
Plateau Ying Shue H2R architects Lead Architect/Partner
Chao Bai Yu Long Shorttree Rural Institute
Assistant Professor, Curator, Department of Architectural Design, Chak Chi Kong University
Wen Shin Art Center (No. 6, Lane 10, Lane 180, Section 6, Section 6, Minquan East Road, Neihu District, Taipei City)
$300 (This event fee can be credited with invoice discount of $150 for book purchase on the day)
At 6.20pm, the Art Gallery will hold its first annual selection of the 2019-2020 series of events — Architecture Salon (3): Two Talks on Kazuo Shinohara, the curation team specially invited Japanese architect and H2R architects, lead architect Hideki Hirahara Zhao Biyu and Professor Zhao Biyu of the Long Shortsu Rural Institute, discussed the Japanese architect Shinobara (Kazuo Shinohara's creative context and its far-reaching influence on architectural thinking.
Kazuo Shinohara (1925-2006) originally studied mathematics and switched to architecture after graduating from Tokyo University of Technology in 1953. He taught at his mother's school after graduating from Tokyo University of Technology in 1953. SHINOHARA'S WORK HAS INFLUENCED JAPANESE ARCHITECTS SUCH AS IRENE SAKAMOTO, YAIKO NAGAYAKAWA, ITOYO ITŌ, GISHIMA WAZE, YUHARI TSUMOTO, YUHARI TSUMOTO, NAGAYAKAWA HAO, AND HIS INFLUENCE IS MORE WIDELY SPREAD AROUND THE WORLD. The Swiss architect Valerio Olgiati, who spoke at the Architectural Salon (2) in this exhibition series, commented on Shinohara's images as his spatial thinking. In 2019, the Harvard School of Design (GSD) also hosted the Shinohara exhibition Shinohara Kazuo: ModernNext.
This time, Master Ishii Ishii of Shinohara will focus on Jutaku-Ron (Essays on Residential Housings) to discuss the path of architectural thinking that began with living space. Zhao Biyu uses four styles of Shinobara's career to discuss the context of the architect's work and share spatial observations of Shinobara's architecture.
In addition to the exhibition “Literature of the Year 2019-2020”, in addition to exhibiting the works of Shinohara's one-man architecture from the 1960s and 70s, there is also a photographic collection of Shinohara a man edited by the Swiss Association of Young Architects Dehli Grolimund and published in 2019 (Kazuo Shinohara: View from This Side), etc. Shinohara's architectural publications span more than 50 years, and the heat has not diminished, and its impact is visible across generations.
In the 1960s and 70s, while the Japanese architectural community mainly focused on mass production, the implementation of modernism and the minimization of residential spaces, Kazuo Shinohara dedicated himself to exploring the potential for liberating residential design. Through writing and building alternatingly, he investigated the connection between spatial forms and inner spirit. From the perspective of a Japanese architect, Hirahara Hideki elucidates the method of integrating theory and practice through Shinohara's Essays on Residential Housings (1970).
Shinohara not only inspired his students, such as Toyo Ito and Kazunari Sakamoto, during his tenure at the Tokyo Institute of Technology, but also resonated widely with the younger generation of creators by focusing on small houses, in contrast to the grand proposals of the Metabolism movement that was flourishing at the time. This focus created a significant and far-reaching lineage that greatly influenced Japanese architecture.1 Taiwanese researcher Po-Yu Chao introduces the four "patterns" in Shinohara's career and the three key works that marked hidden transitions: from reflections on traditional Japanese houses, gradually moving into symbolic spaces filled with abstract, fragmented meanings; attempting to create "zero-degree machines" that allow users to connect spatial objects on their own; and being attracted by chaotic urban scenes, piecing together volumes in a continuously evolving and speculative design process. Po-Yu Chao also shares precious footage recorded during visits to two of Shinohara's classic residential works, where he was invited by the homeowners to enter. He also shares the inspirations and attempts in his own creations and teaching. For architects of the "Shinohara School," architectural writing and practice are equally important, not only as records of completed works but also as explorations and reflections for future steps.