En el mundo de los deportes, como en

tantos otros campos de actividad, el concreto es

el material de construcción ideal.
El concreto es más dúctil que el barro
con que modelan los escultores.
Después de moldeado adquiere más fuer-
za que la piedra más dura.
Simple, reforzado o presforzado. Prefa-
bricado o colocado en la obra. Compacto, ligero
o celular. Solo o combinado con otros elemen-
tos estructurales. Como quiera que sea, el con-
creto ofrece a usted resistencia al fuego, al tem-
blor y a las inclemencias del tiempo.
El concreto es así, a la vez, permanente y
verdaderamente económico.
Su principal ingrediente es el cemento.

CEMENTO
TOLTECA
EL CEMENTO DE CALIDAD DE MÉXICO
DESDE HACE CINCUENTA Y SIETE AÑOS
EN T R E S T I P O S : I, II Y I I I ; ASI C O M O
CEMENTO BLANCO Y CEMENTO DE ALBAÑILERIA
c
MIEMBRO DEL INSTITUTO MEXICANO DEL CEMENTO Y DEL CONCRETO O
 cancelería*
"En mis proyectos de cancelería, siempre específico
los laminados decorativos WlLSON ART por su calidad apega-
da a las normas NEMA,* por su gran variedad y buen gusto
en diseños y colores, así como por la suntuosidad de sus acabados.
Con WlLSON ART protejo mi prestigio profesional."

Así WlLSON ART contribuye con los

profesionistas mexicanos de la
construcción.

9 t

/
* CORTESIA DE CALLE O C H O No. 67 NAUCALPAN, EDO. DE MEXICO TEL. 27-81-80 C O N 4 LINEAS
D I S T R I B U I D O R A E J A , S . A. * NATIONAL ELECTRICAL
MANUFACTURERS ASSOCIATION
MEXICO. D. F.
 la m á s elegante
tradición mexicana,
con p r o d u c t o s de

RAYMUNDO CARILLO
Fabricante d e a z u l e j o d e t a l a v e r a ,
Pf?5tflln77i Tplpfnno 93-31-49
loseta p a r a pisos y techos, accesorios p a r a baño y lavabos de empotrar
1. El F u j i y a m a / M o u n t Fuji/(Embajada del Ja-
pón).
2. Procesión y Torij del Santuario Heian e n
Kyoto/Pilgrimage a n d Torii at the Kyoto
Heian Shrine.
3. Shoden e n el Santuario Interior d e I s e /
Shoden at t h e Ise I n n e r S h r i n e / ( Y . W a t a -
nabe).

el mundo, el gremio, las pu- the world, the pro-

blicaciones fession, publications
Arq. A l b e r t o G o n z á l e z Pozo Alberto Gonzalez Pozo,
Architect.

EL M U N D O THE WORLD

V i s t o el carácter m o n o g r á f i c o d e este n ú - As this issue is about Japan

m e r o , e l m u n d o , e l g r e m i o y las p u b l i c a c i o n e s these NOTES concern this coun-
o b j e t o d e e s t a s N O T A S , s e c o n s t r i ñ e n al J a - try which is a universe in itself
p ó n : t o d o u n u n i v e r s o c o n sus l e y e s y sus with its laws and its contra-
contradicciones. dictions.

Una Cultura Insular An Island Culture

Creta y G r a n Bretaña en el pasado —Cuba Crete and Great Britain in the

3 m u c h o más recientemente—, han sido cunas past —Cuba much more recen-
 tly— have been the birthplace for de acontecimientos q u e escapan a cualesquier
events which can be judged only t i p o d e juicios definitivos. Tómese, p o r e j e m -
relatively. Take for example the p l o , l a c o n s a b i d a " r e l a c i ó n e n t r e h a b i t a t y la
relation between habitat and cul- c u l t u t r a " . El a m b i e n t e n a t u r a l , y a se s a b e , n o
ture. It is known that the envi- d e t e r m i n a p e r o sí i n f l u y e b r u s c a o r e l a t i v a -
ronment doesn't determine but m e n t e s o b r e e l h o m b r e y sus o b r a s , s e g ú n l o
does influence directly or indi-
encuentre más o menos pertrechado tecnoló-
rectly man and his works; this
gicamente. Pero, c u a n d o el m e d i o g e o g r á f i -
depends on the technological
implements available. However, c o m i s m o e s u n a e x c e p c i ó n ( l a islas: c u m b r e s
when the geography is itself an q u e e s c a p a r o n d e h u n d i r s e e n las a g u a s , r a -
exception such as the the islands, ros f o n d o s o c e á n i c o s q u e s a l i e r o n a la a t m ó s -
which have escaped from the f e r a ) , e n t o n c e s e l r e l a t i v i s m o a n o t a d o se v u e l -
depths of the seas, then the in- ve p o c o menos q u e un n u d o inextrincable d e
fluence of the environment can posibilidades.
be unlimited.
¿ D i r e m o s q u e los 3 7 0 0 0 0 k m - d e l a r c h i -
Doesn't the Japanese archipe- p i é l a g o j a p o n é s ( 1 ) , c o n t o d a s sus c a r a c t e r í s -
lago, with its own special charac- t i c a s p r o p i a s , n o p e s a n e n o r m e m e n t e s o b r e su
teristics (I), greatly influence its
arquitectura? Después d e t o d o , ningún espa-
architecture? No other construc-
c i o c o n s t r u i d o d e p e n d e t a n t o d e su r e l a c i ó n
tion depends so much on its
relation with the Landscape as do c o n e l p a i s a j e c o m o los s a n t u a r i o s y las m o r a -
the sanctuaries and the tradi- das tradicionales japonesas. ¿ O serán más
tional Japanese homes. Can the i m p o r t a n t e s l o s n e x o s e n t r e sus e s t r e c h a s f a j a s
ties be more important between c o s t e r a s y u r b a n i z a d a s c o n e l m a r q u e las
the narrow coastal and urban rodea? N o en balde toman forma d e ciuda-
strips, with the sea around them? d e s o c e á n i c a s las u t o p í a s m á s r e c i e n t e s d e l
There is a reason for the Utopias G r u p o M e t a b o l i s m o . ¿ Y q u é d e c i r d e la v e -
of the Metabolism Group being cindad d e China continental, origen histórico
in the form of oceanic cities.
d e muchas influencias asimiladas? Hay que
And what about the closeness of
China, origin of many assimilated r e c o n o c e r q u e al o c c i d e n t a l m e d i o se le c o n -
influences? The Western world f u n d e n f á c i l m e n t e las d i f e r e n c i a s e n t r e a m b a s
easily confuses the differences culturas, y o p t a c ó m o d a m e n t e p o r el c o n c e p t o
between both cultures and instead e x t e n s o d e A s i a , c o n t o d a s sus i m p l i c a c i o n e s .
selects for convenience sake the Finalmente, ¿ n o pierden importancia todas
concept of Asia with all its im- esas c o n s i d e r a c i o n e s c o n l a r e c i e n t e e n t r a d a
plications. And finally aren't all d e l J a p ó n al c l u b e c o n ó m i c o y t e c n o l ó g i c o d e
of these considerations unimpor- los p a í s e s d e s a r r o l l a d o s , y p o r l o t a n t o al
tant with Japan's recent entrance
acervo i n t e r n a c i o n a l d e estilos a r q u i t e c t ó n i c o s ?
into the economic and technolog-
ical club of the developed coun- A l l l e g a r a ese p u n t o , la p r o t e s t a u n á n i m e
tries, as well as with her archi- de japoneses y no-japoneses nos remite d e
tectural styles being accepted n u e v o al m i s m o c i c l o d e p l a n t e a m i e n t o s y
internationally? dudas.

