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Photographs by Homma Takashi. Roppongi Hills is one of Japan's largest integrated property developments, located in the Roppongi district of Tokyo. Constructed by building tycoon Minoru Mori, the mega-complex incorporates office space, apartments, shops, restaurants, cafés, movie theaters, a museum, a hotel, a major TV studio, an outdoor amphitheater, and a few parks. The(...)
mars 2006, Tokyo
Six strata : Roppongi Hills defined
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Photographs by Homma Takashi. Roppongi Hills is one of Japan's largest integrated property developments, located in the Roppongi district of Tokyo. Constructed by building tycoon Minoru Mori, the mega-complex incorporates office space, apartments, shops, restaurants, cafés, movie theaters, a museum, a hotel, a major TV studio, an outdoor amphitheater, and a few parks. The centerpiece is the 54-story eponymous Mori Tower. Mori's stated vision was to build an integrated development where high-rise inner-urban communities allow people to live, work, play, and shop in close proximity to eliminate commuting time. Seventeen years in the making, the complex opened to the public on april 23, 2003.
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Built around snatches of discussion overheard in a Beijing design studio, this book explores attitudes toward architecture in China since the opening of the Treaty Ports in the 1840s. Central to the discussion are the concepts of ti and yong, or “essence” and “form,” Chinese characters that are used to define the proper arrangement of what should be considered modern and(...)
avril 2002, Cambridge, Mass.
Architectural encounters with essence and form in modern China
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Built around snatches of discussion overheard in a Beijing design studio, this book explores attitudes toward architecture in China since the opening of the Treaty Ports in the 1840s. Central to the discussion are the concepts of ti and yong, or “essence” and “form,” Chinese characters that are used to define the proper arrangement of what should be considered modern and essentially Chinese. Ti and yong have gone through various transformations--for example, from “Chinese learning for essential principles and Western learning for practical application” to “socialist essence and cultural form” and an almost complete reversal to “modern essence and Chinese form.” The book opens with a discussion of cultural developments in China in response to the forced opening to the West in the mid-nineteenth century, efforts to reform the Qing dynasty, and the Nationalist and Communist regimes. It then considers the return of overseas-educated Chinese architects and foreign influences on Chinese architecture, four architectural orientations toward tradition and modernity in the 1920s and 1930s, and the controversy over the use of “big roofs” and other sinicizing aspects of Chinese architecture in the 1950s. The book then moves to the hard economic conditions of the Great Leap Forward and the Cultural Revolution, when architecture was almost abandoned, and the beginning of reform and opening up to the outside world in the late 1970s and 1980s. Finally, it looks at the present socialist market economy and Chinese architecture during the still incomplete process of modernization. It closes with a prognosis for the future.
Bombay riots
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A film poem. The author demands that the reader's imagination clothe the printed text with a continuous rhythmical flow of images and sounds.
Bombay riots
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A film poem. The author demands that the reader's imagination clothe the printed text with a continuous rhythmical flow of images and sounds.
Urban China in transition
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Using an innovative approach, this book interprets the unprecedented transformation of contemporary China's major cities. It highlights a diversity of trends in the areas of migration, criminal victimization, gated communities, and the status of women, suburbanization, and neighbourhood associations. Each chapter includes input from both an expert on urban life in China(...)
août 2008, Malden, Oxford, Victoria
Urban China in transition
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Using an innovative approach, this book interprets the unprecedented transformation of contemporary China's major cities. It highlights a diversity of trends in the areas of migration, criminal victimization, gated communities, and the status of women, suburbanization, and neighbourhood associations. Each chapter includes input from both an expert on urban life in China and an 'outside' expert from the fields of sociology, geography, economics, planning, political science, history, demography, architecture, or anthropology. John R. Logan is the founder of the Urban China Research Network, supported by the Andrew W. Mellon Foundation and a member of the editorial boards of Journal of Urban Affairs and City and Community. He was chosen Distinguished Professor of Sociology at the University at Albany, SUNY, as well as Director of the Lewis Mumford Center for Comparative Urban and Regional Research. In April 2003 he was selected by American Demographics magazine as one of five social demographers whose work has most influenced his field in the last 25 years.
