida’s characteristic crisp straight lines, Yamada was known for his fluid, curved lines. Accordingly, he strategically incorporated some curved lines and surfaces in this project as well, providing the building with a desired spatial sense of soothing softness that inspires a uniquely original quality that belongs to Yamada.

Takamasa YOSHIZAKAHyogo

• 049
  Ura House
  うらてい
  Takamasa YOSHIZAKA
  よしざかた
  1956
  Hyogo
  In a quiet residential district along Shuku River in Nishino-miya, stands a house for Taro Ura, a mathematician. The house offers a tandem volumes raised by reinforced concrete columns so that the ground level pilotis are open to the townscape as a mediating space. It is organized in a tripartite design with one volume apportioned for gathering spaces containing living, dining, kitchen etc., the other volume reserved for more private bedrooms and service functions, and the zone connecting the two volumes as the entry foyer. This house represents a major early work of Takamasa Yoshizaka, exhibiting his clear-cut design learned as an intern with Le Corbusier in the post WWII period.

MID Group (Mayekawa Institute of Design Group)Fukushima

• 050
  Fukushima Education Center
  ふくしまけ
  MID Group (Mayekawa Institute of Design Group)
  みど どう
  1956
  Fukushima
  East of JR Fukushima Station, along Abu-kuma River, is the site for this educational and cultural center complex consisting of an auditorium, seminar rooms, conference rooms, etc. Based on the endowment by those educators wishing to reopen, the complex was rebuilt on a limited budget, which mandated abandoning costly heavyweight steel construction methods, and instead, used an original composite method; combining a barrel shell roof structure with reinforced concrete walls in a fan-fold herringbone pattern. As a result, it gave the complex a distinctive exterior look. As in the lobby pavement of large rounded stones, the design stuck with simple and unpretentious architecture.

Kiyoshi IKEBETokyo

• 051
  ISHIZU House
  いしつてい
  Kiyoshi IKEBE
  いけべあき
  1957
  Tokyo
  In the later 1950's, as the Japanese society started to regenerate, people’s lifestyles started to change as well, in aspiration of the attainment of modern living. It was then, that a popular magazine, “Modern Living”, made a case study of a new dream house for the emerging middle class families in collaboration with Kiyoshi Ikebe, a noted architect. The house has an ”L” shaped parti with a small garden, resembling a row house style on a narrow rectangular site along the north-south axis. The simply composed house offers a variety of spaces within in a 3-level split floor arrangement; the middle level with a main semi-double story public space, the lower level with a kitchen, a bathroom and children’s bedrooms, and the upper level with a master bedroom and a rooftop deck space. As the concept cited was an adaptable house that would accommodate the changing family needs, it was later renovated and added on by another architect, Mayumi Miyawaki. This house, still in use after more than 45 years, registers as an attempt to prescribe a house for modern living in a reasonably budgeted construction on a relatively small urban site.

Mamoru YAMADA, The Tokyo Metropolitan Government, Bureau of Waterworks, Yamada Mamoru Architects, Engineers and Consultant Kanagawa

• 052
  Nagasawa Water Purification Plant
  とうきょうすい
  Mamoru YAMADA, The Tokyo Metropolitan Government, Bureau of Waterworks, Yamada Mamoru Architects, Engineers and Consultant
  やまだまも
  1957
  Kanagawa
  The Nagasawa Water Purification Plant complex, while located in Kawasaki City, Kanagawa, actually belongs to the Bureau of Waterworks of the Tokyo Metropolitan Government. The complex was built in 1957, and Mamoru Yamada, the architect in-charge, designed it with an exceptionally compelling quality for such facilities. Yamada previously belonged to the Japanese Secession Movement and worked in the Building and Repairs Section of the Ministry of Communications, the legendary purveyor of modern architecture in Japan. Through his career, Yamada designed in the architectural style of the Expressionist tendency with the sumptuous use of the parabolic and streamlined curves in compositions. The elegant curved lines are used in the main building facade and with the colonnade in the interior of the control facility at the filtration pool, to metaphorically express gushing spring water. Indeed, what Yamada aspired in his design was to merge the structure and function in an expressional synthesis.

Takeo SATOHokkaido

• 053
  Asahikawa City Hall
  あさひかわ
  Takeo SATO
  さとうたけ
  1958
  Hokkaido
  Asahikawa City hall is located in the central part of Hokkaido, known for its harsh winter climate. So, even in the winter gloom to affect the surroundings with a cheerful and warm spirit, Takeo Satow, designed the complex made of the exposed poured-in-place reinforced concrete structure and pre-cast concrete frame units with the inlays of locally produced red bricks, giving it an appearance of almost Scandinavian-like expression. Influenced by the Lever House in New York by SOM (1952), its discernable design is similarly comprised with a high-rise component accommodating the repetitive administrative offices, and with a set of low-rise components housing the more horizontally spread spaces for the legislative body as well as the interactive teller and window zones reserved for the citizens. He designed the simple yet sophisticated vertical surface details with the very flat elevations to avoid the accumulation of dust pollutants caused by the coal furnaces common in those days.

Kiyonori KIKUTAKETokyo

• 054
  Sky House
  すかいはう
  Kiyonori KIKUTAKE
  きくたけき
  1958
  Tokyo
  On a sloping site, in Bunkyo, stands an epochal house in reinforced concrete, built in 1958. Kiyonori Kikutake designed the house for himself and his wife. As Kikutake was a central figure of the Japanese born metabolism movement, this house became the vehicle in which his architectural belief and theory, i.e., a house with an integrated system for renewals and changes (which can be surmised as the central issue of the metabolist) was built as an illustrative declaration. It is supported by a set of 4 narrow walls, or wide pillars, placed on the Cartesian axes of the square on the perimeter, which help liberate the square living zone and make it seem to float over the ground. While the interior volume is designed as one continuous public space as a requisite fundamental element in validating a house, the service and private elements of the house are grouped as movable units in what he called the movenette systems and placed in the peripheral zone of the square plan. So, this house of a metabolist has been a working experiment to attest his concept as it went through various changes and transformations to keep pace with the changing need of his family.

Ken KATAOKAOkinawa

• 055
  St. Clara Church
  せいくらら
  Ken KATAOKA
  かたおかけ
  1958
  Okinawa
  On a small knoll in Yonabaru-cho, Okinawa, stands a catholic church with a convent. The church and convent each have a grassed courtyard and is organized around it. The respective courtyard and cloister lay a promenade for a blessed entry to a sacred space. The individual cell-rooms of the convent are designed with solacing simplicity and the church interior is filled with the spirited tropical sunlight taken through the stained-glass wall that opens to the courtyard and the Pacific Ocean beyond. The architect Ken Kataoka designed this project in affiliation with an American architectural firm in Okinawa at the time for designing various American military base related facilities. This church complex attests to a fascinating spatial champroo or mixture of architecture that is seemingly modern, but vaguely American in its touch, and yet, in the end, altogether Okinawan.

Hideo KUNIKATATokyo

• 056
  Nippon Telegraph and Telephone Public Agency Headquarters Building
  ひびやでん
  Hideo KUNIKATA
  にほんでん
  1958
  Tokyo
  Hideo Kunikata, a principal architect, continued the former Ministry of Communications, Dept. of Building Management, Architectural Section tradition of the rigorous pursuit of modern, functional and rational architecture in the Nippon Telegram & Telephone Public Agency. Accordingly, he designed a new headquarters for the Public Agency, with a rational central core parti, utilizing fully the 31m maximum height regulation to give 9 floors, and to achieve a high cost performance by adopting the optimizing 7m x 7m structural grid. The criticisms like, “the former Ministry buildings merely resemble porcelain toilet sets” notwithstanding, Kunikata specified the Taizan wall tile patterns on the main entry wall, and on the western side of the facade, the randomly set rubble cut Izu-aoishi or blue stones, and effectively created with seemingly slick and cool materials an expressive tactile surface details.

Isoya YOSHIDATokyo

• 057
  The Japan Art Academy
  にほんげい
  Isoya YOSHIDA
  よしだいそ
  1958
  Tokyo
  This building was built as a clubhouse for the Japan Art Academy members, as well as to serve as a formal ceremonial site in attendance with His Majesty the Emperor for the delivery of the Japan Art Academy Awards. Isoya Yoshida, in his pursuit of modernization of Japanese architecture, came to appreciate the mystique of expressly Japanesque connotations in the historical architecture from the Heian period (794~1192 AD). The singly story building, modelled after the ceremonial pavilion-like architecture of Shishin-den of the Heian architecture, was designed with the characteristically Heian details of a courtyard and an arcade with deeply set eaves. Despite the reinforced concrete construction, with its Heian-cum-modern architecture, it achieves a spatially decorous and graceful realm, and permeates a peculiarly Japanese aura that is timeless as it is unique.

Junzo SAKAKURAGifu

• 058
  Hashima City Hall
  はしましち
  Junzo SAKAKURA
  さかくらじ
  1958
  Gifu
  The new city hall complex with multi-function cultural facilities is , a Corbusien trained architect, Junzo Sakakura as he was originally from the same area, and built in 1958. It consists of administrative offices and related spaces on the 1st and 2nd floors, a library on the 3rd floor, and an assembly hall and a civic hall on the 4th floor, with an adjacent lookout tower for the fire department. Presently, the library and the civic hall have been relocated to other locations. Sakakura set the main entrance of the complex on the second floor, with ramps leading to other floors. As the parking space in front of the main entry pilotis on the 2nd floor and a large lawn covered ground on the southern side double as outdoor event and gathering space for the citizens, the entire complex is intended, a la Corbusien conception, to be the central node or core for the city and its citizen. Sakakura received the 1960 Architectural Institute of Japan Award for the design of this complex.

Le CorbusierTokyo

• 059
  The National Museum of Western Art
  こくりつせ
  Le Corbusier
  るこるびゅ
  1959
  Tokyo
  This is an important building as it is the sole work done in Japan by one of the few greatest architects of the 20th century, Le Corbusier. His Japanese apprentices, Junzo Sakakura, Kunio Mayekawa, and Takamasa Yoshizaka were known to give their help and assistance for the completion. This building reflects Le Corbusier’s architectural themes and polemics accumulated through his career in designing various museums and shows his maniera in assimilating a particularly Japanese context into his design.

Togo MURANOKyoto

• 060
  Kasui-en, The Miyako Hotel
  みやこほて
  Togo MURANO
  むらのとう
  1959
  Kyoto
  On a knoll that leads to the eastern hills of Higashi-yama in Kyoto, stands an annex of the Miyako Hotel. Togo Murano designed this annex called Kasui-en, and it was built in 1936. The site plan of Kasui-en is laid out to encase a traditional Japanese garden with its guest rooms set along the cascading corridors that follow the leisurely slope of the site. The composition of Kasui-en features the extremely thin-set wood shingle roofs and the edge lines with the conspicuous convex curvature of the upper part of the guest rooms’ gable, the wider than normal setting of roof rafters’ spacing, the low eaves and floor-height details, the intricately overlapping roofs, and so forth, which collectively reveal Murano’s inclinations toward the use of unusual materials and unique conceptions in design.

Hideo KOSAKA+Government Buildings DepartmentTokyo

• 061
  The Ministry of Foreign Affairs (of Japan) Building
  がいむしょ
  Hideo KOSAKA+Government Buildings Department
  こさかひで
  1960
  Tokyo
  1952年に行われた指名設計競技において、郵政省に席を置く小坂秀雄による作品が1等当選案となり、その後、同じく指名設計競技に参加した逓信省時代の師である吉田鉄郎が基本設計のアドバイザーとして指名された。建設省営繕局が実施設計を行い、外国に対する日本の顔をつくるために、伝統的な感覚を見せながら、官庁に所属する建築家・技術者の共同によって建てられた建築である。

Kunio MAEKAWAKyoto

• 062
  Kyoto Kaikan
  きょうとか
  Kunio MAEKAWA
  まえかわく
  1960
  Kyoto
  Kyoto Kaikan, neighboring Heian-jingu shrines, sits as a multi-purpose cultural complex comprised of a concert hall, a theatre, and an international convention center. It was designed to be harmonious with the rich surroundings with a vista of Higashi-yama (hills). The complex was laid out to form a courtyard, and an assertive strip of oversized and deep concrete eaves binds the assembled buildings horizontally. Mayekawa sought to create a modern architecture complex that would fit in with the historic tradition of Kyoto cityscape and that would appreciate in its quality by aging well as time passes by.

Ichiro EBIHARATokyo

• 063
  Ozaki Memorial Hall
  おざききね
  Ichiro EBIHARA
  えびはらい
  1960
  Tokyo
  The Parliamentary Museum stands on a site along the Imperial Palace’s inner moat on a small but discernible tree covered mound. The complex was initially conceived as a memorial hall for Yukio Ozaki (1858-1954), a legendary Parliamentary politician who staunchly stood for the government under the rule of constitution/ law. The design for the complex was chosen through a competition held in 1958, and the proposal of Ichiro Ebihara won the first place award. The design features a central courtyard with a bronze statue of Yukio Ozaki placed in a pool of water with an arrangement of elements such as auditorium, conference hall, gallery space, library-archives and reception hall around the courtyard. As the distinct images of the roof folded in accordion pleats and the coffered ceiling with the grid of beams impress those who visit, the wide open modern design of the fenestration toward the park expresses metaphorically the ardent belief of Yukio Ozaki in the open, fair and liberal government under the rule of constitution. As such, this complex qualifies as a representative building of the modern movement in Japan.

Fumihiko MAKIAichi

• 064
  Toyoda Auditorium, Nagoya University
  なごやだい
  Fumihiko MAKI
  まきふみひ
  1960
  Aichi
  On Nagoya University’s Higashi-yama campus, stands an ambitiously modern auditorium complex, built in 1960 as a central focal point. The complex is the debut work of Fumihiko Maki and is comprised of a main auditorium, conference rooms, a foyer/ exhibition gallery, and a quadrangle space in front. The building employs the combination of thin columns with earthquake resistant walls to support an expansive roof super-structure covering over all of the interior elements. The quadrangle space in front with a capacity for 5,000 students, is integrated with the building structurally, as both are elevated and placed on the artificial ground plane. Maki aspired to compound and consolidate in his design the classic, modern mannerism of Corbusien origin as in the pilotis and exposed poured-in-place concrete surfaces, with the more assertive mannerism of metabolist origin signified by the introduction of a super-structure and artificial ground plane, and succeeded in firmly syndicating the interior domain of the complex with the exterior domain of the quadrangle. Maki received the 1962 Architectural Institute of Japan Award for the design of this project.

