Ma: The bond between Kazuo Shinohara’s work and Shodo
In Japan, traditionally, the arts as painting, music, theatre and, exceptionally calligraphy –shodo-, share an essential constant: not-being as compositional agent opposed to being. In terms of materiality, this can be expressed by interdependent duality between fullness and emptiness. Japanese term...
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Universidad ORT Uruguay
2021
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| Dostęp online: | https://revistas.ort.edu.uy/anales-de-investigacion-en-arquitectura/article/view/3132 |
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Universidad ORT Uruguay |
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| language |
spa |
| format |
Online |
| author |
Verdejo Ruiz, Mónica |
| spellingShingle |
Verdejo Ruiz, Mónica Ma: The bond between Kazuo Shinohara’s work and Shodo |
| author_facet |
Verdejo Ruiz, Mónica |
| author_sort |
Verdejo Ruiz, Mónica |
| title |
Ma: The bond between Kazuo Shinohara’s work and Shodo |
| title_short |
Ma: The bond between Kazuo Shinohara’s work and Shodo |
| title_full |
Ma: The bond between Kazuo Shinohara’s work and Shodo |
| title_fullStr |
Ma: The bond between Kazuo Shinohara’s work and Shodo |
| title_full_unstemmed |
Ma: The bond between Kazuo Shinohara’s work and Shodo |
| title_sort |
ma: the bond between kazuo shinohara’s work and shodo |
| description |
In Japan, traditionally, the arts as painting, music, theatre and, exceptionally calligraphy –shodo-, share an essential constant: not-being as compositional agent opposed to being. In terms of materiality, this can be expressed by interdependent duality between fullness and emptiness. Japanese term ma implies this void in itself –as interval-, as well as the simultaneous awareness of both: full and void. Its linkage with spatial perception has been an object of interest over the last decades. Nevertheless, statements regarding the materialization of ma through physical construction are scarce. For that reason, this research pursues the decryption of the means by which this duality emerges in architecture.
For that purpose, two works projected by Kazuo Shinohara, well known advocate of traditional Japanese architectonic essence and of the artistic status of the house, will be analysed. The investigation focuses on the plans of Umbrella House and House in a Curved Road, which have been redrawn specifically, employing a binary code in order to distinguish full, in black, from void, in white.
From the results obtained, it is inferred that Shinohara intentionally condenses household activities, releasing the remaining interior space from partitioning and thus generating a large void space inside which isolated structural elements arise to create spatial tension through the inconstant distances between them and the enclosure.
Both strategies –the varying degrees of compartmentalization, and thus of fullness condensation, just as the void tensioning due to isolated elements- are equally visible in shodo works. And, despite the underpinning differences between these two disciplines, beyond being a haphazard coincidence, these similarities point to a common compositional logic that finds its core at the configuration of ma. |
| publisher |
Universidad ORT Uruguay |
| publishDate |
2021 |
| url |
https://revistas.ort.edu.uy/anales-de-investigacion-en-arquitectura/article/view/3132 |
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AT verdejoruizmonica mathebondbetweenkazuoshinoharasworkandshodo AT verdejoruizmonica maelvinculoentrelaobradekazuoshinoharayelshodo |
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1709447362547548160 |
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ojs-article-31322021-08-19T16:09:27Z Ma: The bond between Kazuo Shinohara’s work and Shodo Ma: El vínculo entre la obra de Kazuo Shinohara y el Shodo Verdejo Ruiz, Mónica Vacío ma shodo Kazuo Shinohara dualidad lleno-vacío espacio despilfarrado arte lógica compositiva tensión espacial grados de compartimentación Void ma shodo Kazuo Shinohara duality full-void wasted space art compositional logic spatial tension degrees of compartmentalization In Japan, traditionally, the arts as painting, music, theatre and, exceptionally calligraphy –shodo-, share an essential constant: not-being as compositional agent opposed to being. In terms of materiality, this can be expressed by interdependent duality between fullness and emptiness. Japanese term ma implies this void in itself –as interval-, as well as the simultaneous awareness of both: full and void. Its linkage with spatial perception has been an object of interest over the last decades. Nevertheless, statements regarding the materialization of ma through physical construction are scarce. For that reason, this research pursues the decryption of the means by which this duality emerges in architecture. For that purpose, two works projected by Kazuo Shinohara, well known advocate of traditional Japanese architectonic essence and of the artistic status of the house, will be analysed. The investigation focuses on the plans of Umbrella House and House in a Curved Road, which have been redrawn specifically, employing a binary code in order to distinguish full, in black, from void, in white. From the results obtained, it is inferred that Shinohara intentionally condenses household activities, releasing the remaining interior space from partitioning and thus generating a large void space inside which isolated structural elements arise to create spatial tension through the inconstant distances between them and the enclosure. Both strategies –the varying degrees of compartmentalization, and thus of fullness condensation, just as the void tensioning due to isolated elements- are equally visible in shodo works. And, despite the underpinning differences between these two disciplines, beyond being a haphazard coincidence, these similarities point to a common compositional logic that finds its core at the configuration of ma. En Japón, tradicionalmente las artes como la pintura, la música, el teatro y, en especial la caligrafía –shodo–, comparten una constante esencial: el no-ser como agente compositivo en oposición al ser. En términos matéricos esto puede expresarse en la dualidad interdependiente lleno-vacío. El término nipón ma implica tanto ese vacío en sí mismo -como intervalo-, como la simultánea percepción de lleno y vacío. Su vinculación con la percepción espacial ha sido objeto de interés durante las últimas décadas. Sin embargo, escasean las declaraciones en cuanto a la materialización del ma por medio de la construcción física. Por ello, la presente investigación persigue descifrar los medios a través de los cuales dicha dualidad se manifiesta en la arquitectura. Para ello se analizarán dos obras proyectadas por Kazuo Shinohara, defensor de la esencia arquitectónica tradicional nipona y la condición artística de la casa. El estudio se centra en los planos de la Casa Paraguas y la Casa en una Calle Curvada, redibujados especialmente para esta investigación siguiendo un código binario que distingue el lleno, en negro, del vacío, en blanco. A partir de los resultados obtenidos, se infiere que Shinohara intencionadamente condensa las actividades domésticas, liberando el resto del interior de compartimentaciones y configurando así un gran espacio vacío en el que aparecen elementos estructurales aislados, cuya función consiste en tensionar el vacío a través de la variabilidad en las distancias con respecto de la envolvente. Ambas estrategias –los distintos grados de compartimentación, y por tanto, de condensación del lleno, y la tensión del vacío a través de elementos aislados– son igualmente apreciables en las obras de shodo. Y a pesar de las fundamentales diferencias entre ambas disciplinas, más allá de una azarosa coincidencia, tales similitudes apuntan hacia una lógica compositiva común, que encuentra su centro en la configuración del ma. Universidad ORT Uruguay 2021-08-27 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Artículo evaluado por pares application/pdf https://revistas.ort.edu.uy/anales-de-investigacion-en-arquitectura/article/view/3132 10.18861/ania.2021.11.2.3132 Anales de Investigación en Arquitectura; Vol. 11 No. 2 (2021) Anales de Investigación en Arquitectura; Vol. 11 Núm. 2 (2021) Anales de Investigación en Arquitectura; v. 11 n. 2 (2021) 2301-1513 2301-1505 10.18861/ania.2021.11.2 spa https://revistas.ort.edu.uy/anales-de-investigacion-en-arquitectura/article/view/3132/3420 Derechos de autor 2021 Mónica Verdejo Ruiz https://creativecommons.org/licenses/by/4.0 |