Chine, construire l'héritage
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Savons-nous que la Chine cherche à se réapproprier sa richesse culturelle, alors qu'elle a engagé une éradication massive des traces construites de son passé, afin d'entrer dans une modernité d'une ampleur sans précédent ? Des "modèles" immobiliers inscrits dans des plannings contraints, associant partenaires publics et privés dans le montage financier, sont appliqués(...)
Chine, construire l'héritage
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Savons-nous que la Chine cherche à se réapproprier sa richesse culturelle, alors qu'elle a engagé une éradication massive des traces construites de son passé, afin d'entrer dans une modernité d'une ampleur sans précédent ? Des "modèles" immobiliers inscrits dans des plannings contraints, associant partenaires publics et privés dans le montage financier, sont appliqués dans tout le pays. La mixité sociale et la mixité d'usage d'un grand nombre d'anciens quartiers ont été détruits, et pourtant, en rupture ou en réaction, la Chine est devenue un véritable laboratoire d'expérimentation architecturale et urbaine mené par une nouvelle génération d'architectes.
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The concepts of "Indonesian architecture" and "architecture in Indonesia" are both quite difficult to pin down. For the architecture of this small country incorporates influences from many important cultures--from India, China and the Middle East to countries in the West--and is therefore extremely multifaceted. In fact, one might reasonably ask whether a "real"(...)
juillet 2007, Rotterdam
The past in the present : Architecture in Indonesia
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The concepts of "Indonesian architecture" and "architecture in Indonesia" are both quite difficult to pin down. For the architecture of this small country incorporates influences from many important cultures--from India, China and the Middle East to countries in the West--and is therefore extremely multifaceted. In fact, one might reasonably ask whether a "real" Indonesian architecture actually exists, even with reference to the country's vernacular work, which is highly diverse from an ethnic perspective in and of itself. The quest for an authentic Indonesian architecture has in fact been the subject of debate among architects there for many years, especially in regards to the work has been exported to other countries--in particular, its former colonizer, the Netherlands. (In fact, there is even a name for the hybrid style that originated during that era: Indische).This very nicely designed collection of illustrated essays, which features a special section of pictures and drawings of colonial architecture, provides a real sense of the diversity of building in modern-day Indonesia--while at the same time recognizing that such a perspective cannot be productive without taking history into account. With chapters on Modern Indonesian architecture, vernacular traditions, mosques, the effect of the Chinese diaspora, hybrid historic/contemporary Balinese architecture, the colonial period, Indische architecture and Art Deco and more, this publication provides an amazing overview and a long-overdue investigation of Indische work. Preface by Aaron Betsky.
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On the occasion of the exhibition "Archilab 2006" dedicated to the Japenese architecture and entitled "Nested in the city", Hyx publish the catalog of the exhibition in french and english version. They present all the projects of thirty invited architects and a set of critical texts which put in perspective the stakes and the subjects of the exhibition. More than any(...)
octobre 2006, Orléans
Archilab Japan, Orléans 2006 : nested in the city
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On the occasion of the exhibition "Archilab 2006" dedicated to the Japenese architecture and entitled "Nested in the city", Hyx publish the catalog of the exhibition in french and english version. They present all the projects of thirty invited architects and a set of critical texts which put in perspective the stakes and the subjects of the exhibition. More than any other country, Japan was interested at home, the space domesticates being perceived as a space privileging the thought. Hundred of projects presented in the catalog are built for the greater part. Selected by both curators (Akira Suzuki and Mariko Terada), they offer us a panorama of this architects' new generation which began in the 1990s. The most famous in France are doubtless Shigeru Ban presented to Archilab in 1999 and which was the first one to make approve tubes cardboard as support of his houses and also Kasujo Sejima who saw confiding with Ryue Nishizawa the construction of the Museum of the Louvre to Lens. Symbolic Bow Wow workshop is the Leader of this new generation. After the economic crisis of the end of the 90s, the construction of public establishments of average dimension and the competitions of architecture rarefied. The house thus becomes the space of creation privileged for these architects. That's why, in Tokyo, Jun Aoki, Kazuyo Sejima, Ryue Nishizawa, Takaharu and Yui Tezuka, Mitsuhiko Sato, Taira Nishizawa, Masao Koizumi, Yasuhiro Yamashita, Mikio Tai, Yuki Ishiguro, conceive small houses which embody the way of life of their inhabitants and maybe our future today.