Osaka PrefectureOsaka

• 065
  Senri New Town
  せんりにゅ
  Osaka Prefecture
  おおさかふ
  1970
  Osaka
  In northern Osaka, on the foothills of Senri, is the location for an immense new town development project (the first of its kind in Japan) by the municipal government. It was a concurrent project with the Exposition, as it was adjacent to the 1970 Osaka World Expo site. The city office assembled a team for the project, and asked the participation from the architectural and city planning Institutes, the university researchers and architects, etc. By breaking down the barriers between professions and sanctioning creative ideas to create their dream town, they drew up a bold concept in its site/ urban design to provide the defined neighborhoods and defensible spaces, and an inventive proposal to locate, organize and operate the educational and medical facilities. While the project, with its peak population of 129,000 in 1975, is in reasonably good shape today, presently, it is in search of its renewal and survival as it faces the universal problems of its aging population and facilities.

Shizutaro URABEOkayama

• 066
  Ohara Museum of Art Annex
  おおはらび
  Shizutaro URABE
  くらしきれ
  1961
  Okayama
  In historic Kurashiki, stands a museum annex building, Shizutaro Urabe, presenting a way in which a modern architecture design could be fitted harmoniously in the historic townscape of Kurashiki. Traditional Japanese roof tiles, inlayed pebble stones, and white exterior stucco walls are integrated with modern concrete and glass blocks etc. Urabe designed with his original Kurashiki module, derived in part from the local measuring tradition. Thus, the building exemplifies an architecture based on crafts and humanistic expressions by identifying itself with the genius loci. This building, along with the neighboring Kurashiki Kokusai Hotel (1963), also by Urabe, has cast a characteristic disposition on the metaphor of Kurashiki.

Kunio MAYEKAWATokyo

• 067
  Tokyo Metropolitan Festival Hall (Tokyo Bunka Kaikan)
  とうきょうぶんかか
  Kunio MAYEKAWA
  まえかわく
  1961
  Tokyo
  In Tokyo’s Ueno Park, a complex of multi-cultural facilities featuring a prime opera house, a smaller concert hall, a music repository-archives, and conference rooms was built to commemorate the 500th year anniversary of Tokyo (Edo) as a city. Kunio Mayekawa sorted and organized the dressing rooms and rehearsal rooms down in the basement, and the conference rooms and some office spaces up on the roof for a dynamic spatial apparatus of the main lobby design. The strategic deployment of conspicuously grand reinforced concrete eaves augments the grandeur of main lobby inside, as it defines a truly urban scale piazza outside.

Sutemi HORIGUCHITokyo

• 068
  Daini Kousha (Bldg. No.2), Izumi Campus, Meiji University
  めいじだい
  Sutemi HORIGUCHI
  ほりぐちす
  1960
  Tokyo
  Because of the arrival of the first generation of the post WWII baby-boomers, most of the Japanese universities were quickly increasing their corresponding capacity for enrollment. Meiji University, in meeting the demand, was adding structures in all of its 3 separate campuses. Sutemi Horiguchi, an architecture professor in Meiji University, was responsible for the design of all the new school buildings built in this period at Meiji University. This building of class and lecture rooms on the Izumi campus, qualifies as the best among them. It consists of the group of regular class/ seminar rooms and the series of stacked large lecture halls with theater style seats. Because the budget was limited, the circulation was kept at low cost, and designed as the exterior element, exposing the floor lines including the slopes of the lecture halls. The elevation is capped with a trellis-like, latticed arcade on the roof, as it tightens up the composition, and expresses a strong horizontal emphasis on the facade. The modern design motifs he preferred, such as the checkerboard ceiling panels and the gridded lighting fixtures, are seen in the interior details of the building.

Junzo YOSHIMURATokyo

• 069
  The NCR Tokyo Headquarters Building
  えぬしーあ
  Junzo YOSHIMURA
  よしむらじ
  1962
  Tokyo
  Across from the Kasumiga-selki building, the first Japanese skyscraper, and just a few blocks from the US Embassy (Cesar Pelli), in Torano-mon, stands a notable office building. It is an 8-story, steel frame and reinforced concrete hybrid structure with a central core parti. Junzo Yoshimura designed with characteristic modern fineness such as evidenced in the black bands under the windows for a horizontal emphasis, the lightly capped thin parapet on the facade, and the open riser staircase made to look as if the treads and landings are floating. The building is finished in an excellent blend of the superb craftsmanship and new materials made with the latest technology. This building is also noted for being the first, in Japan, to implement the dual exterior wall system, termed as the “double skin” method, in recognition of the need to lower the burden on the environment, as the system more effectively separated the outdoor and indoor spaces to reduce the occurrence of cold and/or hot drafts around windows, while the space in the middle provided the added insulation.

Motoo TAKENagasaki

• 070
  Nagasaki City Auditorium
  ながさきし
  Motoo TAKE
  たけも
  1962
  Nagasaki
  While many public halls were built during the late 1950’s through the ’60’s, today, few are enjoying the success of the one in the city of Nagasaki, Motoo Take. The building is setback deeply, leaving a large open space in front, together with the mirror-image site plan of the civic hall across the street, collectively the two public halls define and provide an enormous piazza/ open space for the public that is as precious as it is rare in a hilly city. While the profile of the building offers a horizontal emphasis with an extending roof skyline signature, the facade is capped with the cantilevered roof on both sides as the corners are cut to form an octagonal plan, which in turn, bestows the building with a more animated and dynamic compositional figure. Because both sides of the balcony level in the auditorium cascade down to merge with the main seating area in a horseshoe shape, the stage and the seating areas are seemingly linked tighter to generate a feeling of oneness between the performers and the audience.

Junzo YOSHIMURANagano

• 071
  House in the Woods
  もりの な
  Junzo YOSHIMURA
  よしむらじ
  1962
  Nagano
  In the woods of quaint Karuizawa, the choice mountain resort in Japan, stands a small villa that belongs to Junzo Yoshimura, a venerable Japanese architect. This small retreat of his, although small and unassuming, is among the most cherished and celebrated of the numerous works by Yoshimura. The 1st floor with a vertically protruding fireplace chimney is made in reinforced concrete to form as the base for the wood constructed second floor with a shed roof. The house is in a square plan with a square living room on the southeastern side of the house. In creating the feeling of wholeness with the bounty of the surrounding nature, the glass sliding doors are designed to be stored into the wall pocket, to let the living room become connected through that wide opening with the upper deck and the woods beyond. The house offers many unique ideas and features. Yoshimura designed with a keen sense of proportion along with a sense of fun and joy, to create a house in union with nature, as he believed true relaxation comes through being one with nature.

Antonin RAYMONDNagano

• 072
  New Studio in Karuizawa
  かるいざわ
  Antonin RAYMOND
  あんとにん
  1962
  Nagano
  In Karuizawa (Japan’s choice resort), stands a house, a half villa for the Raymonds and a half studio for his summer office. Antonin Raymond designed a robust dodecagonal main space with a central reinforced concrete column and spoke-like logs, and a twin winged extensions for bedrooms and services. The entire southern front of the main space is outfitted with the set of fully operable shoji-screens and wide engawa-deck outside. Raymond stayed here with his staff in summer as much for avoiding heat and relaxation as well for continuing his design work. This is among Raymond’s major works in the later part of his career with a perceivably free spatial composition style.

Kenji IMAINagasaki

• 073
  Twenty-Six Martyrs Memorial Museum and St. Philip Church
  にほんににじゅう
  Kenji IMAI
  いまいけん
  1962
  Nagasaki
  Hideyoshi Toyotomi, a famous master samurai ruler of Japan in the turbulent late 16C, gave an edict expelling Christian missionaries in 1587, and ultimately, in 1597, he executed 26 Japanese Franciscans. This memorial complex was erected in 1962, on the very site of execution in Nagasaki, with a museum archives on one side and a small church with a building for the clergy on the other side of the street. As Kenji Imai, the architect in-charge, incorporated the mosaic murals such as the Phoenix Mosaic, the numerous religious icons such as a memorial monument in bronze, “Laudate Dominum Omnes Gentes”, by sculptor Yasutake Funakoshi, on the piazza, and iconographic designs based on the Catholic martyrology in the architecture, the entire site is brimming with a sense of religious domain in union, induced by the symphonic cadences, he attempted to create an exultant emotion akin to what the final movement of the Beethoven’s Symphony No.9, “Choral”, and its song, “Ode to joy”, imparts in the hearts of people. Imai received the 1962 Architectural Institute of Japan Award for the design of this complex.

Nikken SekkeiHyogo

• 074
  Kobe Port Tower
  こうべぽー
  Nikken Sekkei
  にっけんせ
  1963
  Hyogo
  On the middle pier of the Port of Kobe, stands a 108m tall tower in steel construction. The tower was built in 1963 to be a new landmark for Kobe with a striving international port. The tower is open to the public for the magnificent panoramic view from the top, viewing platform. Nikken Sekkei was responsible for the design of the tower, which is constructed with the circular steel tubes combined in the form of an elongated drum with a stylish hyperbolic curve silhouette. To maximize the beautiful curved profile of the tower, the connecting parts were subdued, and the red and white horizontal border painting required under the aviation regulations was specially omitted, likewise, the glass surfaces of the viewing platform were tucked inside of the steel structural members so as not to be too obtrusive. In designing the tower, Nikken Sekkei concentrated, not on the mere height, but on the aesthetics of the form itself, and created a tower that is as unique as beautiful among more conventionally designed towers with solid, rectilinear sectioned, steel construction like the Tokyo Tower.

Nikken Sekkei (Shoji HAYASHI)Tokyo

• 075
  San-ai Dream Center
  さんあいど
  Nikken Sekkei (Shoji HAYASHI)
  にっけんせ
  1962
  Tokyo
  At the corner of the main streets in the central Ginza area, stands a dedicated commercial tower that has become a popular icon, symbolizing the glamour of modern Ginza. With the round and transparent glass curtain-wall and the slick neon signs atop, the cylindrically shaped tower has played a major role in concocting the cityscape of Ginza with the arresting images of modernity, high technology, glitz and opulence. The bold new construction system was devised, i.e., the central elevator core was set first so that the successive donut-shaped concrete floors, pre-cast on site, could be lifted up to be attached. As the tower maintains its physical shape and retains still the vigorous image by readily accommodating the continuing changeovers of its tenant shops and clients, it was given the BELCA Award, an award given to promote a notable building with the excellent maintenance over a long building life span.

Kiyonori KIKUTAKEShimane

• 076
  Administration building of the Great Shrine of Izumo
  いずもたい
  Kiyonori KIKUTAKE
  きくたけき
  1963
  Shimane
  Izumo is located along the Sea of Japan coast, in Shimane, and is comparable to Ise (in Mie) as an ancient and sacred site in Japan in terms of its historic background as well as being the guardian of the Japanese classic shrine architecture. The administrative building selected, “Cho-no-Ya” is located inside the sacred compound of the Great Shrine of Izumo. Historically, the structures of the Izumo have always been constructed with the latest and highest technology available to each succeeding generation. Kiyonori Kikutake, the architect in-charge, followed the tradition by implementing a new modern technology to utilize the pre-stressed pre-cast concrete super beams. He boldly used a pair of super beams as the elocutionary element, to span 50m to create an expansive, 10m by 45m, space inside without any interrupting columns. The tilted and perforated broad surfaces of the long walls on both sides of the super beams are designed, metaphorically, to symbolize the scene of cropped rice being dried, recalling the benign memory of a typical Japanese pastoral scenery.

Antonin RAYMONDAichi

• 077
  Nanzan University
  なんざんだ
  Antonin RAYMOND
  あんとにん
  1964
  Aichi
  Antonin Raymond, a Czech born architect, originally came to Japan with Frank Lloyd Wright as his assistant. The commission and design of a new campus plan with 8 buildings for the Catholic based, Nanzan University in Nagoya marks as large project as he undertook during the later phase of his career. The campus was spread over the rolling hills and was organized with a north-south axial, main campus street that traced along the pre-existed ridge road. The 8 new campus buildings were located in such a way by utilizing the various contours of the site, to maximize the advantage of sloping terrains and not to interfere with the natural surroundings. Accordingly, a large classroom building with theater style seats was placed on the slope with a similar angle. The standard building style adopted was the exposed, poured-in-place, reinforced concrete construction method, and louvers were applied on to all of the 8 buildings, giving a unifying feature. The initial project was completed in 1964, and in 2004, all the buildings were given a major earthquake resistant, structural reinforcement without altering the look of each structure.

Kiyonori KIKUTAKETottori

• 078
  Hotel Toko-en
  とうこうえ
  Kiyonori KIKUTAKE
  きくたけき
  1964
  Tottori
  In a favored seaside onsen or hot spring resort in Yonago, Kaike Onsen, stands a hotel in the startling guise of modern architecture. The architect in-charge, Kiyonori Kikutake, a leading advocator of the metabolist ideals, compiled his theory in this building. It is composed in a tripartite design as they are not only differentiated in terms of functions but also are given three separate structural integrities according to the dicta of the metabolism theory. The structure simulates that of the traditional Japanese wooden edifice in reinforced concrete, hence, giving the building an exotic compositional expression. He prescribes; “while the columns energize the space to liberate human life activities within, the floor surfaces define the space to provide the requisite domain”. Accordingly, the main lobby area, where he collaborated with such artists as Kiyoshi Awazu, Ryoukichi Mukai, Masayuki Nagare, et.al., enacts as a dynamic magnetized space by means of the insertion of aggregated sets of main, secondary and tertiary columns, thus, he utilizes the entire building as a vehicle for the embodiment of such ideas.

Kenzo TANGETokyo

• 079
  St. Mary’s Cathedral Tokyo
  とうきょうかて
  Kenzo TANGE
  たんげけん
  1964
  Tokyo
  Located in the placid residential area, Mejiro, in the northwestern part of Tokyo, stands a modern cathedral Kenzo Tange. Adopting a different design strategy compared to his Tokyo Olympic complex done also in 1964, the cathedral design is composed with 8 separate hyperbolic paraboloid (HP) shell walls that are combined in 4 sets of two each to be placed in a cross plan. The apparatus of glass embedded narrow gaps within each set along the vertical and roof-top edges, together, portrays a light formed-cross in the interior during the day and also in the exterior at night. The eloquent swell of the HP shell walls help augment the serene and solacing sense of space inside.

Nikken SekkeiKagawa

• 080
  Hyaku-jushi Bank Headquarters Building
  ひゃくじゅ
  Nikken Sekkei
  にっけんせ
  1966
  Kagawa
  In the center of the city of Taka-matsu that faces the gentle Inland Sea of Seto-uchi, stands a distinctive modern architecture which presented a contemporary way for an office building complex to function as a new type of urban landmark. The complex is comprised of a 16-story main building on one side and a 5-story annex on the other side of a wide main street, and designed with the connecting skywalk high above the street, whereby a uniquely urban, open public space is created. The jade green color façade wall along the main street is layered with the panels made with Tando, a particular alloy of red brass and a slightly smaller amount of zinc, that were intended to age into a distinctive shade of green. As the complex has been well maintained since its completion in 1966, it was bestowed with the Belca Award, an award honoring the building with long life span, for its excellent upkeep.