A Forest Culture (2) U n a c u l t u r a e n el b o s q u e (2)

At the beginning there was the P o r q u e , e n e f e c t o , al p r i n c i p i o e r a e l b o s -

forest with its mountains and q u e , c o n su b a s e m o n t a ñ o s a y v o l c á n i c a , c o n
volcanoes, its huge water resour-
su m e t a b o l i s m o a t e s o r a d o r d e a g u a , c o n sus
ces, it's rumors and it's inner life.
It is too easy to accept the idea r u m o r e s y su v i d a i n t e r i o r . Q u e e n b o s q u e s
of constructions using logs and florezcan inicialmente construcciones a base
animistic religions flourishing in d e t r o n c o s y r e l i g i o n e s animistas, es a l g o q u e
woods. Europe and America have se a c e p t a c o n d e m a s i a d a f a c i l i d a d . A su
also known similar modes of tiempo, Europa y América Septentrionales
construction and beliefs. How- también han conocido lenguajes constructivos
ever, these Japanese animism
y sistemas d e creencias p a r e c i d o s . Sin e m -
evolved into a religion and these
same logs transformed into archi- b a r g o , ese animismo japonés e v o l u c i o n a d o en
tecture, rarely achieve the im- t o d a u n a r e l i g i ó n , y esos mismos t r o n c o s trans-
portance of the Shinto Shrines at formados en verdaderas arquitecturas d e ma-
Ise (3) which give universal les- d e r a , raras v e c e s a l c a n z a n la t r a s c e n d e n c i a d e
sons in culture and architecture: los s a n t u a r i o s S h i n t o e n Ise (3), q u e d a n p i e
such as the material, the hinoki, a muchas lecciones universales d e cultura y
which is used in columns, beams,
a r q u i t e c t u r a : c ó m o e l m a t e r i a l , e l h i n o k i , se
partitions, doors, and fences, even
the shavings are used for roofs; utiliza íntegramente en apoyos, vigas, muros,
the rustic forms jvhich adjust cercas, divisiones interiores y puertas, aprove-
themselves to the proper optical c h á n d o s e i n c l u s i v e las a s t i l l a s c o m o t e j a s m i -
proportions; as the ephemeral life n ú s c u l a s ; c ó m o las f o r m a s r ú s t i c a s se a j u s t a n
of wood which is understood a p r o p o r c i o n e s ó p t i c a s a d e c u a d a s , - c ó m o se
when seeing it really alive, fresh, s o b r e e n t i e n d e u n a v i d a e f í m e r a p a r a la m a -
without paintings or varnishes; as d e r a , a c a m b i o d e verla realmente viva, fres-
this in turn influences the com-
c a , sin a f e i t e s ni e m b a l s a m a m i e n t o s , - c ó m o e s t o
plex, where one of the two neigh-
bour lots is contructed, while the a su v e z i n f l u y e e n l a d i s p o s i c i ó n d e l o s c o n -
other remains vacant and waits j u n t o s , d o n d e a l g u n o d e los d o s r e c i n t o s c o n -
two decades for its turn (4). (Can t i g u o s está c o n s t r u i d o , m i e n t r a s el o t r o solar
we imagine two Acropolises in v a c í o d e s c a n s a y e s p e r a su t u r n o v a r i a s d é c a -
Athens, or another Coatepantli das (4). (¿Podemos imaginar dos Acrópolis en
for Tenochtitlan?) This last point Atenas?, ¿o un Coatepantli de repuesto para
is of special interest to those who
T e n o c h t i t l á n ? ) . Esta ú l t i m a l e c c i ó n i n t e r e s a e s -
restore stone monuments as the
p e c i a l m e n t e a nuestros restauradores d e m o - 4. Conjunto del Santuario Interior de Ise/lse
reconstruction based upon reliefs
not only gives etternal youth to n u m e n t o s p é t r e o s : la r e c o n s t r u c c i ó n a b e s e d e Inner Shrine c o m p l e x .
the sanctuaries but also faithfully relevos no sólo mantiene eternamente jóvenes 5. M u s e o S h i m a n e d e K. Kikutake/Shimane
preserves all its details. a los santuarios, sino q u e h a c o n s e g u i d o p r e - M u s e u m b y K. K i k u t a k e / ( Y . F u t a g a w a ) .
s e r v a r f i e l m e n t e t o d o s sus d e t a l l e s a l o l a r g o 6. Santuario d e Itsukushima/ltsukushima Shrine.
d e más d e mil años. 7. P r o y e c t o d e K. T a n g e p a r a l a B a h i a d e
T o k y o / K . Tange's T o k y o Bay Plan.
 Así, la p r e s e n c i a d e l b o s q u e i n f l u y e d e m i l So the forest influences in
m a n e r a s e n la cultura y la a r q u i t e c t u r a j a p o - thousands of ways Japanese cul-
ture and architecture. Even now
nesa. A u n a h o r a , e n medios u r b a n o s llenos
in urban areas filled with modern
de construcciones modernas, unos cuantos p i - constructions, a few pines and
nos y ciertos d e t a l l e s a r q u i t e c t ó n i c o s d i s e ñ a - some architectural details desig-
dos c o n sensibilidad d e carpintero (5), bas- ned with carpenter's taste are
enough to remind us of the im-
t a n p a r a r e c o r d a r n o s la i m p o r t a n c i a d e u n
portance of a past environment
pasado ambiental. (5).