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''LBA Architecture and Planning'' is an architectural practice based in Macau, co-founded by architects Rui Leão and F. Carlotta Bruni. The firm specializes in designing projects that integrate contemporary architecture with the historical and cultural context of the region. LBA has contributed to shaping Macau’s urban and architectural identity during the past 20 years(...)
septembre 2025
Layering the city: Research on infrastructure and public space in Macau
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''LBA Architecture and Planning'' is an architectural practice based in Macau, co-founded by architects Rui Leão and F. Carlotta Bruni. The firm specializes in designing projects that integrate contemporary architecture with the historical and cultural context of the region. LBA has contributed to shaping Macau’s urban and architectural identity during the past 20 years of rapid urbanization. The intellectual contributions of LBA are further evidenced through their spatial narratives that integrate complex urban contexts with culturally sensitive design strategies. The firm emphasizes the importance of creating spaces that harmonize with their surroundings while addressing the functional needs of modern urban living. This approach is particularly relevant in Macau, where the juxtaposition of old and new is a defining characteristic of the city. Their work in Macau serves as a testament to their capacity for thoughtful integration of historical contexts and innovative design, contributing significantly to the evolving identity of the city.
What is co-dividuality?: post-individual architecture, shared houses and other stories of openness
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This book explores the concept of co-dividuality, an architecture that expresses a new response to joint living in the age of postindividualism, social media, and the sharing economy. The focus lies on current experimentation in Japanese architecture and presents thematic homes with shared spaces designed as a result of warm, simple, fun and contemporary design(...)
juin 2020
What is co-dividuality?: post-individual architecture, shared houses and other stories of openness
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This book explores the concept of co-dividuality, an architecture that expresses a new response to joint living in the age of postindividualism, social media, and the sharing economy. The focus lies on current experimentation in Japanese architecture and presents thematic homes with shared spaces designed as a result of warm, simple, fun and contemporary design reflections. In addition to their private room, the co-tenants have large common areas where they can practice urban farming, create a start-up, cook together, or experience new spatial ergonomics. The book offers an overview not only on domestic space but also on projects characterized by a multifarious mix between public and private spheres. 'What Is Co-dividuality?' reflects on how we might want to live tomorrow. The book includes projects by Kengo Kuma, Kazuyo Sejima, Ryue Nishizawa, Shigeru Ban, Sou Fujimoto, Satoko Shinohara, Ayano Uchimura, Taichi Kuma, Junya Ishigami, Suppose Design, Naruse Inokuma, and Masuda + Otsubo, among others.
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Comme l'a déclaré Itô Teiji à propos de la difficulté de définir l'esthétique japonaise : « Le dilemme auquel nous sommes confrontés vient de ce que notre compréhension est intuitive et perceptuelle plutôt que rationnelle et logique. » De nombreux écrivains japonais privilégient dans la structure de leur travail une qualité d'indécision. Ce ne sont donc pas les hypothèses(...)
Traité d'esthétique japonaise
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Comme l'a déclaré Itô Teiji à propos de la difficulté de définir l'esthétique japonaise : « Le dilemme auquel nous sommes confrontés vient de ce que notre compréhension est intuitive et perceptuelle plutôt que rationnelle et logique. » De nombreux écrivains japonais privilégient dans la structure de leur travail une qualité d'indécision. Ce ne sont donc pas les hypothèses de l'« esprit qui contrôle » de l'auteur qui sont suivies mais, comme le dit l'expression japonaise, le pinceau lui-même. Le terme japonais zuihitsu, qu'on peut traduire par « essai », n'implique rien d'autre que cela : suivre le pinceau, l'autoriser à tenir les rênes. Par conséquent, il ne s'agit pas ici de s'escrimer pour arriver à des conclusions logiques. Nous chercherons plutôt à définir ces perceptions et variations de l'appréciation esthétique dans un style qui suggère le caractère très incertain de leur description.