Masako HAYASHIKochi

• 081
  Maritime Gallery
  うみの ぎ
  Masako HAYASHI
  はやしまさ
  1966
  Kochi
  In a small city of Tosa-Shimizu, in Kochi prefecture, on the Pacific Ocean side of the big island of Shikoku, along the coast of Tatsu-kushi is a site for the Maritime Gallery. It was built in 1966 as a museum to exhibit the collection of variety of mollusks or seashells. Masako Hayashi designed the building using the metaphor of two seashells with a pair of structurally independent concrete shell structure roofs with domed skylight of acrylic glass (a.k.a., plexiglass) in the middle. The sunlight coming through the skylight shimmers with the ceiling painted in brilliant marine blue color to produce the interior space with the ambience of underwater world. Her design synthesized the ensemble of her structural and spatial concepts, filling the building with an eloquent rhapsody of architectural milieu. Currently, a project to preserve and renovate this building is underway in a joint effort of local architects and the municipal government.

Arata ISOZAKIOita

• 082
  Oita Prefectural Oita Library
  おおいたけ
  Arata ISOZAKI
  いそざきあ
  1966
  Oita
  This library, architect Arata Isozaki, represents one of his major early works. The three-story building, completed in 1966, is in reinforced concrete with the super structure, square tubes finished in exposed concrete. Isozaki challenged to cast an anti-parallel hypothesis against the metabolism architecture of possible hardware changes/ transformations according to the time passage and the shift in need; i.e., to maintain the original form and disposition. Thus, he responded by composing the super structure, square tubes to be abruptly cut off in mid air at the end without any ado. Although, the overall design of this building can only be identified as a composition with the metabolistic vocabulary, indeed, in denying any prospect for future changes, he expressed a powerful statement by ceasing the building in frozen stasis. In 1998, it was converted, under Isozaki’s supervision, to a multi-faceted cultural center, featuring art galleries. Today, the building illustrates the original concept by clearly emphasizing the spatial composition.

Takenaka Corporation (Hiroyuki IWAMOTO)Tokyo

• 083
  National Theater
  こくりつげ
  Takenaka Corporation (Hiroyuki IWAMOTO)
  たけなかこ
  1966
  Tokyo
  Located by the inner moat of the Imperial Palace, is the National Theatre of Japan. Through the process of an open design competition in 1963, the proposal by Hiroyuki Iwamoto was bestowed with the first place award, which also established him as a notable architect. It provides theatre spaces, promotional venues, preservation and support spaces for the classical performing arts of Japan such as Kabuki, Bunraku, dance, folk arts, etc. Being conscious of its Imperial neighborhood as well as being aware of its use, the design Iwamoto adopted follows a cue from the Azekura style architecture of Shoso-in in the late Heian period (late 12th C) by coloring the pre-cast concrete in the burnt umber to echo the original square logs of Shoso-in. He exercised a different approach to the design of modern architecture, i.e., to take specifically Japanese contexts, connotations, traditions and history into consideration in design.

Kazuo SHINOHARATokyo

• 084
  House in White
  しろの い
  Kazuo SHINOHARA
  しのはらか
  1966
  Tokyo
  Standing in a residential section in the northwestern Tokyo, is a house, adorned in white, in a two-story wooden construction. The house was built in 1966, and architect Kazuo Shinohara designed it on a simple square plan with an organizing control line placed deliberately off-center but orthogonal to the square, with a pyramidal hip roof as a unifying device. Like the outside, the ceilings and walls are finished in white throughout, thus underscoring the non-white items such as the free standing columns, the frames of the windows and the delicate grills on the translucent shoji-screens. In this house, even though Shinohara designed it thematically to be rapt with the Japanese context, in lieu of taking the traditional or familiar conception, he adopted his own modern interpretation, which prompted establishing a physically stoic, yet, richly suggestive spatial composition. Indeed, he presented a possibility of transcending the merely “functional” and/or “Japanese contextual” bind by proposing an entirely different, alternate method.

Yoshinobu ASHIHARATokyo

• 085
  SONY Building
  そにーびる
  Yoshinobu ASHIHARA
  あしはらよ
  1966
  Tokyo
  In the central Tokyo’s gilded Ginza area, stands a dedicated showroom building, the first of its kind in Japan. It was built to recapture the once flourishing dazzle of patrons being lost to newer city centers. Yoshinobu Ashihara signified it by terming it as “the node” (for Ginza). He aspired to recreate the essence of pleasurable urban space and animated nature of people inside his building. Upon a suggestion from Akio Morita, the client and the legendary SONY founder, to consider the spiral composition of Guggenheim Museum in New York, he promptly produced a spiral incorporating in the construction system the just-introduced high tensile steel and tension bolts, so that the successive floors could step down in the flower petal pattern to create slowly spiraling one continuous interior space.

Takamitsu AZUMATokyo

• 086
  Tower House
  とうの い
  Takamitsu AZUMA
  あずまた
  1966
  Tokyo
  On a tiny lot in a very chic and fashionable Ura-Harajuku area, stands a small tower shaped residence of Takamitsu Azuma. With this debut work, he emphatically presented a concept that envisioned a preferred living style of urban dwelling as opposed to the prevalent popular mass preference of suburban dwelling and its lifestyle in the 1960's. Inside this minuscule lot of only 20m2, he designed a house with the total floor area of 65m2. The interior spaces are stacked vertically to be semi-continuous, giving a rich spatial quality, and the house maintains a desired separation of public (outside) and private (inside) domains by differentiating the main level of the house from the street level, by tactically positioning exterior walls and by carefully designing the size and location of fenestration.

Sachio OTANIKyoto

• 087
  Kyoto International Conference Hall
  こくりつき
  Sachio OTANI
  おおたにさ
  1966
  Kyoto
  On a vast site in northern Kyoto, stands a complex for international conferences. The Japanese government held an open design competition for the project in 1962-63. The first place was awarded to a group led by Sachio Otani. A series of trapezoidal structure made of horizontal beams and canted columns with the 22○ tilt was formulated, along with the recurrent derivative convergent details in the same form. He applied it, as a system of an all-unifying device, to the overall structure and all the way down to the detail design. While the spaces inside inspire futuristic images with a feeling of an endlessly expanding, three dimensional trapezoidal grid, on the outside, there is an evidence of a challenge to express the traditional Japanese context in modern architecture, as seen in the silhouette of the complex, which recalls the elusive images of the Japanese shrines, the thatched roofs of Gassho style houses and/ or the row of rice harvest hung. Isamu Kenmochi, a renowned industrial designer, was in charge of its comprehensive interior and furniture design.

Kenzo TANGEYamanashi

• 088
  Yamanashi Culture Hall
  やまなしぶ
  Kenzo TANGE
  たんげけん
  1966
  Yamanashi
  Standing in the small city of Kofu, in Yamanashi, is an outlandishly futuristic building for a mass-media conglomerate that houses the newspaper, television and radio broadcasting stations, printing company, etc. The complex was Kenzo Tange and built in 1966. The design is based on the 16 enormous vertical cores of cylindrical superstructures in the 17m by 15m grid formation that support the inserted horizontal tray-like superstructures. As the cylindrical components provide the vertical circulations of elevators and staircases, as well as the spaces for the mechanical and HVAC related facilities, the horizontal tray-like structures provide all the office, studio and other work related spaces and facilities, while the vacant or pilotis zones provide the apparatus for the inner “private” domain to relate and intermix with the “public” domain or society at large. The metabolistic notion based upon its urban-spatial theory that features the architectonic allowance for the anticipation of possible future “growth and transformation” is adopted into the design concept of the building. The building continues to manifest, today, the same awe-inspiring image of the original.

Kisho KUROKAWAYamagata

• 089
  Sagae City Hall
  さがえしち
  Kisho KUROKAWA
  くろかわき
  1967
  Yamagata
  In the city of Sagae, Yamagata, stands a city hall donned in the metabolism architecture. The metabolism architecture, as the first Japanese architectural concept to be acknowledged by the international architectural community, was born in the backdrop of the Japan’s sustained period of economic expansion in the ‘60's with its growing industrial-technological prowess. Thus, the metabolists, unlike skeptical later groups, perceived architecture with a distinctive optimism fueled by their captive trust of technology. Kisho Kurokawa, among the leading advocates of the metabolism belief, designed this city hall in 1967. A 5-story building in reinforced concrete is laid on a square plan with 4 massive reinforced concrete cores, which support the upper floors. The program is zoned vertically as the lower levels are assigned for larger public spaces as the 1st floor assembly hall and the 2nd floor civic hall, and the upper levels are for the repetitive offices. This building, with its conspicuous core super structures and its aggressive spatial hierarchy, presents itself as a major representative work to reflect the notion of metabolism architecture.

Tetsu KATONOHokkaido

• 090
  Tetsu KATONO House
  さっぽろの
  Tetsu KATONO
  かとのと
  1968
  Hokkaido
  Testu Katono, thought of as among the leading architects of Hokkaido, built his own house in 1968, on a large site, as fitting with the wide and open nature of Hokkaido. This is a contextual house that reflects Katono’s sentiment as seen in his remark, “I adore the sense of changing seasons one feels as the scene of steel and bricks set in green is transformed into that of steel and bricks set in white snow”. The house, consisting of a single story part and a two-story annex addition, is designed with the noticeable, lightly rusted heavy-weight “H” shaped (US Steels’s Corten, equiv.) weather resistant steel frame construction and the rugged look of unglazed brick walls, and fits in surprisingly well with the pleasant ambience of Hokkaido as they age through the harsh local climate.

Junzo SAKAKURATokyo

• 091
  Shinjuku Station Westgate Plaza
  しんじゅく
  Junzo SAKAKURA
  さかくらじ
  1967
  Tokyo
  This urban redevelopment project for the Shinjuku Station’s west side was instigated to establish the entire area as an alternative center that would ultimately accommodate the new Tokyo City Hall Center and a whole set of skyscrapers and other buildings. Late in his career, Junzo Sakakura received this commission to design the terminal plaza, among the grandest urban design projects he ever undertook. So, Sakakura implemented the Corbusien ville radieuse inspired urban design, laying out an enormous on-grade and underground dual-plaza with sunlight and fountains, a bus terminal, underground parking, etc., to accommodate Shinjuku station’s increasing passenger volume. The ubiquitous underground plaza has become a landmark of architectural urban space today, but in the turbulent early 1970's, it stirred debate on the role that urban plazas play in society, as it was the favorite gathering place for “student movements” and the “folk (song)-guerrilla” jam sessions.

Seiichi SHIRAINagasaki

• 092
  Shinwa Bank Headquarters Complex
  しんわぎん
  Seiichi SHIRAI
  しらいじょ
  1966
  Nagasaki
  Located on a narrow street in central Sasebo, is the Shinwa Bank Headquarters complex. It is made up with 3 distinctive structures built in 3 phases in 1966, ‘69 and ‘75 (of which the phases I and II were chosen as part of the docomomo 100). It is a major representative work of architect Sei-ichi Shirai in his prime, who also was a respected philosopher and poet. On the right is the phase I structure with the cantilevered mass of white travertine stone above and the recessed ground level in black granite. The phase II building on the left has a gentle curve with the solid stone base in white and the similarly curved monolithic black mass in aluminum panels. Shirai chose to achieve a particular kind of architectural aesthetics; i.e., a tight counterbalance of correlation drafted by the contrasts between the various different things, items or even ideas, put deliberately together or juxtaposed in the composition of spaces. The phase III building, known as the Kaisho-Kan was completed in 1975 to form the current configuration. As the complex continues to be used attentively today, it still vividly retains the intensity of the original look, including the interior details.

Masato OTAKAKagawa

• 093
  Sakaide Artificial Ground
  さかいでし
  Masato OTAKA
  おおたかま
  1968
  Kagawa
  Close to Sakaide Station in Kagawa, is the site for a large-scale municipal redevelopment project, featuring the replacement of densely clustered small old wooden houses with a modern metabolistic complex of City Hall, commercial facilities, collective housing/ apartments, park areas and parking lots. The project is known as the forerunner which introduce a Corbusien notion of urbanism into a pre-existing city quarters; i.e., the introduction of an artificial ground at 5.3m above the ground with the massive concrete column and beam structure system laid out on an approximately 9mx9m grid. The artificial groundplane subsidizes a modern milieu as it provides a newly reorganized urban condition for a safer and more comfortable environment for habitation.

Mitsui Real Estate + YAMASHITA Architectual OfficeTokyo

• 094
  Kasumigaseki Building
  かすみがせ
  Mitsui Real Estate + YAMASHITA Architectual Office
  かすみがお
  1968
  Tokyo
  This building earns its honor as the first skyscraper built in Japan. The major revision of the Uniform Building Codes of Japan in 1963, which effectively removed the regulations limiting building heights, and the approval in the following year for the application of the Specified Blocks System, together, laid the ground for the realization of this skyscraper project. The design presented a unit based on an ergonomically derived dimension of 3.2mx3.2m as the guiding module for establishing a spatially comfortable human scale in offices, and utilized this module to uniformly standardize the building in its entirety.

Hiroshi OOETokyo

• 095
  Friends School
  ふれんど
  Hiroshi OOE
  おおえひろ
  1968
  Tokyo
  Mita, a quaint and gently undulating area in southwestern Tokyo, is a site for the Friends School, an academic complex comprised of girls middle and high schools. It was founded in 1887 with the help of Philadelphia Quakers from the United States. The current structures, Hiroshi Oe, were built in 1968. The 2 to 4 story smaller buildings with pyramidal hip roofs are grouped together, and clustered on the school grounds according to the gently sloping topography. Each facade of classroom building has an unusual appearance with the stacked porch like structure in white with the four-bay/ five-column grid formation. Oe was attempting to grant a memorable ambience to the school complex via something intangible like a certain aura or stance, or, perhaps what could be termed as a special tender perspective to the complex beyond what the architecture of mere rationalism might provide.

Masato OTAKAChiba

• 096
  Chiba Prefectural Central Library
  ちばけんり
  Masato OTAKA
  おおたかま
  1967
  Chiba
  On a gentle hill covered in the green foliage of Chiba, stands this groundbreaking library. In pursuit of establishing free, continuous and expansive library spaces, for the first time in Japan, its design adopted the pre-cast and pre-stressed reinforced concrete with the cross-shaped section to constitute the entire structural members. This method of combining both the prefabricated structural system and modular based compositional system at the same time in design validated his creative experimentation. Therefore, through the off-site prefabrication of specific concrete, he sought the full architectonic potential of concrete as an expressive element, and thus, forming a basis for accomplishing the desired architectural design, as it is confirmed in some of his significant later works.