An Ocean Culture
Una c u l t u r a e n el m a r
Forgetting the forest and the
D e s c o n t a d o el b o s q u e , y el viejo sistema
volcanoes, Japan has many coast-
v o l c á n i c o q u e le s i r v e d e b a s e , le q u e d a n al al strips and very few plains. Of
J a p ó n muchas fajas costeras y pocas mesetas course agriculture is very impor-
y p l a n i c i e s . D e s d e l u e g o , la a g r i c u l t u r a t i e n e tant due to the scarcity of usable
g r a n i m p o r t a n c i a e n f u n c i ó n d e la escasez d e land; but for this reason, if is
tierras aprovechables; p e r o precisamente p o r not historically important as in
China, for example, where there
e l l o , n o p e s a h i s t ó r i c a m e n t e d e la m i s m a m a -
are vast plains, swolled river
n e r a q u e e n C h i n a , p o r e j e m p l o , c o n sus
basins, streams of one and one
v a s t o s t e r r i t o r i o s y l l a n u r a s , sus c u e n c a s d i l a - half miles wide, and correspond-
t a d a s , sus c o r r i e n t e s f l u v i a l e s d e 2 k m . d e ingly a social and political system
a n c h u r a , y su " F e u d a l i s m o B u r o c r á t i c o " , o which evolved to Bureaucratic-
" F e u d a l i s m o d e E s t a d o " (si v a l e n los t é r m i n o s ) . Feudalism. The Western culture
had once similar limitations and
La c u l t u r a o c c i d e n t a l , e n sus c o m i e n z o s ,
in order to overcome them it had
conoció limitaciones parecidas, y para supe- to take advantage of the Medi-
rarlas t u v o q u e sacar el m e j o r p a r t i d o p o s i b l e terranean looked as a great lot
d e l M e d i t e r r á n e o , esa g r a n p a r c e l a c o m e r c i a l where ships were substituted for
e n la q u e los b a r c o s s u b s t i t u y e n v e n t a j o s a - plows. And even though Japan
m e n t e a l o s a r a d o s . Y si J a p ó n n o l l e g ó a didn't achieve intense navigation
conocer una vida de navegación e intercambio and interchange with all its
economic and political conse-
t a n i n t e n s a — c o n t o d a s sus c o n s e c u e n c i a s e c o -
quences, these influences on Ja-
nómicas y políticas—, no p u e d e n soslayarse
panese architecture cannot be
las i n f l u e n c i a s d e l p a i s a j e y d e l a v i d a m a r í - forgotten. An example it Itsu-
t i m a e n la a r q u i t e c t u r a j a p o n e s a , c o m o e l kushima Sanctuary (6), which
S a n t u a r i o d e I t s u k u s h i m a ( 6 ) , q u e se d e s p a - flows into the Seto Sea, with its
rrama en palafitos sobre el M a r Interior d e halls, platforms for liturgical
S e t o c o n sus s a l a s d e c u l t o , sus p l a t a f o r m a s presentations, and the incredible
entrance — a huge red Torii
d e r e p r e s e n t a c i ó n e s c é n i c o - l i t ú r g i c a , y su i n -
going into the water . . . or per-
c r e í b l e p o r t a l , su g r a n T o r i i r o j o a d e n t r á n d o s e
haps coming out of ti.
e n las a g u a s . . . o q u i z á s a l i e n d o d e e l l a s .
A s í l a s c o s a s , las p r o p o s i c i o n e s d e l G r u p o So the propositions of the Me-
tabolism Croup and of Kenzo
M e t a b o l i s m o y d e Kenzo Tange en el sentido
Tange to move the great urban
d e t r a s l a d a r los g r a n d e s c e n t r o s u r b a n o s al
centers to the ocean, instead of
mar, más q u e fjntásticas h a b í a q u e catalogar- being fantastic, are rather tra-
les c o m o t r a d i c i o n a l i s t a s ( 7 ) ; y si N o r i a k i K u - ditional (7); and Noriaki Kuro-
r o k a w a p r o p o n e p á g i n a s a d e l a n t e q u e se l e - kawa's proposition for creating
vanten aldeas enteras d e campesinos a un towns for the farmers on artifi-
t e r r e n o a r t i f i c i a l , p a r a a p r o v e c h a r así al m á - cial land in order to use all
x i m o el s u e l o d i s p o n i b l e p a r a la a g r i c u l t u r a y available land for agriculture
p a r a r e s g u a r d a r s e m e j o r d e los T i f o n e s , h a b r á ahd protect oneself from the
typhoons, instead of being a
q u e sospechar, q u e en efecto, no estamos ante
utopic vision, is the result of
una visión u t ó p i c a sino f r e n t e a u n a a n t i g u a
an ancient necessity.
necesidad.

