JAPAN AND THE WEST: AN ARCHITECTURAL DIALOGUE
Book ID/图书代码： 12309917C00006
English Summary/英文概要： While historically there has been an acknowledged exchange of ideas between Japanese and Western architects, so far, the only examinations of this exchange have been limited to detailed studies of a single architect and their influences, such as Frank Lloyd Wright. This book addresses, in four distinct parts, the architectural dialogue between Japan and the West from the opening up of Japan in the 1850s until the end of the C20. Beginning with a section on Japonisme in Europe and America in the C19 and the "giyofu" (fake Western) architecture of Japan, the book then looks at Modern architecture in Japan, Europe and America between the two World Wars. The third section explores Architecture in Japan from 1945 until the Osaka Expo of 1970 and finally, it concludes with a section on Internationalism in Japanese and Western architecture in the late C20. The book addresses both cultures equally, showing that there is much in Western architecture which has come from Japan and that, by drawing upon Western ideas, the architecture of Japan has in many ways come full circle. The book is both a synthesis of hitherto uncollected ideas and a development of familiar and less familiar themes, such as the importance of Japanese art and design to the High Victorian and Arts and Crafts movements, or the complex arguments around Tradition and Modernity in post-War Japanese architecture. The book does not provide a continuous historical narrative, but rather a series of discursive essays or case studies which could be individually read or taken together as part of the whole. It provides an analysis and interpretation which is both critical and explanatory and as a result serves two audiences who are largely unfamiliar with their common architectural ground.
Chinese Summary/中文概要： 虽然在历史上，日本和西方建筑师之间曾有过公认的思想交流，但到目前为止，对这种交流的研究仅限于对单个建筑师及其影响的详细研究，如弗兰克•劳埃德•赖特。本书分为四个不同的部分，讲述了从19世纪50年代日本对外开放到20世纪20年代末期，日本与西方的建筑对话。这本书以C19时期的欧洲和美国的日式建筑和日本的“giyofu”(仿造的西方)建筑为开端，然后着眼于两次世界大战之间的日本、欧洲和美国的现代建筑。第三部分探讨了1945年至1970年大阪世博会期间的日本建筑，最后以20世纪20年代后期日本和西方建筑的国际主义作为结语。这本书平等地论述了这两种文化，表明西方建筑中有许多来自日本的东西，而且，通过借鉴西方的思想，日本的建筑在许多方面都实现了完整的循环。这本书既是迄今为止尚未收集到的观点的综合，也是熟悉和不太熟悉主题的人对建筑认识的发展，如日本艺术和设计对维多利亚时代和工艺美术运动的重要性，或战后日本建筑中围绕传统和现代性的复杂争论。这本书没有提供一个连续的历史叙述，而是一系列零散的文章或案例研究，可以单独阅读或作为整体的一部分。它提供了一种批判性和解释性的分析和解释，从而服务于对两个共同的架构基础基本不熟悉的受众。（WYL）
Awards/获奖情况：作为Kokusai-Kentiku的编辑，Ryūichi Hamaguchi在1953年写道:“如果没有沿线参考日本的建筑，想要了解西方现代建筑的崛起是不可能的。要了解日本现代建筑的兴起，不参考西方建筑，尤其是近代建筑的兴起，同样是不可能的。“这本书展示了日本和西方在过去150年里对彼此的建筑影响。”
虽然西方和日本建筑的近代史有很好的记载，但它们很少相互交织在一起。在大量研究的基础上，本书提供了一个综合的概述，将自1850年以来的日本和西方建筑的主要主题结合在一起，表明两者都不可能没有对方而存在于现在的状态。应该不足为奇,在东京的日本央行的建筑样式是基于布鲁塞尔和伦敦的国家银行的风格，或者在法国南部的盖勒•柯布西耶的卡巴农马丁建筑是基于榻榻米垫的尺寸，在考虑这些历史的时候，本书展示了建筑文化的相互依存，同时，承认他们之间的分歧。总之，这本书超越了风格和结构，转向了日本的“停顿”或“间隙”概念，并展示了这种禅宗佛教概念是如何在西方建筑中找到一席之地的，并可能为西方建筑师提供一条新的前进道路。
As Ryūichi Hamaguchi, editor of Kokusai-Kentiku, wrote in 1953: ‘It is impossible to understand the rise of modern architecture in the West without some reference, all along the line, to the architecture of Japan. It is equally impossible to understand the
rise of modern architecture in Japan without reference, especially in recent times, to that of the West.’ This book shows the architectural influence that Japan and the West have had on each other during the last 150 years.
While the recent histories of Western and Japanese architecture have been well recorded, they have rarely been interwoven. Based on extensive research, this book provides a synthetic overview that brings together the main themes of Japanese and Western architecture since 1850 and shows that neither could exist in its present state without the other. It should be no surprise that the Bank of Japan in Tokyo is based upon the national banks in Brussels and London, or that Le Corbusier’s cabanon at Cap Martin in the south of France is based upon the dimensions of the tatami mat. In considering these histories, this book demonstrates the mutual interdependence
of both architectural cultures while, at the same time, acknowledging their differences. In conclusion, the book moves beyond style and structure to the
Japanese concept of ma — the pause or the space between, and demonstrates how this Zen Buddhist concept has found a place in Western architecture and might provide, for Western architects, a new way forward.
About the Author/作者介绍： 尼尔•杰克逊是一名建筑师和建筑历史学家，也是利物浦大学建筑学院的查尔斯•赖利教授的学员。他曾任教于利兹大学(2000-2005)、诺丁汉大学(1990-2000)和加州州立理工大学(1985-1990)。他目前是伦敦大学亚非研究学院日本研究中心的教授研究员。他的前几本书包括《现代钢屋》(1996)；克雷格•埃尔伍德，2002；皮埃尔•凯尼格, 2007;《萨尔泰尔:模范城镇的塑造》 2010年。
Neil Jackson is an architect and architectural historian and holds the Charles Reilly Chair in the School of Architecture, University of Liverpool. He previously taught at the University of Leeds (2000-2005), the University of Nottingham (1990-2000)
and at the California State Polytechnic University at Pomona, California (1985-1990). He is currently a Professorial Research Associate in the Japanese Research Centre at SOAS (the School of African and Oriental Studies), University of London. His previous books include The Modern Steel House, 1996; Craig Ellwood, 2002; Pierre Koenig, 2007; and Saltaire: The Making of a Model Town, 2010.
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