Daiichi-Kobo Associates and Yositika UCHIDA, ArchitectSaga

• 097
  Saga Prefectural Museum Archives
  さがけんり
  Daiichi-Kobo Associates and Yositika UCHIDA, Architect
  だいいちこ
  1969
  Saga
  Standing on a site in a park where once the Saga Castle San-no-Maru stood is a museum archives for the local arts, crafts, archeology, and history of the greater Saga region. The structure was built in 1969 as part of the project for the 100th year anniversary of the Meiji Restoration. The building was designed in collaboration by architect Yositika UTIDA, and a structural engineer in Daiichi Kobo. While the insertion of an aggressive cross-shaped (in plan), poured-in-place concrete structure provides the main circulation apparatus, the series of pre-gridded, pre-cast concrete structural panels are used to enclose the internal space covered by the steel frame roof truss system. The spaces are organized in such a way, so that the ground level may provide an open and independent access to-and-fro to each of the exhibition rooms while accommodating people to traverse through the building freely. Consequently, the setup gives an entirely informal and altogether more welcoming guise to the building that fits well with the strolling people in the park.

Murano-Mori Architecture Design OfficeHyogo

• 098
  Trappistine Monastery of Our Lady of Nishino-miya
  しとーかい
  Murano-Mori Architecture Design Office
  むらのとう
  1969
  Hyogo
  On a hillside in Nishino-miya, tucked in the dense foliage, stands a monastery (convent), complex. On the higher part of the site, a chapel and other public elements are placed along an elevated cloister around the courtyard. While the monastery program, the sloping site, the chapel and courtyard parti, the exterior appearance, etc., all point to Le Corbusier’s La Tourette, as being the explicit model, there are some intriguing differences between La Tourette, with a deforested site in a certain detached and isolated relationship with nature, and this complex, with a tree-buried site in a harmonious and symbiotic relationship with nature. Likewise, the tender manner in which the columns and beams are placed as well as the softer and warmer ambience created in the cloister around the courtyard, being put altogether, impregnate the entire complex with an intimate Japanese sensibility. Therefore, Togo Murano, the architect responsible, while taking the obvious hommage to Le Corbusier and La Tourette, yet, through the process of assimilation, interpretation and transformation, successfully created his own original architectural world.

Fumihiko MAKITokyo

• 099
  Hillside Terrace (Housing) Complex
  だいかんや
  Fumihiko MAKI
  まきふみひ
  1969
  Tokyo
  In Daikan-yama, a stylish area with the cool Shibuya and the modish Ebisu nearby, on a long site along the fashionable street, the Old Yamate Avenue, stands a unique urban complex comprised of the main residential components, along with the affiliated commercial tenant components. An unusual development process for Japan was adopted as it was developed through a several phases over a long period of time, under the continuous supervision and design control by architect Fumihiko Maki. Hence, the complex gained a unified presence on the street as the newly embraced identity of Daikan-yama. As the time Maki started the project in the late ‘60's so coincided with the period of change in the modern movement in architecture, he eagerly put foreword a series of new urban design ideas and concepts on how architecture may address urbanity; i.e., the notion of urban facade, the concept of urban spaces as room(s) in the city, and so forth, by demonstrating how his thesis on the possibility of connections, relations, and synergy between architecture and urban design (in a city) may be realized, through the various stages of engagements of the two.

Katsuhiko OHNO + Sekisui Chemical Co., Ltd.ー

• 100
  Sekisui Heim M1
  せきすいは
  Katsuhiko OHNO + Sekisui Chemical Co., Ltd.
  おおのかつ
  1970
  ー
  Unique among the 100 selections, is the Sekisui Heim M1 for being a specific manufactured product line. Under the sustained economic growth period in Japan through the ‘60's to ‘70's with the ensuing housing boom, it was conceived as a pre-fabricated package, to make a modern, economical house; i.e., the standard sized, manufactured light weight steel, rigid frame (or Rahmen) unit boxes, with as many factory pre-out-fitted components and equipments like walls, floors, ceiling panels, faucets, sinks, etc., are assembled on site through an easy and speedy construction method. It was so designed that a given number of standard unit boxes of 2.4m x 5.0m x 2.7m may be connected and stacked in a various combinations to create a 2-story house in an original configuration to suit one’s needs and preferences. The design concept of the units was well thought out as the 1.6m subdivision size was adopted in creating smaller spaces, and the multiple of it for the larger spaces. In the first 14 years after the M1 went on sale, it sold over 100,000 houses.

Hanshin dentetsu, Obayashi-gumi(Seizo NODA + Hikotaro IMABAYASHI)Hyogo

• 101
  Hanshin Koshien Stadium (formerly Hanshin Dai-Undojo)
  こうしえん
  Hanshin dentetsu, Obayashi-gumi(Seizo NODA + Hikotaro IMABAYASHI)
  はんしんで
  1924
  Hyogo
  The Hanshin Koshien Stadium is the Japan’s first dedicated US Major League style baseball park built in 1924 by Hanshin Electric Railway Co. as part of its development program along the railways and the major construction company, Obayashi Corp. In the absence of domestic sample, it was designed modeling after the Yankee Stadium in New York. Upon completion it became the largest the stadium in Asia. The facility improvements and renovations had been made periodically; including the so-called “Alps Stand” grand stand area to be converted from wooden to reinforced concrete construction, as well as the addition of steel constructed great roof, “Gin-san” (silver umbrella) over the grand stand and adjacent bleacher seating area. The characteristic ivy covered outer wall of the ballpark was finished originally in exposed concrete for speedy completion, which was fitted with tiles in the 2010 renovation.

Hokkaido Imperial University’s Building and Repairs Section (Junsei HAGIWARA and Koki OKADA)Hokkaido

• 102
  Field Science Center for Northern Biosphere,Akkeshi Marine Biology Laboratory Center, Faculty of Science, Hokkaido University (formerly Hokkaido Imperial University)
  ほっかいどうてい
  Hokkaido Imperial University’s Building and Repairs Section (Junsei HAGIWARA and Koki OKADA)
  ほっかいど
  1931
  Hokkaido
  The Field Science Center for Northern Biosphere was build in 1931 by the Hokkaido Imperial University (presently, Hokkaido University) as a filed science center for biological research on marine animals and plants. Its site on the promontory in the Akkeshi Bay is situated on the Pacific Ocean coast in the northeastern Hokkaido. Set on the waterfront site with a steep hill behind, it is designed to be viewed primarily from the sea. The design motif is believed to be inspired from the images of Dutch modern marine buildings in Rotterdam on the French architectural magazine L’Architecture Vivante (1927). The complex is comprised of the northern cylindrical section housing the aquariums, specimen and taxonomic sampling rooms, the southern rectangular section housing the laboratories and the central tower. While the simple and modern exterior with few decorations is finished in cement mortar in lightly tanned yellow-white color, the interior displays the Art Deco influence seen in the details such as the terracotta arches at the entrance porch and the handrails of the stairs, etc.

Junzo SAKAKURANagano

• 103
  IIHASHI HOUSE
  いいはしてい
  Junzo SAKAKURA
  さかくらじ
  1942
  Nagano
  It is the first building that Sakakura designed after returning from France, who was awarded the grand prix prize in architecture for his design of the Japanese pavilion at Paris Expo in 1937. Although the size of the building was limited to 30 tsubo (approximately 99m2) under the wartime restrictions, several elements such as clear floor plan, skipped floor in response to the gradient of the site, the big glass door in the living room that connect inside and outside are housed under the big gabled roof in a simple manner. In 2007, this house was disassembled. However, thanks to the efforts of those who wished to preserve the building, it was relocated to Oiwake, Karuizawa in the same year, and converted into a French restaurant.

Tomoe-kumi Tekko-shoTochigi

• 104
  Circular Gymnasium, Sakushin Gakuin
  さくしんが
  Tomoe-kumi Tekko-sho
  ともえぐみ
  1952
  Tochigi
  Before the beginning of World War II, Ichiro Nozawa, founder of the Tomoe Iron Works, developed the “Diamond Truss” which allowed the use of truss structure sterically. Sakushin Gakuin Gymnasium was the first example that this new technology was applied to gym structures. This technical innovation was particularly notable not only in Japan but also in the world as it is said to have influenced the invention of the Fuller Dome. Diamond Truss has rationalities in construction method, material and economic efficiency. After the Second World War, Diamond Truss became widely used in all over Japan as a major technology to construct a roof of school gymnasiums in Japan.


Nikken Sekkei+Tachu NAITOTokyo

• 105
  Nihon Dempa-to
  にほんでんぱ
  Nikken Sekkei+Tachu NAITO
  にっけんせ
  1958
  Tokyo
  The Tokyo Tower was Tachu Naito, structural engineer, in response to the necessity to construct a facility for television broadcasting antenna during 1950s, when Japan was expecting the Rapid Economic Growth to come soon. At the time of completion, it was the world’s tallest self-supporting tower. Naito also designed towers in Nagoya and Osaka. However, Tokyo Tower, which was modeled after the Eiffel Tower in Paris, achieved the most sophistication and lightness of impression in design, as the amount of steel was much less than that of other two structures.

Kenji HIROSETokyo

• 106
  Kamikozawa House
  かみこざわ
  Kenji HIROSE
  げんそんせ
  1959
  Tokyo
  During the 1950s, Japan was suffering from the housing shortage after the WWII. Against such historical backdrop, Kenji Hirose worked on the issues on industrialization and standardization of architecture and creation of new residential style. He invented a series of steel houses called “SH house series”to embody his ideas. Kamikozawa House is one of his representative works. Although constructed of reinforced concrete, Kamikozawa House is similar to SH series in that each room is placed in a row with terrace laid out in front and its exterior design emphasizes horizontal line, and well presenting the characteristics of Hirose’s residential buildings. The owner of the house has preserved, renovated the building and is still used as a restaurant.

Kanao SAKAMOTOKanagawa

• 107
  The Twin Circular School Buildings, Meirin High School
  めいりんが
  Kanao SAKAMOTO
  さかもとじ
  1959
  Kanagawa
  This cylinder building belongs to a private girls’ middle and high schools in the residential neighborhood in Yokohama. Two cylinder school buildings with twenty-seven meters in diameter and four floors, and a rectangle school building were constructed in series. After the WWII, when there was an urgent necessity to construct school buildings, Kanao Sakamoto, the architect, developed the efficient prototype of the school buildings with circular plan, and designed more than a hundred schools based on the prototype with some improvements in all over Japan from 1950s to early 1960s. This building belongs to the middle period of his continuous works of school buildings.

Kiyoshi SEIKEFukuoka

• 108
  Memorial Auditorium and Administration Building of Kyusyu Institute of Technology
  きゅうしゅ
  Kiyoshi SEIKE
  せいけきよ
  1960
  Fukuoka
  This facility is located within the first technical university campus established in Kyushu Area of Japan, and consists of an auditorium and office. As the auditorium is placed in the naturally sloped site, the floor of the seating area follows the gradient. The building is covered by the folded slab roof. The wood wool cement board of the (original) internal ceiling was used as both mold and finish. The office is a single-story building with square units laid out on the floorplan. While having beams placed diagonally to maintain horizontal stiffness, the facade on the longitude side has floor-to-ceiling windows.

Isoya YOSHIDANara

• 109
  The Museum of Yamato-Bunkakan
  やまとぶん
  Isoya YOSHIDA
  よしだいそ
  1961
  Nara
  This museum was built in the suburb of the ancient city Nara as one of the projects to commemorate the 50th anniversary of Kinki Japan Railway Company. Its collection includes not only Japanese but also Oriental art. Modeled on the castle in the Momoyama Period (16th century), the upper part of the façade is finished with the white plaster and the lower part of the walls is covered with traditional fireproof Namako wall (made of roof tile and plaster). Yoshida showed his own way of omission and abstraction throughout the building and succeeded in blending modernist elements and the Japanese traditional elements in his design.

Eiji MIYAGAWA + Wataru KATONigata

• 110
  Niigata City Gymnasium
  にいがたし
  Eiji MIYAGAWA + Wataru KATO
  みやがわえ
  1961
  Nigata
  The stadium was built as part of redevelopment project for the National Sports Festival held in Niigata City in 1964. It was considered to be a pioneering work due to its use of steel HP shell for its roof structure. HP shell was employed to minimize the weight of the roof in the heavy snowfall area. In addition to accommodate large space without columns, several benefits of the hp shell was anticipated such as aligning the audiences’ sight line with the section of the building, better acoustic effect and efficiency in the use of facilities such as lighting fixtures. It is a work jointly Wataru Kato, structural engineer and Eiji Miyakawa, architect, who both taught at Department of Science and Engineering at Nihon University.

Yoshinobu ASHIHARATokyo

• 111
  Gymnasium and the Control Tower, Metropolitan Komazawa Olympic Park
  こまざわこ
  Yoshinobu ASHIHARA
  あしはらよ
  1964
  Tokyo
  These are the buildings which were Yoshinobu Ashihara for the Tokyo Olympics who used his own theory on exterior space. When Ashihara visited Italy for architectural tour on his way home from the United States in 1950s, he studied the unity in townscape of Italy and elements that consist of exterior space such as internal and external corners. Later he published a book titled “Exterior Space in Architecture” based on his experience in Italy. Using the theory on external space which was developed and elaborated in this book, he was successful in achieving the characteristic space as gymnasium such as HP shell structure. The design of the Control Tower reminds viewers of a pagoda of traditional temples and shrines, while showing some consideration for how it should be looked at.

Koji KAWASHIMAOkayama

• 112
  Tsuyama Bunka Center
  つやまぶん
  Koji KAWASHIMA
  かわしまこ
  1965
  Okayama
  Located in Chugoku Region of Japan, stands the Tsuyama Cultural Center on the location of the former Tsuyama Castle, surrounded by the low hills. This building has two functions: one is the hall which can accommodate 1,200 people and the other is the exhibition space whose exterior walls have incorporated the reliefs Kiyoshi Awazu. In response to the stone walls of the remaining castle, traditional Tokyou style bracket was used as a strong design motif. Subtle ensemble of shadow and light casted by these motifs adds some flavor to the building. This architecture reflects the consideration for the interaction between the modern architecture and vernacular architecture based on Japanese tradition.

George NAKASHIMAKyoto

• 113
  Catholic Katsura Church
  かとりっく
  George NAKASHIMA
  じょーじ・
  1965
  Kyoto
  George Nakashima, who is well known as a woodworker, once worked for Antonin Raymond in Japan before the WWII. This church is his only architectural work in Japan that he designed on his own. The building consists of the bethel with shell structured roof and cylindrical baptistery with the cross on top of it. The bethel, though the floor plan is rather simple in diamond shape, offers dynamic space which is made possible by the shell structured roof soaring up while making a big curve. All the fixtures such as altar, preaching pedestal, aspersorium, pews and lighting fixtures, were also Nakashima.

Azusa KITOTokyo

• 114
  Library, Tokyo Keizai University
  とうきょうけいざい
  Azusa KITO
  きとうあず
  1968
  Tokyo
  This is the one of his early works by Azusa Kito after he left Kunio Maekawa’s office where he was in charge of Kanagawa Prefectural Library and Concert Hall. He succeeded in creating a strong sense of place by locating high-rise laboratory building and low-rise library building with glass facades on all fours sides around the plaza on a sloped ground. Kito won the AIJ Award at this building. Since then, Kito was commissioned to design several other libraries and presented how new libraries after the war should be.