Una cultura y un continente • A Culture and a Continent

H a b l a r d e J a p ó n histórico sin m e n c i o n a r a It is impossible to speak of

India, C h i n a y C o r e a , es p u n t o m e n o s q u e Japan without mentioning India,
i m p o s i b l e . El B u d i s m o y sus p r o g r a m a s a r q u i - China, and Korea. Buddhism
and its architectural programs,
t e c t ó n i c o s , y e l c e n t r a l i s m o T ' a n g y sus m e t r ó -
as well as T'ang centralism and
p o l i s , s o n s ó l o d o s d e las p r i n c i p a l e s i n f l u e n -
its metropolises, are two of
cias q u e los j a p o n e s e s asimilan v o l u n t a r i a y the principle influences volun-
r á p i d a m e n t e e n t r e los s i g l o s s e x t o y o c t a v o tarily assimilated by the Japa-
d e n u e s t r a e r a . Los t m e p l o s d e H o r i y u - j ¡ , y nese between 600 A.D. and 800
T o s h o d a i - j ¡ a m b o s e n la r e g i ó n d e N a r a ( 8 ) , A.D. The Horiyu-ji, Todai-ji,
m u e s t r a n u n a s e r i e d e e l e m e n t o s t í p i c o s d e la and Toshodai-ji temples around
a r q u i t e c t u r a c h i n a : la c o m p o s i c i ó n a x i a l y si- the region of Nara, (8), show
some typical elements of Chinese
m é t r i c a , las c u b i e r t a s d e t e j a v i d r i a d a , y las
architecture; symelrical compo-
estructuras d e m a d e r a a base d e vigas sim- sition, roofs of ceramic tile, wood
plemente apoyadas y tou-kung (9, 10). cuyas structures consisting of single
intrincadas combinaciones substituyen indis- beams and brackets (tou-kung)
t i n t a m e n t e a u n a a r m a d u r a , un c a p i t e l , u n ar- (9, 10), whose intricate combi-
c o y u n a v i g a e n v o l a d i z o , y q u e v i e n e n así a nations can substitute for fra-
ser i n d i s p e n s a b l e s p a r a el c a r á c t e r d e la ar- mework, the top of a column,
5. Templo Todaiji en Nara/Todai¡¡ Temple.
an arch and a cantilever beam,
Nara/(Embajada del Japón). q u i t e c t u r a civil y r e l i g i o s a , p e r o e s p e c i a l m e n t e
and are indispensable for civil
?. . D o s p o s i b i l i d a d e s estructurales: armadura p a r a la e r e c c i ó n d e las P a g o d a s ( v e r s i o n e s
and religious architecture, and
triangulada Occidental y envigado Oriental/ c h i n a s d e las S t u p a s h i n d ú e s ) verdaderos especially for erecting the pa-
T w o structural solutions: W e s t e r n triangulat- rascacielos budistas (11). N a r a misma y des- godas, true buddhist skyscrapers.
e d truss a n d O r i e n t a l b e a m f r a m e system. pués Kyoto, metrópolis imperiales erigidas a (II). Nara and Kyoto, imperial
1 0D.
. Alzado del an-tou-kung chino/Elevation of imagen y semejanza d e Chang'an, forman cities, form part, together with
parte ¡unto con Pekín y H u é , d e una cultura Pekin and Hue, of an Oriental
Chinese a n - t o u - k u n g o r h i g h - r a k e d b r a c k e t .
e n E x t r e m o O r i e n t e q u e se a n t o j a a n a l i z a r sin culture that one would wish to
111. P a g o d a e n e l T e m p l o Y a k u s h i j i , N a r a / Y a k u - analyze as awhole (12).
shiji T e m p l e , N a r a . Pagode. fronteras.
 en las puertas de su c a s a . . .
. . . en la recámara
...en el baño
.en su closet

La última novedad
en cerraduras
económicas
y de lujo

F A B R I C A N T E S

Productora Ferretera Mexicana, S.A

P O N I E N T E 4 4 N o . 4 0 8 C O L .X O C H IM A N C A
A T Z C A P O T Z A L C O . M É X I C O , D.F.

1
 Y sin e m b a r g o , la p r o n t a a c e p t a c i ó n v o l u n - However, the quick acceptance
t a r i a d e a s p e c t o s d e la c i v i l i z a c i ó n c h i n a n o se of various aspects of the Chi-
h a c e sin c i e r t a d i s c r i m i n a c i ó n , c i e r t a s e l e c c i ó n nese civilization includes a cer-
q u e t a m b i é n se r e f l e j a e n l a a r q u i t e c t u r a . N ¡ tain discrimination and selection
siquiera los mismos e l e m e n t o s a d o p t a d o s su- which is reflected in Japanese
perviven indefinidamente como en el Conti- architecture. Not even those
n e n t e . T o d o e n t r a a q u í al j u e g o d i a l é c t i c o d e adopted elements subsist wthout
las c o n t r a d i c c i o n e s , d e t a l m a n e r a q u e al c o n - change. Here we see contra-
c e p t o i n t r o v e r t i d o d e las r e s i d e n c i a s c h i n a s , dictions such as the Chinese
" conjuntos domésticos agrupados en pabello- residences consisting of pavillions
n e s a b i e r t o s h a c i a p a t i o s i n t e r i o r e s , se o p o n e opening on to interior patios
la c o n d i c i ó n e x t r o v e r t i d a d e las m o r a d a s j a - as opposed to the Japanese home
ponesas, espacios inseparables del paisaje q u e consisting of spaces connected to
las r o d e a ; y a l a a x i a l i d a d , p a r t e i n t e g r a n t e the landscape; and the symmetry,
d e la e s t é t i c a d e l b u r ó c r a t a ¡ l u s t r a d o , y q u e an integral part of the bureo-
n o t r a s c i e n d e l a c o m p o s i c i ó n p l a n i m é t r i c a , se crat's aesthetics is the opposite
o p o n e v i g o r o s a m e n t e , t e r c a m e n t e , la a s i m e - of the asymmetry of the aris-
tría multidimensional d e l g u e r r e r o aristócrata tocratic warrior and of Zen
y del budismo Z e n . (13, 14). N o necesitamos Buddhism ((?, 14), One doesn't
a h o n d a r más: t a n s ó l o estas d o s o p o s i c i o n e s need to go deeper: these two
nutrirían d e energía a cualquier arquitectura opposites nourish any architec-
en evolución. ture that is evolving.

