DC Field | Value | Language |
---|---|---|
dc.contributor.author | Cho, Hyunjung | ko |
dc.date.accessioned | 2020-12-22T08:50:17Z | - |
dc.date.available | 2020-12-22T08:50:17Z | - |
dc.date.created | 2020-12-10 | - |
dc.date.created | 2020-12-10 | - |
dc.date.created | 2020-12-10 | - |
dc.date.issued | 2020-09 | - |
dc.identifier.citation | ARQ-ARCHITECTURAL RESEARCH QUARTERLY, v.24, no.3, pp.239 - 250 | - |
dc.identifier.issn | 1359-1355 | - |
dc.identifier.uri | http://hdl.handle.net/10203/278906 | - |
dc.description.abstract | This paper is not a comprehensive survey of the architectural career of Arata Isozaki, one of the most distinguished practicing architects in the world today and the 2019 winner of the Pritzker Prize, but a specific look at his formative years of the 1960s when he began to build his own design methodology. It delineates Isozaki's encounter with the avant-garde art movement of the 1960s, collectively called "Anti-Art, " against the backdrop of the "anti-spirit" of Japanese society. Although Isozaki's artistic side has been overstated at times, previous studies rarely addressed how his intensive interactions with art circles played a role in shaping his design methodology. I would like to examine the convergence of creative individuals and cross-disciplinary connections to understand Isozaki's architectural thinking. This study examines how Isozaki's collaborations with his artist contemporaries enabled him to formulate the notion of the "invisible city, " a radically new design concept characterised by the expansion of the nature of architecture from producing isolated built-forms to all-encompassing natural and manmade environments. However, after drawing on communications and information theory, which prevailed in 60s architectural circles, Isozaki's destructive and anarchistic connotation of "invisible city" was channeled into a systematic cybernetic model and eventually transformed into a constructive planning method. I will discuss the realisation of a cybernetic environment at the Festival Plaza of Expo' 70 and trace the legacy of "invisible city" in his later postmodern work. | - |
dc.language | Korean | - |
dc.publisher | CAMBRIDGE UNIV PRESS | - |
dc.title | Arata Isozaki: the architect as artist | - |
dc.type | Article | - |
dc.identifier.wosid | 000592947900004 | - |
dc.identifier.scopusid | 2-s2.0-85095734268 | - |
dc.type.rims | ART | - |
dc.citation.volume | 24 | - |
dc.citation.issue | 3 | - |
dc.citation.beginningpage | 239 | - |
dc.citation.endingpage | 250 | - |
dc.citation.publicationname | ARQ-ARCHITECTURAL RESEARCH QUARTERLY | - |
dc.identifier.doi | 10.1017/S1359135520000329 | - |
dc.contributor.localauthor | Cho, Hyunjung | - |
dc.description.isOpenAccess | N | - |
dc.type.journalArticle | Article | - |
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