Shozo UCHIIKanagawa

• 115
  Sakuradai Court Village
  さくらだい
  Shozo UCHII
  うちいしょ
  1970
  Kanagawa
  Believing that a house was the mother of all architecture even during the period where most of the Japanese people enjoyed the buoyant economy spurred by the Japan World Expo from 1960s to 1970s, Shozo Uchii, architect, was seeking for how the urban residence should be by studying the problems inherent in mass housing. Although the site for this residential development was challenging with average 24 degrees gradient and its elongated shape, Uchii managed to fit 40 residential units in this site, achieving the similar space configuration to detached houses with yards. Uchii is well known for his attempt to pursue the “establishment of individual and holistic harmony” in architectural way by his works from individual buildings to the urban design projects by master planning. His message to the society can be read spatially through this residential complex.

Kenkichi NISHITANI + Kiichi YAMAMOTOTokyo

• 116
  Printing Factory and Office Building
  とうきょうしょ
  Kenkichi NISHITANI + Kiichi YAMAMOTO
  にしたにけ
  1936
  Tokyo
  Suitable for a national textbook printing plant, the complex of integrated buildings domestic technologies are built in Northern East Tokyo where groups of Industrial buildings have been built since 1920s ,the early mature Showa era. The factory has been well kept in conditions since the completion time despite the harsh environment; a large column-free space by “Diamond Truss”, a patent by Tomoe group had improved from a steel structural large roof of Junkers Co. Germany in the beginning. The second floor of the office building was renovated later. However they have been still giving Art Deco exterior of scratch tiles until today with Tousho-Bunko adjacent to it.

Tokyo Metropolitan Government (Takeshi TAKAHASHI)Tokyo

• 117
  Hibiya Library
  とうきょうとりつ
  Tokyo Metropolitan Government (Takeshi TAKAHASHI)
  とうきょう
  1957
  Tokyo
  The public library was built in 1957, at the Hibiya Park constructed after the Great Kanto Earthquake (1923), by the Bureau of Tokyo Metropolitan Government, in a triangle plan, two steps are planned on two vertices facing to a road side, a reading room is provided on two sides and vertices of the park. The area of Stacks in the middle of the triangle plan is an atrium and seven tiers of 40 million copies of books has become the structure itself. The library is scheduled to open in 2011 being transferred from the Metropolitan Government to Chiyoda-ku. The composition of exterior is linear with spandrels which around the sides. This is considered as one of the representative public buildings of modern　architecture.

Togo MURANOTokyo

• 118
  Nissei Hibiya Building　(Nissei Theatre)
  にほんせい
  Togo MURANO
  むらのとう
  1963
  Tokyo
  This was built to commemorate the 70th Anniversary of Nippon Life Insurance Company.Exterior is a stylistic representation covered by Mikage stone, Japanese granite　and massive columns. On the other hands, in the Nissey theatre, walls and ceilings covered by Mosaic and Acoya shell (mother of pearl) are waving like a cave undersea.This is a highest peak of the Murano work from which original Murano's technique is seen everywhere though unsuitable points for the expression of the modernism brewed the cause of discussions at that time.

Kenji KAWAIAichi

• 119
  Kenji Kawai House
  かわいけん
  Kenji KAWAI
  かわいけん
  1966
  Aichi
  Kawai was an independent engineer without professional architectural education who was responsible for designing such facilities of Kagawa City Hall by Kenzo Tange, etc. in 1950s. He has built his own house for self-sufficient living in Toyohashi, Aichi prefecture, his local.The idea of stronger and cheaper material for housing, he has converted engineering corrugated tube to residential construction. Adapting a honeycomb structure to the facade, he has secured column-free living space.

Kiyonori KIKUTAKEMiyazaki

• 120
  Miyakonojyo Civic Center
  みやこのじ
  Kiyonori KIKUTAKE
  きくたけき
  1966
  Miyazaki
  Concrete slab floor is stretched to make the outside terrace with steps, a steel roof is braid radially and creating a unique look like a porcupine. Facility systems such as air conditioning and lighting equipments are also built into the radial steel beams integrated.
The works shows imagination and creativities of Kiyonori Kikutake who had proposed metabolism.

Nobuyoshi KINJOOkinawa

• 121
  Naha Civic Hall
  なはしみん
  Nobuyoshi KINJO
  かねしろと
  1967
  Okinawa
  This is the first multi-purpose City Hall for concerts and theatre in a tropical region Okinawa Prefecture. Brick tiles which cited from “ Amahaji”, deep eaves of a house in Okinawa, cover the building composed by unfinished concrete columns and beams. In the terrace hall, a waist height stone wall from an image of “Hinpun” , a traditional screen in Okinawa which stops a flow of air is set up in the entry hall. This is an experimental building of a fusion combination of traditional methods of Okinawa and environmental technique in modern architecture.

Junzo YOSHIMURAAichi

• 122
  Campus and Facilities, Aichi Prefectural University of Fine Arts and Music
  あいちけん
  Junzo YOSHIMURA
  よしむらじ
  1971
  Aichi
  The Public Arts University, the largest scale among Jyunzo Yoshimura’s works has been built to accommodate increased numbers of students in suburbs of Nagoya in 1960’s . The complex of each academic buildings such as lecture rooms and a music hall comprised of structural lucidity, interest, artfulness of space performance with richness in details are full of charm and attractions through the development of modernism particular in the 1960s with a background of huge suburbs, a canvas for the university. The original building has been existence in almost same conditions since the completion time.

Kisho KUROKAWATokyo

• 123
  Nakagin Capsule Tower
  なかぎんか
  Kisho KUROKAWA
  くろかわき
  1972
  Tokyo
  The capsule Tower , second home for business is regarded as a typical architectural trend of metabolism, the first Japanese architectural movement happened in 1960s.
 The minimum private room capsule made from the iron plate and the light gauge steel by all welding at the factory was installed in two towers where the elevator etc. of an iron frame ferroconcrete had been built in, the equipment piping was made in a unit, and both were enabled to interchangeable. Continuing is feared though it can be said the symbol in the 70's.

Kiko MOZUNA (Monta MOZUNA)Hokkaido

• 124
  Han-juki
  はんじゅう
  Kiko MOZUNA (Monta MOZUNA)
  けつなきこ
  1972
  Hokkaido
  This is a house Mozuna in Kushiro, Hokkaido, his birthplace, for his mother though a lot of young architects designed the house in the 1970's. 
The three story house called "Skin reaction machine" “Human body responder," "Environmental encryption device " is a nest of three cubes of 1.5m ·4m · 8m. The characteristic exterior feature is a cube corner with a large glass, and it is possible to glimpse the internal space there. The wide gap between the instruments and equipment 1.5 ~ 2.5m, 4 ~ 10m high and rich in variety, they create a rich living space.

Tadao ANDOOsaka

• 125
  Sumiyoshi Row House
  すみよしの
  Tadao ANDO
  あんどうた
  1976
  Osaka
  This is an architectural field debut work by Tadao Ando who became a worldwide architect.
 The scale of the plan has been following the traditional town house, close to the outside world and provide to an open courtyard inside. This work has overcome a narrow concept of modern architecture , functionalism and rationality so far, in terms of planning and spirituality. We have found a possibility of high-quality construction with exposed concrete representation.


Ministry of Communications Building and Repairs Section (Tetsuro YOSHIDA)Chiba

• 126
  Kemigawa Radio Transmission Site
  けみがわむ
  Ministry of Communications Building and Repairs Section (Tetsuro YOSHIDA)
  ていしんし
  1926
  Chiba
  As a communication site in which it aimed at the wireless telecommunications business with foreign countries for corresponding to the modernization of Japan; It was the building in the first period in the country, and the communication business was borne with the Iwatsuki Reception place. It is not used now though it is the only existence building that had a similar function. Arches and curves were treated everywhere on surfaces of the RC walls were Expressionism feature that was a state-of-art at that time. It was applied to the building where an up-to-date technology of wireless telecommunications was treated by Teturou Yoshida , the engineer of the Ministry of Communication.

Seigo MOTONOKyoto

• 127
  Tsurumaki House
  つるまきつ
  Seigo MOTONO
  もとのせい
  1929
  Kyoto
  A resident was built for Tsuruichi Tsurumaki, a principal of Kyoto school of advanced polytechnic (Kyoto University of Industrial Arts and Textile Fibers at present). It was made from Nakamura type ferroconcrete Seigo Motono, a professor of the same school; his own home also had been made from the same type. Inside the house, we can look at rich modeling features, a batik-print screen painted by Tsurumaki and Vienna atelier style furniture Motono etc. This is a masterpiece of the concrete block construction work.


Antonin RAYMONDKanagawa

• 128
  Employee Housing, The Rising Sun Petroleum Co. (Building no.10, Ferris University)
  らいじんぐ
  Antonin RAYMOND
  あんとにん
  1929
  Kanagawa
  This was built simultaneously with the reconstruction of the headquarters of Rising Sun oil company, which was destroyed by the Great Kanto Earthquake. The building consists of four dwelling units "flat for the 10 stenographers". The second floor has 10 bedrooms, initially, likely to be used as a shared house for 10 stenographers. We can see the design works for developing a complete transition to modernism in beige exterior, green steel sash and assigning ways of tiles at parapet and sashes, etc.

Yoshitika UCHIDATokyo

• 129
  Auditorium, NT&T Public Agency’s Chuo Gakuen
  ちゅうおう
  Yoshitika UCHIDA
  でんでんこ
  1958
  Tokyo
  The Building is covered by a steel dome over the rigid frame auditorium made of reinforced concrete. The dome is a spherical approximation as a collection of triangles, which consist of Hubmaier- truss. New materials such as wood wool cement boards to the reinforced concrete ceiling with PC panels on light- gauge steel to front canopy panel are used in the right place representing firm expression as shown directly. The building keeps being used carefully at the present.


Kenji IMAI, Manabu CHIBA (Repair competition)Chiba

• 130
  Ootaki-machi Municipal Hall
  おおたき
  Kenji IMAI, Manabu CHIBA (Repair competition)
  いまいけん
  1958
  Chiba
  The building showed the essence of architectural modernism precisely in Imai’s works in 1959. The deployment of the earth in the farm area is expressed by the single story house construction (partially two layers),which is represented by a combination of exposed concrete , precast concrete structure with 9.0m span of rigid frame, and steel sash that make up the clear-cut facade. This is his first work to show a mural that combines pieces of pottery from his longing for Gaudi.

Mamoru YAMADAKanagawa

• 131
  Shonan Campus and its Facilities, Tokai University
  とうかいだ
  Mamoru YAMADA
  やまだまも
  1963
  Kanagawa
  In the economic development of Japanese Industry 1960s, most of the Japanese universities were quickly increasing their corresponding capacity for enrollment because of the arrival of the first generation of the post WWII baby-boomer. They built campuses from the center of city to the suburb district because of shortage enough space for campus in the city center area. Such social background, Yamada designed the site planning of the Tokai University Campus to consider the landscape emphasizing the undulation and vista to the Mount Fuji and to correspond to the motorization and mass-education in the social requirements as innovative design in the scale of town planning. The design of each building is composed by the design language of the former works as saying it representative of his works.

Kiyoshi IKEBEKagoshima

• 132
  University of Tokyo Kagoshima Space Research Center
  とうきょう
  Kiyoshi IKEBE
  いけべあき
  1962
  Kagoshima
  A series of the facilities for launching the rockets and satellites, and observation at the Uchinoura, Kagoshima located in south of Kyushu Island had been constructed since 1961. Although the site is hilly land fronting the seashore, the architect, Kiyoshi Ikebe, who was a professor of Tokyo University, with cooperating other professors for engineering , tried to organize the each buildings to suit the purpose, function, materials, structure, and design to apply the modular system (GM module) which he himself investigated for many years.

Masato OTAKAIwate

• 133
  Hanaizumi Nokyo Kaikan
  はないずみ
  Masato OTAKA
  おおたかま
  1965
  Iwate
  One of the early projects for agricultural cooperative buildings which Masato Otaka had devoted to plan and design since 1960’s, On the site surrounding agricultural field, main building and other facilities are organized to layout, interior fluid and variant space realized by the prefabrication technology, could express effectively public meaning. For the exterior view of the building, the triangle roof shape might give us symbolic icon in accordance to the landscape of countryside.

Motoo TAKEMiyagi

• 134
  Furukawa Civic Hall
  ふるかわし
  Motoo TAKE
  たけもと
  1966
  Miyagi
  A professor architect,Motoo Take designed a civic hall at Furukawa (now Ohsaki) near Sendai in Tohoku region 4 years after completing as same civic hall at Nagasaki in Kyushu region. Auditorium seating 1056 audiences and foyer space are composed by one rectangular shape under the roof of reinforced concrete shell hanging 41 meter length cable. Other facilities such office, dining and machinery rooms are also simple rectangular shape adding to the main building. The shape of four giant wall pillars supporting the shell roof might give us dynamic impression for structural elements, simultaneously, integrate between stage and auditorium space.

Kazumasa YAMASHITATokyo

• 135
  From First Building
  ふろむ・ふ
  Kazumasa YAMASHITA
  やましたか
  1975
  Tokyo
  Because the site locates at the center of high fashionable area in Tokyo, architect Kazumasa Yamashita tried to design this architectural complex including shops, office and dwellings to be in a sense of human scale around small plaza, gallery, void space, and staircase, which can lead people to approach into the building. Such idea of environmental humanity originally came from a commercial producer, Yasuhiro Hamano to cooperate realizing with architect.

Isaburo UENOHyogo

• 136
  Takatsu House
  たかつてい
  Isaburo UENO
  うえのいさ
  1934
  Hyogo
  In the pre-WWII, Japanese architects had learned new movement in Europe and introduced eagerly their ideas, also set up organization such Nippon International Kenchiku-kai (Japan International Architectural Group). The chair of the group, Isaburo Ueno who invited German architect, Bruno Taut, designed this house. The characteristics of design is no decorative facades in composing cubic box, emphasizing horizontal line with eaves on each spandrel, which might correspondent to Japanese climate condition. Ueno also designed lighting fits and chairs in the rooms.

Bunzo YAMAGUCHIYamagata

• 137
  Baigetsu-do
  ばいげつ
  Bunzo YAMAGUCHI
  やまぐちぶ
  1936
  Yamagata
  On a site in central Yamagata City, inner land of Tohoku region, stands one of rare examples realized modern design in corner cutting, façade proportion, wide opening with white wall, and roof garden by modern architect, Bunzo Yamaguchi. It is three stories, reinforced concrete building for a pastry shop. The backside extending wooden house is now diminished, but modern atmosphere remains still there.