Una cultura internacional An International Culture

La r á p i d a a s i m i l a c i ó n d e u n a b u e n a p a r t e The rapid assimilation of many

d e l o s e l e m e n t o s d e la c u l t u r a c h i n a e n e l s i - elements from the Chinese cul-
g l o V I , p u e d e c o m p a r a r s e a la p r o l i f e r a c i ó n ture in the 6th. century can be
r e l á m p a g o d e armas d e f u e g o y técnicas d e - compared to the rapid spreading
fensivas occidentales a partir d e l siglo X V I , of firearms and western tech-
c u a n d o p o r t u g u e s e s y e s p a ñ o l e s inician los niques for defense since the 16th
14 p r i m e r o s c o n t a c t o s e n t r e E u r o p a y e l I m p e r i o century, when Portuguese ini-
tiated contact between Europe
d e l Sol N a c i e n t e , p r o d u c i é n d o s e d e esta m a -
and the Rising-Sun Empire, re-
n e r a el c u r i o s o c a p í t u l o d e los b u r g o s f o r t i -
sulting in fortified towns (15).
f i c a d o s e n la h i s t o r i a d e la a r q u i t e c t u r a j a p o -
However, these phenomena can-
nesa ( 1 5 ) . - Sin e m b a r g o , n i n g u n o d e a m b o s
not be compared to Japan's en-
fenómenos de aculturación puede compararse
trance into the group of deve-
a l a r e c i e n t e e n t r a d a d e l J a p ó n al g r u p o d e
loped countries recently. The
países desarrollados d e nuestro t i e m p o . El road from feudalism to an in-
c a m i n o d e l f e u d a l i s m o a la s o c i e d a d industrial dustrial society begins with the
a r r a n c a d e s d e la r e f o r m a M e i j i y l a e d u c a c i ó n Meiji reform and the obligatory
obligatoria implantadas a fines d e l siglo p a - education began at the end of
sado, y pasa p o r u n a serie d e r á p i d o s p r o g r e - the last century, and quickly
sas t e c n o l ó g i c o s y e c o n ó m i c o s q u e f i n a l m e n t e passes through a series of tech-
h)3n l l e v a d o a e s e p a í s a o c u p a r u n l u g a r e n - nological and economic advan-
t r e las p o t e n c i a s m u n d i a l e s . C o n t o d o , E u r o - cements that give Japan a place
p a y l o s E s t a d o s U n i d c s (a q u i e n e s se h a t o - among world powers. Europe
m a d o esta v e z c o m o m o d e l o s ) , h a r í a n m a l and the United States which
p r e c i p i t á n d o s e a p r e g o n a r su c o n d i c i ó n d e have been used as models, are
g u í a s . N o m e n o s i m p o r t a n t e s a u e los aspectos not accepted unconditionally.
d e su c u l t u r a q u e se a s i m i l a n c o n s c i e n t e m e n - While some aspects of their cul-
te ( 1 6 , 1 7 ) , son a q u e l l o s otros q u e el J a p ó n ture are consciously assimilated
(16, 17), there are others which
— h o y c o m o a v e r — r e c h a z a c o n la m i s m a f i r -
Japan firmly rejects. Think, for
m e z a , y n o sin r a z ó n . N o s e n c o n t r a m o s , a n o
example, of Japan's acceptance
d u d a r l o , frente a un nuevo proceso d e carac-
of multi-family dwellings in high
teres contradictorios. Piénsese, p o r e j e m p l o ,
rise buildings, while distribution
e n q u e se a c e p t a n l o s f u n d a m e n t o s a r q u i t e c -
in these buildings is based on
15 t ó n i c o s d e l a h a b i t a c i ó n m u l t i f a m i l i a r e n e d i - tatami and fusuma, because the
f i c i o s a l t o s , p e r o q u e n o se p r e s c i n d e d e la traditional concept is prefered
m o d u l a c i ó n y la d i s t r i b u c i ó n a b a s e d e t a t a m i instead of the rigidity of the
y f u s u m a p a r a las v i v i e n d a s así a g r u p a d a s . Y contemporary grid. It is not in
es u n a c i e r t o q u e sea este c o n c e p t o " t r a d i - vain that tatami and fusuma
c i o n a l " e l q u e s e p r e f i e r a a l a r i g i d e z d e las are the mat and the sliding pa-
cuadrículas "contemporáneas": no en balde, nel which are indispensable in
a la a r q u i t e c t u r a c o n e l d i s e ñ o d e i n t e r i o r e s the interior of the Japanese ho-
c o r r e d i z o , los q u e ligan e n u n t o d o indivisible me. (18).
s o n t a t a m i y f u s u m a , la e s t e r a y e l c a n c e l
e n las c a s a s j a p o n e s a s d e s d e t i e m p o i n m e m o - While adopting the formal
rial ( 1 8 ) . language of LeCorbusier (19),
or the structural language of
Y p o r ese t a m i z selectvio p u e d e n pasar el
Nervi and of Candela, the gram-
resto d e las i n f l u e n c i a s visibles. Trátese d e l
matical mechanism is used more
12. K y o t o , c i u d a d i m p e r i a l / K y o t o , I m p e r i a l Res- lenguage formal de LeCorbusier (19), o del
than the -philological significan-
idence. lenguaje estructural d e Nervi y d e Candela,
ce; if the resulting forms seem
13. Sala e n el Palacio S h u g a k u - i n c o n Podio y l o q u e se u t i l i z a e s m á s e l m e c a n i s m o g r a m á -
"international", (20, 21), or if
/ Tokonama (nicho ceremonial) / Shugaku-in t i c o q u e e l s i g n i f i c a d o f i l o l ó g i c o , - y si a v e c e s the traditional resources don't
Palace. Japanese room with podium and las f o r m a s l u c e n d e s o l a d o r a m e n t e "interna- overcome in all cases a badly
t o k o n a m a (ceremonial niche). c i o n a l e s " ( 2 0 2 1 ) , o si l o s r e c u r s o s t r a d i c i o n a - understood nationalism (22, 23,
14. Jardín d e arena y rocas e n el T e m p l o Z e n les a m e d i o d i g e r i r n o r e b a s a n s i e m p r e l a 24), all of this has to be unders-
Ryoanji, K y o t o / D r y garden of sand and inquietud nacionalista (22, 2 3 , 2 4 ) , t o d o ello tood as part of a process with
rocks. Ryoanji T e m p l e , Kyoto/(E.J.). hay q u e sobreentenderlo formando parte d e tensions and arrangements in
15. Castillo feudal en Osaka. Siglo X V I / F e u d a l un proceso c o n tensiones y a c o m o d o s e n el which, however, one gets ahead
Castle Osaka. XVIth. Century/(E.J.). q u e , s i n e m b a r g o , se a v e n t a j a y se a s c i e n d e . and progresses.
 Una cultura viva (25) A Living Culture (25)