Tetsuro YOSHIDATokyo

• 138
  Villa Baba in Karasuyama (Kohu-tei, Dai-ichi Mutual Life Insurance )
  ばばしから
  Tetsuro YOSHIDA
  よしだてつ
  1937
  Tokyo
  In Setagaya, in Tokyo, dwelling district, stands a large site built in 1937 as detached villa, by Tetsuro Yoshida, who designed other master piece of buildings like Tokyo and Osaka Central Post Office. It is one of three houses by him, is different with other houses in reinforced concrete. Except Japanese room on the second floor, all rooms are modern taste of rationalism including Art-Deco style. Among existing modern houses, it is in quite high standard level of modern design, also realized technical aspects such steel sash, fitting cabinet and details so on.

Seiichi SHIRAIGunma

• 139
  Matsuida-machi Municipal Hall
  まついだま
  Seiichi SHIRAI
  しらいじょ
  1956
  Gunma
  Located on a hilly land developing by silkworm, cotton industry in Gunma, is the Matsuida Town Hall Shirai, who declared a Japanese traditional aesthetic,Jomon, while the another idea, Yayoi by Kenzo Tange, among the debates of Dento-Ronso (Debate of Tradition) in the 1950’s in Japan. Through the debates, Shirai tried to find the unique investigating dark and folklore cultural aspects to realize architectural space. Especially, the façade of this building is composed of quarry stone to sustain the curved balcony, was named “ Pantheon on the Field”.

Tomoya MASUDA + Kyoto UniversityTokushima

• 140
  Naruto Civic Hall and City Hall
  なるとしち
  Tomoya MASUDA + Kyoto University
  ますだとも
  1961
  Tokushima
  Naruto Civic Hall and City Hall are located in the Tokushima of the east edge of Shikoku Island. Tomoya Masuda and Kyoto University Laboratory had designed twenty buildings in the city for decades to realize civic facilities at the sites of disused saltern industry. Two buildings are the point of departure, connected each other by pedestrian deck, composing open urban space for public. The goal of this town design in Naruto City had not completed on the half way, but he had continued to design his idea for the several buildings in the campus of Kyoto University

SAKAKURA ASSOCIATES architects and engineers (Fumitaka NISHIZAWA,Yasutaka YAMAZAKI)Hyogo

• 141
  Ashiya Civic Hall
  あしやしみ
  SAKAKURA ASSOCIATES architects and engineers (Fumitaka NISHIZAWA,Yasutaka YAMAZAKI)
  さかくらじ
  1963
  Hyogo
  Ashiya Civic Hall including Runa Hall and Annex is one of the most important works by Osaka Branch of Sakakura Associates. For thirty years over, since 1963 had started main hall continuing to Runa Hall and the Annex also after Hanshin Great Earthquake restoration are seen as presenting condition. Each building is finished by exposed concrete as modernism expression, however, is different from idea, design method and form. Such difference could connote the transformation of ages.

Taro AMANO, Keiichiro MOTEGIi, Jiro HIRASHIMATokyo

• 142
  University Library, Painting and Sculpture Buildings Tokyo University of the Arts
  とうきょう
  Taro AMANO, Keiichiro MOTEGIi, Jiro HIRASHIMA
  あまのたろ
  1964
  Tokyo
  Taro Amano, who worked for F.L.Wright before he became a Professor of Tokyo University of Fine Arts and Music, designed these 3 buildings in the greenery campus sites in Ueno. Social background was among the industrial development in the 1960’s, of lack consciousness for environmental and ecological sense, Amano laid out these buildings in according to physical and natural elements of surrounding area Ueno including the Tokyo Metropolitan Museum and Ueno Zoo.

Yoshinobu ASHIHARATokyo

• 143
  Atelier Building, Musashino Art University　(No.4 Building)
  むさしのび
  Yoshinobu ASHIHARA
  あしはらよ
  1964
  Tokyo
  In the suburb of Tokyo, remaining woods and hill of Musashino area, stands a university for fine arts and graphic design. Architect Yoshinobu Ashihara who was a professor of architectural design for this university, planned whole campus layout, in which he designed a small but well designed atelier building for painting and sculpture by grilled composition, rising up first floor level of reinforced concrete wall, girder and pilotis in the center of the campus. It can realize to transformation of approaching space from the central plaza, through the pilotis of low scale space, going up the spiral stair, to courtyard on the first floor adjacent to the each atelier.

Mayumi MIYAWAKITokyo

• 144
  Matsukawa Box
  まつかわ・
  Mayumi MIYAWAKI
  みやわきだ
  1971
  Tokyo
  In the dwelling area of Shinjuku in Tokyo, stand three cubic boxes gathering surrounding courtyard, which stems from the naming of this house. Mayumi Miyawaki, who had designed a series of cubic box houses to realize dwelling space in the dense area. This house was constructed in separating two stages, 1971 and 1978. Miyawaki planned to design the first stage in considering the image of next stage. The structure was composed by reinforced concrete and wooden frame, which was one of first and typical examples for composite structural house at that time.

Osamu ISHIYAMAAichi

• 145
  Gen-an (Fantasy Villa)
  げんあん
  Osamu ISHIYAMA
  いしやまし
  1975
  Aichi
  An architect, Osamu Ishiyama who designed this house, Gen-an as his debut work, is the first generation of so-called post-modernist, he tried to model this house after an unique house which was already constructed by architectural engineer, Kenji Kawai. Ishiyama collaged primitive materials and structure such as steel, glass and concrete using as the front façade, corrugated plate using for soil construction as the side façade, ceiling and floor. It could be interpreted as breaking rule of modern technology and overcome notion of modern architecture.

The Special Maintenance Section of the Japanese Navy (Kenzaburo MAJIMA + Noburu YOSHIDA)Nagasaki

• 146
  Hario Radio Tower no.1, no.2, no.3 and Transmission Building
  させぼむせ
  The Special Maintenance Section of the Japanese Navy (Kenzaburo MAJIMA + Noburu YOSHIDA)
  りんじかい
  1922
  Nagasaki
  The Maintenance Section of Japanese Navy had played important role to construct a series of facilities like administration office, factory, dog of ship, stores and other engineering buildings in order to defend the country since the end of 19th century in Japan. Hario Radio Transmission Tower stands on the bay area entrance to Sasebo port, one of important naval ports, west edge of Kyusyu Island corresponding to China and other Asian region, was designed and constructed by the naval engineers, Kenzaburo Majima who contributed to introduce the engineering of reinforce concrete and Noburu Yoshida who supervised the construction site. Three towers were located in a 300 meter circular, chimney shape of 135 meter high, basement diameter 12 meter, probably the most gigantic construction of reinforced concrete in the world at that time.

Tachu NAITOYamagata

• 147
  Choja-baru Powerhouse
  ちょうじゃ
  Tachu NAITO
  うちふじた
  1939
  Yamagata
  The small mountain village, Oguni on the boarder of Yamagata and Nigata in Tohoku, north east of Japan, stands a hydroelectric power station to plan and construct for coming the WWII time in 1939. Composed by exposing reinforced concrete and light steel truss gable structure might reflect on the work by Tachu Naito, who had experienced to design a series of structure including Tokyo Tower and else. Constructing the building prompted this area to develop to the industrial village, thus could tell us modern industrial heritage as regional history. Other existing facilities including factory and dormitory were also Natito.

Junzo Sakakura Architects Associates (Fumitaka NISHIZAWA)Hyogo

• 148
  House with no-front
  しょうめん
  Junzo Sakakura Architects Associates (Fumitaka NISHIZAWA)
  さかくらじ
  1962
  Hyogo
  Since the middle of 1950s, many architects tried to design and plan individual houses in the city dense area, while public housing organization had continued to build housing estate to tackle huge dwelling shortage after WWII. Fumitaka Nishizawa, one of associate architects in the Osaka Branch of Sakakura Architects Associates, had designed a series of detached houses in the Nishinomiya, Kansai district as courtyard house to defend surrounding chaotic context. The method of courtyard house had developed to realize integrated interior and exterior space by grilled pergola or architectural walling by modular system.

Yoji WATANABETokyo

• 149
  Sky-Building no.3
  だいさんす
  Yoji WATANABE
  わたなべよ
  1970
  Tokyo
  In Shinjuku, Tokyo chaotic commercial area stands machine-like building called as “Gunkan Mansion (Warship Apartment)” a unique architect, Yoji Watanabe who came from the naval forces engineer. The building expresses the industrialized unit house, but in fact, composed by individual room. It means unit not as function but as design.

Yoshiro IKEHARA + Waseda University Ikehara Labo.Saitama

• 150
  Tokorozawa Seichi Cemetery Chapel and Ossuary
  ところざわ
  Yoshiro IKEHARA + Waseda University Ikehara Labo.
  いけはらよ
  1973
  Saitama
  In the western suburb area of Tokyo, surrounding deep forest, stands a complex building for chapel and ossuary, a professor architect Yoshiro Ikehara and Waseda University. He considered this architecture corresponding to natural elements, to organize architectural space with rich greenery, sun-shine and rustling wind. After 1970s in criticizing and separating mechanical aspects of modernism, the architect could propose the method in harmony with environment and nature. At the same time, he also tackled symbolic spatial expression themed “pray” as a forerunner example.

Yoshikazu UCHIDA, Tatsuto TOKITokyo

• 151
  Yokufukai (Hospital) Central Building
  よくふうえん
  Yoshikazu UCHIDA, Tatsuto TOKI
  うちだしょ
  1926
  Tokyo
  Registered as the 37th Historic Building by the Tokyo Metropolitan Government in 2001.

Tetsuro YOSHIDA (the Ministry of communications, Building and Repairs Section)Oita

• 152
  Beppu City Auditorium
  べっぷしこ
  Tetsuro YOSHIDA (the Ministry of communications, Building and Repairs Section)
  よしだてつ
  1928
  Oita
  Temporarily closed for renovation work until March 2016.

Yasui Takeo Architects & Engineers, Inc.Tokyo

• 153
  Nihombashi Nomura Building
  にほんばし
  Yasui Takeo Architects & Engineers, Inc.
  やすいたけ
  1930
  Tokyo
  A redevelopment plan of this area that includes the possible demolition of this building is underway.

Mamoru YAMADA (the Ministry of communications, Building and Repairs Section)Hiroshima

• 154
  Hiroshima Teishin Clinic, the Outpatient Wing
  ひろしまて
  Mamoru YAMADA (the Ministry of communications, Building and Repairs Section)
  ていしんし
  1935
  Hiroshima
  Mamoru Yamada designed many hospitals, but this is the first one he worked on. Yamada also travelled to Europe between 1929 - 1930, and was greatly influenced by the European modern movement of the time. Unique design manipulations include the rhythmic arrangement of large square windows, which at the time of completion had awnings, and the change of elevation with bay windows in the corners. As one of the few surviving examples of the International Style in Japan during the period of its reception, this building is important as a building that conveys the memory of the atomic bombing and retains sufficient design features to convey the appearance of the building at the time of its construction, although there have been some reductions in construction.

Kikuo HAMANO (Department of Engineer’s in-house architect), and the Ministry of Welfare’s Disabled Veterans AdministrationTokyo

• 155
  The Disabled Veterans Tokyo Tuberculosis Sanatorium, Gaiki-sha (or –goya) Complex
  しょういぐ
  Kikuo HAMANO (Department of Engineer’s in-house architect), and the Ministry of Welfare’s Disabled Veterans Administration
  しょうへい
  1939
  Tokyo
  It has an extremely primitive form and construction, specialising in tuberculosis observation and occupational therapy, and the space is minimal, with dimensions determined by the length of the sleeping area, the height of the standing area and the width of the walking area. The exterior is so plain that it is easy to pass by, but it is buildings such as these that should be the focus of conservation attention. It is also important in terms of military history, the history of national diseases and the medical history of the introduction of the British Sleeping Shelter, the only one still in existence.

Kikuji ISHIMOTO (Ishimoto Architectural & Engineering Firm, Inc.)Kanagawa

• 156
  Yokosuka Kaijin-kai Hospital (of the Imperial Japan Navy)
  よこすかか
  Kikuji ISHIMOTO (Ishimoto Architectural & Engineering Firm, Inc.)
  いしもとき
  1939
  Kanagawa
  This RC building was built in the Second World War period, and the value of the hospital (with in-patient wards) existing to this day without changing its original function is very high. In terms of design, the building retains the freshness of modernist architecture, with the use of partly white mosaic tiles, rather than the scratch tiling seen in the pre-war period. An investigation into the builder, internal function and refurbishment history would be warranted.

Hiroshi OHE laboratoryTokyo

• 157
  Hosei University, the ’55 Building and ’58 Building
  ほうせいだ
  Hiroshi OHE laboratory
  おおえひろ
  1955
  Tokyo
  A redevelopment plan and rebuilding of the ’55 Building and ’58 Building are underway. Thus, the ’55 Building and ’58 Building are schedule for demolition by 2021.

Togo MURANOOsaka

• 158
  Osaka Shin Kabukiza
  おおさかし
  Togo MURANO
  むらの・も
  1958
  Osaka
  It is built using traditional Japanese elements, but with Murano's unique and highly original design. It can be said to be both commercially straightforward and artistic at the same time. Before the war, Murano learnt how to create architecture that would be popular with the public under Watanabe Bushi. The exterior of the New Kabuki-za reflects Murano's unique view of Osaka architecture.

Sakakura Associates Architects and Engineers（Fumitaka NISHIZAWA ）Osaka

• 159
  Shionogi Pharmaceutical Central Laboratory
  しおのぎせ
  Sakakura Associates Architects and Engineers（Fumitaka NISHIZAWA ）
  さかくらじ
  1961
  Osaka
  Demolished in 2015.

Sakakura Associates Architects and Engineers（Fumitaka NISHIZAWA ）Osaka

• 160
  Osaka Prefectural Comprehensive Youth Outdoor Activity Center
  おおさかふ
  Sakakura Associates Architects and Engineers（Fumitaka NISHIZAWA ）
  さかくらじ
  1964
  Osaka
  The Center was closed in 2011.

Kiyonori KIKUTAKEYamaguchi

• 161
  Hagi Civic Center
  はぎしみん
  Kiyonori KIKUTAKE
  きくたけき
  1968
  Yamaguchi

Shoji HAYASHI (Nikken Sekkei, Ltd.)Tokyo

• 162
  Pola Gotanda Building
  ぽーらごた
  Shoji HAYASHI (Nikken Sekkei, Ltd.)
  にっけんせ
  1971
  Tokyo

Tadashi YAMAMOTO (Kagawa Prefecture Architecture Section)Kagawa

• 163
  Seto Inland Sea Folk History Museum
  せとないか
  Tadashi YAMAMOTO (Kagawa Prefecture Architecture Section)
  かがわけん
  1973
  Kagawa

KISHO KUROKAWA Architect&AssociatesFukuoka

• 164
  The Bank of Fukuoka Headquarters
  ふくおかぎ
  KISHO KUROKAWA Architect&Associates
  くろかわき
  1975
  Fukuoka

Arata ENDOHyogo

• 165
  Koshien Hotel
  こうしえん
  Arata ENDO
  えんどうあ
  1930
  Hyogo
  In 1965, the hotel was transferred to Mukogawa Women’s University and converted to an educational facility.

Eiji SHIMIZUHyogo

• 166
  Mikage-machi Civic Hall
  みかげちょ
  Eiji SHIMIZU
  しみずえい
  1933
  Hyogo

Yoshikazu UCHIDATokyo

• 167
  The University of Tokyo, Koishikawa Botanical Garden Main Building
  とうだいふ
  Yoshikazu UCHIDA
  うちだしょ
  1939
  Tokyo

Isoya YOSHIDAShizuoka

• 168
  Villa Iwanami, Atami Detached House Sekirei-so
  いわなみあ
  Isoya YOSHIDA
  よしだいそ
  1941
  Shizuoka
  Restoration and seismic resistant renovation work in 2011 with design supervision by Motoyoshi Itagaki Architectural Office and Mizusawa Komuten, Inc.

Kenzo TANGEEhime

• 169
  Imabari City Hall Complex: Imabari City Hall (presently/ Imabari City Hall Main Building) Imabari City Auditorium (presently/ Imabari Kokaido Hall) Imabari Civic Center
  いまばりし
  Kenzo TANGE
  たんげけん
  1958
  Ehime

Kunio MAYEKAWATokyo

• 170
  Setagaya Ward City Hall, Setagaya Ward Community Center (Setagaya Kumin Kaikan)
  せたがやく
  Kunio MAYEKAWA
  まえかわく
  1959
  Tokyo
  A redevelopment plan for the whole complex is underway.

Taro Amano Laboratory Architecture OfficeSaitama

• 171
  Musashi Ranzan Country Club
  むさしらん
  Taro Amano Laboratory Architecture Office
  あまのたろ
  1961
  Saitama
  Renovation work in 2014 with supervision by Mitsuru HIRAI (Meguro Architecture Laboratory Co., Ltd.).

Kurashiki Architectural Laboratory (Shizutaro URABE )Okayama

• 172
  Kurashiki Kokusai Hotel
  くらしきこ
  Kurashiki Architectural Laboratory (Shizutaro URABE )
  くらしきけ
  1963
  Okayama

Sakakura Associates Architects and Engineers, Osaka Office（Fumitaka NISHIZAWA and Takamitsu AZUMA）Osaka

• 173
  Hiraoka Municipal Office
  ひらおかし
  Sakakura Associates Architects and Engineers, Osaka Office（Fumitaka NISHIZAWA and Takamitsu AZUMA）
  さかくらじ
  1964
  Osaka

Masato Otaka Kenchiku Sekkei OfficeHiroshima

• 174
  Moto-machi High-rise Apartments Complex and Choju-en High-rise Apartments Complex
  ひろしまも
  Masato Otaka Kenchiku Sekkei Office
  おおたかけ
  1969
  Hiroshima

Antonin RAYMONDTokyo

• 175
  Hoshi Pharmaceutical and Commercial School, Main Hall
  ほしせいや
  Antonin RAYMOND
  あんとにん
  1924
  Tokyo

Shichiro KIKOTokyo

• 176
  Tachu Naito House
  うちふじた
  Shichiro KIKO
  きこしちろ
  1926
  Tokyo
  Renovated in 1986.

Shigeru ITO (the Ministry of Railways, Bureau of Construction, Architecture Section)Hyogo

• 177
  Hyogo Station
  ひょうごえ
  Shigeru ITO (the Ministry of Railways, Bureau of Construction, Architecture Section)
  てつどうし
  1930
  Hyogo

Yoshiro TANIGUCHIKanagawa

• 178
  Keio University Hiyoshi Kishukusha
  けいおうぎ
  Yoshiro TANIGUCHI
  たにぐちよ
  1937
  Kanagawa
  Registered as a Historic Building by the City of Yokohama in 2011.

Kunio MAYEKAWAAomori

• 179
  Aomori Prefectural Hirosaki Chuo High School, Auditorium
  あおもりけ
  Kunio MAYEKAWA
  まえかわく
  1954
  Aomori
  Earthquake resistant structural reinforcement work completed in 2012 by Minami Kensetsu.

Togo MURANO (Murano Mori Architectural Office)Fukuoka

• 180
  Yahata Community Center (presently/ Yahata Citizen Center)
  やわたしみ
  Togo MURANO (Murano Mori Architectural Office)
  むらの・も
  1958
  Fukuoka
  Scheduled to be closed in March 2016.

Horiguchi Laboratory（Sutemi HORIGUCHI ）Aichi

• 181
  Tokoname City Municipal Ceramics Laboratory, Main Building
  とこなめし
  Horiguchi Laboratory（Sutemi HORIGUCHI ）
  ほりぐちけ
  1961
  Aichi

Yoji WATANABENiigata

• 182
  Itoigawa Zendo-ji
  いといがわ
  Yoji WATANABE
  わたなべけ
  1961
  Niigata

SAKAKURA ASSOCIATES architects and engineersMie

• 183
  Ueno Municipal Office
  うえのしち
  SAKAKURA ASSOCIATES architects and engineers
  さかくらじ
  1963
  Mie
  Presently an on-going debate on the issue of either for a major renovation or demolishment is underway.

MAKI AND ASSOCIATES（Fumihiko MAKI）Shizuoka

• 184
  Kato Gakuen Elementary School
  かとうがく
  MAKI AND ASSOCIATES（Fumihiko MAKI）
  まきそうご
  1972
  Shizuoka

Matsuo IWASHITAKagoshima

• 185
  Kagoshima Dai-ichi Girls' High School (presently/ Kagoshima Chuo High school)
  かごしまけ
  Matsuo IWASHITA
  いわしたま
  1935
  Kagoshima

Mamoru YAMADA (the Ministry of communications, Building and Repairs Section)Kumamoto

• 186
  Kumamoto Postal Savings Office
  くまもとち
  Mamoru YAMADA (the Ministry of communications, Building and Repairs Section)
  ていしんし
  1936
  Kumamoto

Yoshiro TANIGUCHIGifu

• 187
  Toson Memorial Museum
  ふじむらき
  Yoshiro TANIGUCHI
  たにぐちよ
  1947
  Gifu

SAKAKURA ASSOCIATES architects and engineersTokyo

• 188
  Franco-Japanese Institute of Tokyo
  とうきょう
  SAKAKURA ASSOCIATES architects and engineers
  さかくらじ
  1951
  Tokyo

SOM(Skidmore,Owings & Merrill LLP)Okinawa

• 189
  U.S.Army Hospital,Okinawa Japan
  ざいちゅう
  SOM(Skidmore,Owings & Merrill LLP)
  えすおーえ
  1955
  Okinawa

Yoshiro TANIGUCHITokyo

• 190
  Tokyo Institute of Technology 70th Anniversary Auditorium
  とうきょう
  Yoshiro TANIGUCHI
  たにぐちよ
  1955
  Tokyo

Kunio MAYEKAWAOkayama

• 191
  Okayama Prefectural Government Hall
  おかやまけ
  Kunio MAYEKAWA
  まえかわく
  1957
  Okayama

Takamasa YOSIZAKAShimane

• 192
  Gotsu City Hall
  ごうつしち
  Takamasa YOSIZAKA
  よしざかた
  1962
  Shimane

Takeo SATOShiga

• 193
  Otsu Municipal Office
  おおつしち
  Takeo SATO
  さとうたけ
  1967
  Shiga

Kiyonori KIKUTAKEKyoto

• 194
  Kyoto Shinkin Bank Shugakuin Branch
  きょうとし
  Kiyonori KIKUTAKE
  きくたけき
  1971
  Kyoto

Tomoda Masuda Laboratory, Kyoto UniversityKyoto

• 195
  Kyoto University 70th Anniversary Gymnasium
  きょうとだ
  Tomoda Masuda Laboratory, Kyoto University
  きょうとだ
  1972
  Kyoto

Azusa KITOU Architects and Yokohama National UniversityTokyo

• 196
  Hino City Chuo Library
  ひのしりつ
  Azusa KITOU Architects and Yokohama National University
  きとうあず
  1973
  Tokyo

Atelier Zo and Atelier MobileOkinawa

• 197
  Nakijin Village Chuo Community Center
  なきじんそ
  Atelier Zo and Atelier Mobile
  ぞうせっけ
  1975
  Okinawa

Iwao YAMAWAKITokyo

• 198
  Atelier Kotaro MIGISHI and Setsuko
  みぎしこう
  Iwao YAMAWAKI
  やまわきい
  1934
  Tokyo

William Merrell VoriesTokyo

• 199
  International Christian University Buildings
  こくさいき
  William Merrell Vories
  ゔぉーりず
  1944
  Tokyo

Mamoru YAMADAKanagawa

• 200
  Social insurance Yokohama Chuo Hospital
  しゃかいほ
  Mamoru YAMADA
  やまだまも
  1960
  Kanagawa

taneo OKIKyoto

• 201
  Miyazu City Hall
  みやづしち
  taneo OKI
  おきたねろ
  1962
  Kyoto

Kiyoshi SEIKEHyogo

• 202
  Ohararyu-Iemoto hall and others
  おはらりゅ
  Kiyoshi SEIKE
  せいけきよ
  1962
  Hyogo

Seiichi SIRAINagasaki

• 203
  Shinwa Bank Ohato Branch
  しんわぎん
  Seiichi SIRAI
  しらいじょ
  1963
  Nagasaki

Kunio MAEKAWATokyo

• 204
  Kinokuniya Bookstore Building
  きのくにや
  Kunio MAEKAWA
  まえかわけ
  1964
  Tokyo

Masato OTAKATokyo

• 205
  All Japan Seamen's Union Hall
  ぜんにほん
  Masato OTAKA
  おおたか
  1964
  Tokyo

MAKI AND ASSOCIATES（Fumihiko MAKI）Osaka

• 206
  Osaka Rinkai Sports Center
  おおさかふり
  MAKI AND ASSOCIATES（Fumihiko MAKI）
  まきそうご
  1972
  Osaka

Yukifusa KOKUBA (Kuniken Ltd.)Okinawa

• 207
  Hotel Moon Beach
  れじでんし
  Yukifusa KOKUBA (Kuniken Ltd.)
  くにだて
  1975
  Okinawa

MAYEKAWA ASSOCIATES, ARCHITECTS & ENGINEERS（Kunio MAYEKAWA）Kumamoto

• 208
  Kumamoto Prefectural Museum of Art
  くまもとけ
  MAYEKAWA ASSOCIATES, ARCHITECTS & ENGINEERS（Kunio MAYEKAWA）
  まえかわけ
  1977
  Kumamoto

Antonin RAYMONDokayama

• 209
  Seishin Girls' High School
  せいしんこ
  Antonin RAYMOND
  あんとにん・れ
  1929
  okayama

Mamoru YAMADA (the Ministry of communications, Building and Repairs Section)tokyo

• 210
  Senju Telephone Office
  せんじゅゆ
  Mamoru YAMADA (the Ministry of communications, Building and Repairs Section)
  ていしんし
  1929
  tokyo

Kiyoshi IKEBE, Zenichi IMAIZUMI, Yoshikatsu TUBOI and others (Kensetu-Kougaku-Kenkyukai)shizuoka

• 211
  Numazu City Hondori fire proof building belt
  ぬまづしほ
  Kiyoshi IKEBE, Zenichi IMAIZUMI, Yoshikatsu TUBOI and others (Kensetu-Kougaku-Kenkyukai)
  けんせつこ
  1953
  shizuoka

Kanao SAKAMOTOtottori

• 212
  Kurayoshi City Meirin Elementary School
  とっとりけ
  Kanao SAKAMOTO
  さかもとじ
  1955
  tottori

Togo MURANOkanagawa

• 213
  Yokohama City Hall
  よこはまし
  Togo MURANO
  むらの・も
  1959
  kanagawa

Togo MURANOtokyo

• 214
  Japan Lutheran College
  るーてるし
  Togo MURANO
  むらのとう
  1963
  tokyo

Kunio MAYEKAWASaitama

• 215
  Saitama Hall
  さいたまか
  Kunio MAYEKAWA
  まえかわく
  1966
  Saitama

Tomoya MASUDAtokushima

• 216
  Naruto Cityl Hall,Naruto City Working Youth Home, Naruto City Welfare Center for the Elderly
  なるとしぶ
  Tomoya MASUDA
  ますだとも
  1975
  tokushima

Kyozo NAGASE (Kyoto Imperial University, Building and Repairs Section)Kumamoto

• 217
  Kyoto Imperial University Aso Volcano Research Institute
  きょうとて
  Kyozo NAGASE (Kyoto Imperial University, Building and Repairs Section)
  ながせきょ
  1928
  Kumamoto

Antonin RAYMOND,Masanori SUGIYAMA and Noritaro NAKAGAWAKanagawa

• 218
  Fujiya western confectionery store
  ふじやよう
  Antonin RAYMOND,Masanori SUGIYAMA and Noritaro NAKAGAWA
  あんとにん
  1937
  Kanagawa

Togo MURANOOsaka

• 219
  Buildings Togo MURANO at Senriyama Campus, Kansai University
  かんさいだ
  Togo MURANO
  むらのとう
  1949
  Osaka

Usaburo ETOKagoshima

• 220
  Tarumizu Town Hall
  たるみまち
  Usaburo ETO
  えとううさ
  1956
  Kagoshima

Hideto KISHIDA and Kenzo TANGETottori

• 221
  Kurayoshi Municipal Office
  くらよしし
  Hideto KISHIDA and Kenzo TANGE
  きしだひじ
  1957
  Tottori

Akira MUTONagano

• 222
  Tateshina Club Sanso(Mountain cottage)
  たてしなく
  Akira MUTO
  むとうあき
  1965
  Nagano

Togo MuranoTokyo

• 223
  Osaka Building Yaesu
  おおさかび
  Togo Murano
  むらのとう
  1967
  Tokyo

Sachio OTANIIshikawa

• 224
  Kanazawa Institute of Technology Main building
  かなざわこ
  Sachio OTANI
  おおたにゆ
  1969
  Ishikawa

Kisyo KUROKAWAChiba

• 225
  Sakura Municipal Office
  さくらしち
  Kisyo KUROKAWA
  くろかわき
  1971
  Chiba

Yoshiro TANIGUCHI and Yoshio TANIGUCHIIshikawa

• 226
  Kanazawa City Library
  かなざわし
  Yoshiro TANIGUCHI and Yoshio TANIGUCHI
  たにぐちよ
  1978
  Ishikawa

Arata ENDOTokyo

• 227
  Minamisawa Campus, Jiyu Gakuen
  じゆうがく
  Arata ENDO
  えんどうあ
  1929
  Tokyo