En M é x i c o , l a l e c c i ó n c a r e c e a p a r e n t e m e n - In Mexico, this lesson ap-

te d e valor d i d á c t i c o . N u e s t r a i n c o r p o r a c i ó n parently has a little didactic
a la c u l t u r a o c c i d e n t a l e n e l s i g l o X V I n o f u e value. Our incorporation into
e s p o n t á n e a ni m u c h o m e n o s consciente. La the western culture into the 16th
century was not spontaneous nor
destrucción d e una buena parte d e nuestro
conscious. The destruction of
pasado material precolombino, trajo consigo
much of our pre-columbian past
además una especie d e trauma psicológico q u e brought with it a type of psy-
f l o t a t o d a v í a e n el a m b i e n t e . Por o t r a p a r t e , chological trauma that still exists.
el d e s a r r o l l o t e c n o l ó g i c o , e c o n ó m i c o y social On the other hand the techno-
d e nuestro país n o a c a b a d e ser u n a d o r a d a logical; economic, and social
p r o m e s a d e p r o s p e r i d a d . En s u m a : n i s o m o s development of our country is
16 u n a r c h i p i é l a g o , n i e s t a m o s e n e l m o m e n t o still to be fullfilled. To sum-
marize: Mexico is neither a
histórico del J a p ó n .
forest archipelago, nor is it at
Y sin e m b a r g o , lo m e n o s q u e p o d e m o s h a - the same Historical moment as
c e r es e x a m i n a r c o n m á s d e t a l l e e l f o n d o Japan.
d e la c u e s t i ó n . N o se t r a t a d e e s t a b l e c e r
p a r a l e l i s m o s , ni d e ' i m p o r t a r ideas e x ó t i c a s " But if parallels are not being
(para decirlo con esa e x p r e s i ó n inefable established nor "exotic ideas im-
descubierta por nuestros demagogos). Se ported" proper value must be
given to a culture and an ar-
trata d e aquilatar el b u e n tino d e u n a cultura
chitecture that, many times, has
y d e u n a a r q u i t e c t u r a q u e , e n sucesivas o c a -
known how to throw away the
siones, h a n s a b i d o tirar la cascara y conser- shell while keeping what's in-
v a r la a l m e n d r a . side.

EL GREMIO THE PROFESSION

A c o n t i n u a c i ó n , sintetizamos a nuestros lec- To continue, here are the prin-