Antonin RAYMONDTokyo

• 228
  Tetsuma AKABOSHI House
  あかぼして
  Antonin RAYMOND
  あんとにん・れ
  1934
  Tokyo

Takeo SATOYamaguchi

• 229
  Iwakuni Chokokan
  いわくにち
  Takeo SATO
  さとうたけ
  1945
  Yamaguchi

Katashi YASUDA and Kiyonori KIKUTAKEShimane

• 230
  Buildings around the Shimane Prefectural Office
  しまねけん
  Katashi YASUDA and Kiyonori KIKUTAKE
  やすだしん
  1958
  Shimane

Shizutaro URABE (Kurashiki Rayon Building and Repairs Section)Toyama

• 231
  Kurashiki Rayon Toyama Apartment
  くらしきれ
  Shizutaro URABE (Kurashiki Rayon Building and Repairs Section)
  うらべしん
  1961
  Toyama

Hisashi YAMAMOTO (K-Kozo kenkyujo)Okayama

• 232
  Hinase Town Hall
  ひなせちょ
  Hisashi YAMAMOTO (K-Kozo kenkyujo)
  やまもとひ
  1960
  Okayama

Takashi NONAKAKumamoto

• 233
  Kumamoto University Student Hall Toko Kaikan
  くまもとだ
  Takashi NONAKA
  のなかたく
  1965
  Kumamoto

Yoshio KOBAYASHI Lab, Nihon UniversityIwate

• 234
  Iwate Prefectural Gymnasium
  いわてけん
  Yoshio KOBAYASHI Lab, Nihon University
  にほんだい
  1967
  Iwate

Japan Library Association Facility Committee (Yasumi YOSHITAKE and others)Nigata

• 235
  Nagaoka City Library Goson-bunko
  ながおかし
  Japan Library Association Facility Committee (Yasumi YOSHITAKE and others)
  にほんとし
  1967
  Nigata

Tokio TSURUTA (Ishimoto Architects) Aichi

• 236
  Gamagori City Gymnasium
  がまごおり
  Tokio TSURUTA (Ishimoto Architects)
  つるたひふ
  1968
  Aichi

Paul Marvin RUDOLPH, Tsukasa YAMASHITA and Yuji NOGAAichi

• 237
  Daiei Building (presently/ Ark Sakae Tokai Building)
  だいえいび
  Paul Marvin RUDOLPH, Tsukasa YAMASHITA and Yuji NOGA
  ぽーる・る
  1973
  Aichi

Kiyonori KIKUTAKEAomori

• 238
  Kuroishi HOLP Children's Center
  くろいしほ
  Kiyonori KIKUTAKE
  きくたけき
  1975
  Aomori

Kunio MAEKAWA Tokyo

• 239
  MID Building
  みっどびる
  Kunio MAEKAWA
  まえかわく
  1954
  Tokyo

Antonin RAYMONDTokyo

• 240
  St. Anselm Catholic Meguro Church
  せいあんせ
  Antonin RAYMOND
  あんとにん
  1955
  Tokyo

Takamasa YOSIZAKATokyo

• 241
  Villa CouCou
  ゔぃら・く
  Takamasa YOSIZAKA
  よしざかた
  1957
  Tokyo

Nobuko NAKAHARA Saitama

• 242
  Chokakuin Temple
  ちょうかく
  Nobuko NAKAHARA
  なかはらよ
  1962
  Saitama

Yoshinobu ASHIHARA Kumamoto

• 243
  Yatsushiro city welfare hall
  やつしろし
  Yoshinobu ASHIHARA
  あしはらよ
  1962
  Kumamoto

SAKAKURA ASSOCIATES architects and engineersAichi

• 244
  Chusanren Building
  ちゅうさんれ
  SAKAKURA ASSOCIATES architects and engineers
  さかくらじ
  1963
  Aichi

Mamoru YAMADA Tokyo

• 245
  Nippon BUDOKAN
  にほんぶど
  Mamoru YAMADA
  やまだまも
  1964
  Tokyo
  "Nippon Budokan" (1964,Tokyo), Mamoru YAMADA in his final years, has a different feel from his other work. In fact, it received particularly bad reviews within architectural academism at the time. It resembled the classical architecture of "Horyuji-Yumedono,"(748, Nara) a design on banknotes at the time, and so it was treated as a replica of a straightforward classical style and labeled as being against the style of the modern movement. Certainly, having a sloped roof with octagonal flat panels hung on a steel frame and the "giboshi" [ornamental railing top] atop it are reminiscent of classic Japanese architecture; moreover the eaves and vertical"lattice" attached to the horizontally running windows and "kumikoran" railings portray dominant Japanese motifs. It is almost certain that Yamada was aiming for "Japaneseness" for Japan's Judo venue at the Olympics. During the same period, Kyoto Tower became an issue due to controversy over the landscape of the ancient city, and due to these two controversies Yamada came to be assailed on all sides. He fell ill and died two years later in 1966, amidst this headwind. Yamada himself believed that these buildings would come to be accepted by future generations. Today, the Nippon Budokan is used not only for martial arts tournaments, but also for national events, university entrance ceremonies, and graduation ceremonies. In particular, it has maintained a high rate of usage for concerts since 1966 when the Beatles visited Japan and held a concert thereit is widely familiar with the public. It is said that young musicians first aim for their "Nippon Budokan performance." In particular, the "roof that imitates Mt. Fuji" that is symbolic of the Nippon Budokan and its "giboshi" atop it are familiar from the lyrics of the popular song "Tamanegi." There is no doubt that Yamada's free molded expression is tied to the value of this building.

Eiji HOTTA Tokyo

• 246
  VILLA BIANCA
  びら・びあ
  Eiji HOTTA
  ほったえい
  1964
  Tokyo

Japan National Railway and Tetsudo KaikanOsaka

• 247
  Shin-Osaka Station
  しんおおさ
  Japan National Railway and Tetsudo Kaikan
  にほんこく
  1964
  Osaka

Akiyoshi OGATA and othersKanagawa

• 248
  Kanagawa Prefectual Housing Supply Corporation Takeyama-danchi Center Zone
  かながわけ
  Akiyoshi OGATA and others
  ぐんけんち
  1970
  Kanagawa

Mitsuo TAKI, Aichi Prefecture,and,Tokai SekkeiAichi

• 249
  Aichi Greenery Center
  あいちけん
  Mitsuo TAKI, Aichi Prefecture,and,Tokai Sekkei
  たきみつお
  1975
  Aichi

Masato OTAKAFukushima

• 250
  Miharu Town Gymnasium
  みはるちょ
  Masato OTAKA
  だいこうけ
  1978
  Fukushima

Sekine Yotaro Architects (Chikatada KURATA)Tokyo

• 251
  Tama Seiseki Memorial Hall
  たませいせ
  Sekine Yotaro Architects (Chikatada KURATA)
  せきねよう
  1930
  Tokyo

Sutemi HORIGUCHIIbaraki

• 252
  Mito weather station
  みとそっこ
  Sutemi HORIGUCHI
  ほりぐちす
  1935
  Ibaraki

Bunzo YAMAGUCHITokyo

• 253
  Bunzo Yamaguchi's house
  やまぐちぶ
  Bunzo YAMAGUCHI
  やまぐちぶ
  1940
  Tokyo

Hiroshi OHETokyo

• 254
  Ministry of Agriculture, Forestry and Fisheries, Sanbancho Kyoyo Kaigisho
  のうりんし
  Hiroshi OHE
  おおえひろ
  1956
  Tokyo

Tadao IGARASHIFukui

• 255
  Fukui Shrine
  ふくいじん
  Tadao IGARASHI
  いがらした
  1957
  Fukui

JNR Sendai Railway Management BureauMiyagi

• 256
  Shiroishi station building
  しろいしえ
  JNR Sendai Railway Management Bureau
  にほんこく
  1959
  Miyagi

Kenzo Tange LaboratoryMiyazaki

• 257
  Nichinan Cultural Center
  にちなんし
  Kenzo Tange Laboratory
  たんげけん
  1962
  Miyazaki

Yoshichika UCHIDA + Daiichi Kobo (Teiichi TAKAHASHI)Saga

• 258
  Saga Prefectural Library
  さがけんり
  Yoshichika UCHIDA + Daiichi Kobo (Teiichi TAKAHASHI)
  うちだしょ
  1962
  Saga

Ministry of Construction Kyushu Regional Construction Bureau (Katashi YASUDA)Oita

• 259
  Oita Prefectural Government Building
  おおいたけ
  Ministry of Construction Kyushu Regional Construction Bureau (Katashi YASUDA)
  けんせつし
  1962
  Oita

Takeo SATOOkayama

• 260
  Okayama Civic Hall
  おかやまし
  Takeo SATO
  さとうたけ
  1963
  Okayama

SAKAKURA ASSOCIATES architects and engineersGifu

• 261
  Gifu Civic Auditorium
  ぎふしみん
  SAKAKURA ASSOCIATES architects and engineers
  さかくらじ
  1967
  Gifu

Architects Genplan (Hisashi Mitsuno, Yoshiaki Nakamura, Osamu Hibino) Aichi

• 262
  Inazawa City Hall
  いなざわし
  Architects Genplan (Hisashi Mitsuno, Yoshiaki Nakamura, Osamu Hibino)
  せっけいじ
  1970
  Aichi

NIHON SEKKEI, INC.Tokyo

• 263
  Keio Plaza Hotel
  けいおうぷ
  NIHON SEKKEI, INC.
  にほんせっ
  1971
  Tokyo

Waseda University Hozumi Laboratory Iwate

• 264
  Tanohata Junior High School Dormitory
  たのはたち
  Waseda University Hozumi Laboratory
  わせだだい
  1976
  Iwate

Arata ENDOKanagawa

• 265
  Kenji Kondo villa
  こんどうけ
  Arata ENDO
  えんどうし
  1925
  Kanagawa

Hyogo

• 266
  Kobe Customs No. 20 Shed.
  こうべぜい
  おおくらし
  1932
  Hyogo

Antonin RAYMONDOsaka

• 267
  Seibo Jogakuin
  せいぼじょ
  Antonin RAYMOND
  あんとにん
  1932
  Osaka

York and Sawyer Design OfficeHiroshima

• 268
  Radiation Effctes Research Foundation
  ひろしまえ
  York and Sawyer Design Office
  よーく
  1950
  Hiroshima
  October 1950 Initial plan Completion of 6 buildings (A~F buildings), completion of expansion of G.H buildings in 1953, expansion until 1967

Kiyoshi IKEBETokyo

• 269
  Kokubunji Church
  にほんきり
  Kiyoshi IKEBE
  いけべあき
  1951
  Tokyo

Setsu WATANABEWakayama

• 270
  Wakayama University Matsushita Kaikan
  わかやまだ
  Setsu WATANABE
  わたなべけ
  1961
  Wakayama

SAKAKURA ASSOCIATES architects and engineers Saga

• 271
  Saga Prefectural Gymnasium
  さがけんた
  SAKAKURA ASSOCIATES architects and engineers
  さかくらじ
  1963
  Saga

Kiyonori KIKUTAKEGunma

• 272
  Tatebayashi City Hall
  たてばやし
  Kiyonori KIKUTAKE
  きくたけせ
  1963
  Gunma

Teruo KATAYAMANara

• 273
  Nara Prefectural Government Building
  ならけんち
  Teruo KATAYAMA
  けんせつし
  1965
  Nara

Miho HAMAGUCHIKanagawa

• 274
  G House
  じーてい（
  Miho HAMAGUCHI
  はまぐちみ
  1966
  Kanagawa

NIKKEN SEKKEI LTDAkita

• 275
  Akita Museum of Art
  あきたけん
  NIKKEN SEKKEI LTD
  にっけんせ
  1966
  Akita

Suketada NAITOKagoshima

• 276
  Kagoshimaken Industrial Hall
  かごしまけ
  Suketada NAITO
  ないとうけ
  1965
  Kagoshima

Kazuhiro ISHII＋Kazuhiko NAMBAKagawa

• 277
  Naoshima Educational District (Naoshima Kindergarten School, Naoshima Elementary School, Naoshima Junior High School, Town Ground)
  なおしまぶ
  Kazuhiro ISHII＋Kazuhiko NAMBA
  いしいかず
  1970
  Kagawa

Katashi YASUDATottori

• 278
  Saji Village Heavy Snow Development Center Plaza Saji
  さじそんご
  Katashi YASUDA
  やすだしん
  1971
  Tottori

Sachio OTANIKanagawa

• 279
  Kawasaki city, Kawara-machi apartment complex
  かわさきし
  Sachio OTANI
  おおたにけ
  1972
  Kanagawa

Masato OTAKAChiba

• 280
  The Library, College of Industrial Technology, Nihon University
  にほんだい
  Masato OTAKA
  おおたかま
  1973
  Chiba

Togo MURANOFukuoka

• 281
  The Imperial Steel Works, Yawata, Japan
  にほんせい
  Togo MURANO
  むらの
  1941
  Fukuoka

Kenji TAKIZAWANagano

• 282
  Sakaki-machi culture center
  さかきまち
  Kenji TAKIZAWA
  たきざわ
  1970
  Nagano

Architectual design : Arata ISOZAKIArchitectual Structure design : Mamoru KAWAGUCHIGunma

• 283
  THE MUSEUM OF MODERN ART, GUNMA
  ぐんまけ
  Architectual design : Arata ISOZAKIArchitectual Structure design : Mamoru KAWAGUCHI
  いそざき
  1974
  Gunma

Uchii Shozo ArchitectsYamanashi

• 284
  Minobusan Kuonji Temple
  みのぶさん
  Uchii Shozo Architects
  うちいしょ
  1976
  Yamanashi

Minoru TAKEYAMA ArchitectsTokyo

• 285
  Shibuya 109
  ふぁっしょん
  Minoru TAKEYAMA Architects
  たけやまみ
  1978
  Tokyo

Atelier Zo, Atelier MobileOkinawa

• 286
  Nago City Hall
  なごし
  Atelier Zo, Atelier Mobile
  ぞうせっけい
  1981
  Okinawa

Taniguchi and AssociatesYamagata

• 287
  Ken Domon Museum of Photography
  どもんけ
  Taniguchi and Associates
  たにぐちけ
  1983
  Yamagata

Fumihiko MAKI, Maki and AssociatesTokyo

• 288
  SPIRAL
  すぱいらる
  Fumihiko MAKI, Maki and Associates
  まきふみひ
  1985
  Tokyo

Kazuo SHINOHARA, Toshihiko KIMURATokyo

• 289
  Centennial Hall (Museum), Tokyo Institute of Technology
  とうきょうこうぎょう
  Kazuo SHINOHARA, Toshihiko KIMURA
  しのはらか
  1987
  Tokyo

Hiroshi HARA, Architectual Institute Atelier FaiTokyo

• 290
  YAMATO INTERNATIONAL INC.
  やまとい
  Hiroshi HARA, Architectual Institute Atelier Fai
  はらひろし
  1987
  Tokyo