t o r e s los p r i n c i p a l e s d a t o s b i o g r á f i c o s d e a l - cipal biographies of some Japa-
g u n o s d e los arquitectos japoneses cuyas nese architects whose works are
o b r a s se p u b l i c a n e n e s t e n ú m e r o . Por o r - published in this issue. In alpha-
den alfabético, helos aquí: betical order they are:
Yoshinobu Ashihara. E g r e s a d o d e la U n i - Yorshimobu Ashihara — He
versidad de Tokyo en 1942, en 1946 entró graduated from the University
al d e s p a c h o d e J u n z o S a k a k u r a , e n 1 9 5 2 of Tokyo in 1942 and in 1946
began working with Junzo Sa-
e s t u d i ó e n las u n i v e r s i d a d e s d e Y a l e y H a r -
kakura, in 1952 he studied at
vard. Trabajó en el despacho d e Marcel Yale and Harvard. He worked
Breuer. in Marcel Breuer's office.
Tsutomu Ikuta. Se r e c i b i ó e n la U n i v e r - Tsutomu Ikuta — He was gra-
s i d a d d e T o k y o e n e l a ñ o d e 1 9 3 9 . En 1 9 5 1 duated from the University of
v i a j ó a los Estados U n i d o s d o n d e o c u p ó el Tokyo in 1939. In 1951 he was
puesto d e profesor visitante en varias Uni- Visiting Professor at various uni-
versities in the United States;
versidades,- a s j r e g r e s o a J a p ó n asumió el
upon his return to Japan he be-
p u e s t o d e m a e s t r o e n la U n i v e r s i d a d d e T o -
came a professor in the Univer-
kyo. sity of Tokyo.
Kiyonori Kikutake. Nació en 1928. G r a Kiyonori Kikutake •—• He was
d u a d o d e la U n i v e r s i d a d d e W a s e d a . Per- born in 1928 and is a graduate
of the University of Waseda.
t e n e c e al G r u p o M e t a b o l i s m o . Su c a r r e r a
He belongs to the Metabolism
principió e n el concurso p a r a el C e n t r o d e Group. His career began with
la Paz e n H i r o s h i m a g a n a n d o u n 3 e r . p r e m i o the contest for the Peace Cen-
p o r la i g l e s i a (el 1 e r . p r e m i o n o f u e a d j u - ter in Hiroshima where he won
third prize for the Church (first
d i c a d o , el 2 o . p r e m i o lo g a n ó K e n z o T a n g e ) . prize was not given and Kenzo
G r a c i a s a su c a p a c i d a d arquitectónica los Tange won second prize). Thanks
estudiantes d e la U n i v e r s i d a d de Waseda to his architectural' capacity stu-
b a j o su d i r e c c i ó n , h a n g a n a d o p r e m i o s , t r e s dents from the University of
Waseda under his direction have
v e c e s e n la B i e n a l d e S a o P a u l o . won prizes three times Sao Pau-
T r a b a j ó p a r a la C í a . T a k e n a k a , M u r a n o y lo. He worked with Takenaka,
Murano, and Mori, and also with
M o r i , y con M o t o w o Take. En 1 9 5 3 f u n d ó
Motowo Take. In 1953 he be-
su d e s p a c h o . gan his own office.
Kunio Mayekawa. Nació en 1905. Ha te- Kunio Mayekawa — He was
born in 1905. He has greatly
nido gran influencia p o r el g r a n número de
influenced a large number of
arquitectos jóvenes f o r m a d o s e n su d e s p a c h o young architects working in his
office, and he has also had in-
y p o r su g r u p o "Mido". Estudió e n la Uni- fluence because of his group
versidad de Tokyo, en Europa posteriormen-^ (Mido). He studied in the Uni-
versity of Tokyo, and later in
te trabajó e n el d e s p a c h o d e Le Corbusier. Europe he worked in LeCorbu-
Autor de los pabellones de exhibición de sier's office. He did the Brus-
sels' pavillion (Gold Medal) and
16. Clase d e Inglés en u n a Seecundaria, T o k y o / Bruselas ( M e d a l l a d e O r o y d e la Feria Mun- the pavillion at the New York
L a n g u a j e t e a c h i n g at a J u n i o r H i g h S c h o o l , dial d e N u e v a York). World Fair.
Tokyo/(E.J.).
Tohgo Murano. Nació en Kyushu en el Tohgo Murano — He was born
17. Locomotoras Japonesas (210 kms/hora) / in Kyushu in 1891 and was gra-
a ñ o d e 1 8 9 1 . Se r e c i b i ó e n la U n i v e r s i d a d
Japanese Super-Expresses (125 miels p . h . ) / d e W a s e d a e n 1 9 1 9 , e s t a b l e c i ó su d e s p a c h o duated from the University of
(E.J.). Waseda in 1919. He started his
e n 1 9 2 9 e n l a c i u d a d d e O s a k a . El a r q u i t e c t o
18. D e p a r t a m e n t o s A s a k a w a , d e K. Kikutake. office in 1929 in Osaka. He is
es c o n o c i d o p o r l a a m p l i a v a r i e d a d d e e s t i l o s
known for the wide variety of
Vista interior/Asakawa Apartments b y K. arquitectónicos q u e emplea. architectural styles that he uses.
Kikutake. Interior v i e w / ( 0 . Murai).
Takeo, Satow. Nació en 1889. Egresado Takeo Satow — He was born
A u d i t o r i o M e t r o p o l i t a n o d e T o k y o d e K.
in 1889. Afted finishing at the
M a y e k a w a / T o k y o M e t r o p o l i t a n Festival Hall de la U n i v e r s i d a d de Waseda i n s t a l ó su d e s -
University of Waseda, he started
b y K. M a y e k a w a / ( 0 . W a t a n a b e ) . pacho a una edad avanzada, habiendo de- his own office at an advanced
Centro Comercial Keio, T o k i o / K e i o Depart- dicado sus a ñ o s anteriores a la c á t e d r a de age because he had dedicated
ment Store, Tokyo. the previous years to teaching
la U n i v e r s i d a d de Waseda, donde varias g e - at the University where many
 generations received the influen- neraciones recibieron la i n f l u e n c i a d e sus e s -
ce of his acoustical studies. tudios e n acústica.
Kenzo Tange — He was gra- Kenzo Tange. Se r e c i b i ó e n 1 9 4 5 e n la
duated in 1945 from the Uni-
U n i v e r s i d a d d e T o k y o . En e l m i s m o a ñ o e n -
versity of Tokyo, and that same
year began working in Kunio t r ó al d e s p a c h o d e K u n i o M a y e k a w a . El
Mayekawa's office. The Hiros- M u s e o d e la P a z e n H i r o s h i m a r e v e l ó la
hima Peace Museum revealed f u e r z a d e un maestro e n lo q u e f u e , d e
him as a promise in what was
h e c h o , el p r i m e r t r a b a j o del a r q u i t e c t o T a n -
his first great work. His rec-
tangular forms later gave way ge. Las f o r m a s r e c t a n g u l a r e s d e los p r i m e -
to domes and concrete forms ros edificios, d e j a r o n el paso a una e t a p a
such as the Ehime Auditorium. d e c ú p u l a s y f o r m a s e n c o n c r e t o al e s t i l o
As he matured, he became inter- del A u d i t o r i o d e Ehime. C o n la madurez
ested in structure. The culmi-
nation of this period is the Ku- s u r g i ó el interés p o r la e s t r u c t u r a , la c u l m i -
rashiki government building. The n a c i ó n d e e s e p e r í o d o es e l e d i f i c i o d e l g o -
I960 Tokyo Plan shows a new b i e r n o d e K u r a s h i k i . El P l a n o d e T o k y o 1 9 6 0
plan for cities with 10 million m a r c ó un nuevo concepto del urbanismo
inhabitants. With the Dentsu
building as _well as the Yama- aplicado a ciudades d e 10 millones d e h a b i -
nashi building, a broadcasting t a n t e s . En su e d i f i c i o D e n t s u y e n e l e d i f i c i o
center and television studios, Y a m a n a s h i u n c e n t r o d e r a d i o d i f u s i ó n y es-
Tange will surely surpass his tudios de TV actualmente en construcción,
privious successes.
T a n g e s e g u r a m e n t e s u p e r a r á sus é x i t o s .
Yoshiro Taniguchi — He was Yoshiro Taniguchi. Nació en Honshu en
born in Honshu in 1904. He
was graduated in 1923 from 1904. Se r e c i b i ó en la U n i v e r s i d a d Imperial
Tokyo Imperial University. de T o k y o en 1928.

BOOKS LOS LIBROS

ISE. PROTOTYPE OF JA- ISE. PROTOTYPE OF JAPANESE ARCHI-

PANESE ARCHITECTURE, by
Kenzo Tange and Noburu Ka- TECTURE. Por Kenzo Tange y Noburu Ka-
wazoe. M.l.T. Press, Cambridge, wazoe. M.l.T. Press, Cambridge, 1965. De
1965.
This is -the only recent book los l i b r o s q u e recomendamos a nuestros lec-
of those which are recommen- t o r e s , é s t e es e l ú n i c o d e reciente aparición.
ded. It is an exhaustive exami-
nation of the sanctuaries in Ise S e t r a t a d e u n e x a m e n e x h a u s t i v o d e los s a n -
in which the analytic rigor of tuarios en Ise, e n el que el rigor analítico
Tange and Kawazoe is comple-
mented by the photographic ri- de Tange y Kawazoe se complementa con
gor of Yoshio Watahabe. el r i g o r fotográfico de Yoshio Watahabe.
KATSURA - TRADITION KATSURA = TRADITION AND CREATION
AND CREATION IN JAPA-
NESE ARCHITECTURE, by Y. IN JAPANESE ARCHITECTURE. Por Y. Ishi-
Ishimto, S. Tange, and W. Gro- moto, K. Tange y W. Gropius, Yale Univer-
pius, Yale University Press, New sity Press, New Häven, 1960. El palacio
Haven, 1960. The Katsura Pa-
lace, erected at the beginning of Katsura, erigido a principios del siglo XVII
the 17th century in Kyoto by en Kyoto por Toyotomi Hideyoshi, es un
Toyotomi Hideyoshi, is a com- conjunto inseparable de arquitectura del pai-
plex which is inseparable from
the ladscape, constructed spaces, saje, espacios construidos y diseño de inte-
and design of the interiors, all riores, t o d o lo cual descansa a su v e z e n el
of which are a result of the way sistema de vida y costumbres de las fami-
of life and customs of the aris-
tocratic warrior families in this lias de los g u e r r e r o s - a r i s t ó c r a t a s de ese pe-
period of Japanese history. ríodo histórico del Japón.
JAPANESE ARCHITECTU- JAPANESE ARCHITECTURE. Por William
RE, by William Alex. (Collec-
tion: The Great Ages of World Alex. (Colección: The Great A g e s of World
Architecture). George Brasiller. Architecture). George Braziller. New York,
New York, 1963. A condensed 1963. Un resumen condensado, profusamente
summary, profusely illustrated,
of the historical path of Japa- ilustrado, de la trayectoria histórica de la
nese architecture. arquitectura japonesa.
NEW JAPANESE ARCHI- N E W JAPANESE ARCHITECTURE. Por Udo
TECTURE, by Udo Kultermann.
F.A. Praeger, New York, 1960. Kultermann. F.A. Praeger, New York 1960.
This book introduces one to Para adentrarse en la e t a p a contemporánea,
contemporary architecture al-
though the last six years are si bien faltan los espectaculares avances de
not included. los ú l t i m o s c i n c o años.
JAPANISCHE ARCHITEK- J A P A N I S C H E ARCHITEKTUR. Por T e t s u r o
TUR. by Tetsuro Yoshida. Ver-
Y o s h i d a . V e r l a n g Ernest W a s m u t h , T u b i n g e n ,
lang Ernst Wasmuth Tubingen,
1952. Yoshida is one of the 1 9 5 2 . El p r o f e s o r Y o s h i d a es u n o d e los p r i n -
principal historians of Japanese c i p a l e s h i s t o r i a d o r e s d e la a r q u i t e c t u r a j a p o -
architecture. His book is indis- nesa. Su l i b r o s i g u e s i e n d o indispensable
pensable. como objeto de consulta.
MAGAZINES LAS REVISTAS
THE JAPAN ARCHITECT. THE JAPAN ARCHITECT. (January-June,
(January-June, 1964). Tokyo.
1964). Tokyo. Este v o l u m e n e n c u a d e r n a d o , 21. E d i f i c i o S h i s h e i d o d e Y. T a n i g u c h i / S h i s h e i d o
This bound volume includes six
issues of one of Japan s most r e ú n e los n ú m e r o s d e u n s e m e s t r e d e la r e - B l d g . b y Y. T a n i g u c h i / f K a w a s u m i ) .
important architectural magazi- vista d e a r q u i t e c t u r a más i m p o r t a n t e e n el 22. Hotel Kasuien de M u r a n o y M o r i / K a s u i e n
nes. Some of the buildings pu- Japón. A l g u n o s d e los e d i f i c i o s p u b l i c a d o s Hotel, by Murano &Mori (O. Murai).
blished in our magazine appear e n nuestra m o n o g r a f í a , a p a r e c e n allí c o n más
23. Arena Nippon Budokan de M. Y a m a d a / N i p -
in more detail here. detalles.
pon Budokan Arena, by M. Yamada.
ARCHITECTURAL DESIGN,
ARCHITECTURAL D E S I G N . 5. M A Y . 1965. 24. Salón d e banquetes del Restaurante Bandai JJ
May 5, 1965, London. On anot-
her occasion we recommended London. Ya habíamos r e c o m e n d a d o en otra d e T. S a t o w / B a n d a i R e s t a u r a n t b y T. S a t o w . j |
this issue which includes interes- ocasión este n ú m e r o m o n o g r á f i c o d e l A - D . Main Banquet-roorm/(0. Murai). a!
ting essays by Tange and Ma- Incluye ensayos muy interesantes d e Tange 25. G i m n a s i o T a k a m a t s u d e K. T a n g e / T á k a m a t - 8
yekawa. y Mayekawa. su G y m n a s i u m b y K. T a n g e / ( E . J . l . -t
 EDITORIAL
EDITORIAL
W i t h t h i s issue o n J a p a n e s e Architecture, Con este número monográfico sobre la Arquitectura Japonesa,
"Arquitectos de Mexico" has reached a "Arquitectos de ¡México" llega a una etapa definitiva dentro de la re-
d e f i n i t i v e s t a g e in its e d i t o r i a l p o l i c y which estructuración editorial que se había fijado como meta a partir del
has b e e n in e f f e c t since N o . 23.
número 23.
We h o p e t h a t t h e p a n o r a m a is c o m p l e t e
Confiamos en que el panorama que se presenta sea lo suficiente-
so as t o give our readers an idea of the
mente completo como para dar a nuestros lectores una idea de la diver-
diversity and importance of architecture in
sidad y la importancia de las creaciones arquitectónicas que se dan en
J a p a n since a f e w y e a r s a g o until now.
el Japón de unos años a esta parte.
We also w a n t to l h a n k M r . S e r g i o Quin-
También queremos dejar constancia de la valiosísima intervención
tero, architect, whose enthusiastic work in
collecting most of this m a t e r i a l , has made
de nuestro corresponsal, arquitecto Sergio Quintero, sin cuya entu-
t h i s issue p o s s i b l e . siasta labor recabando la mayor parte del material que aquí publica-
Although it w a s i m p o s s i b l e t o i n c l u d e all
mos, no hubiera sido imaginable esta monografía.
that he sent, w e are sure t h a t the tremen- Es de lamentarse que la falta de espacio nos haya hecho imposible
dous vitality and important progress of incluir la totalidad de su envío. Sin embargo, estarnos seguros de que
J a p a n e s e A r c h i t e c t u r e w i l l r e s u l t in a n o t h e r la enorme vitalidad y los importantes progresos de la Arquitectura
issue d e v o t e d t o J a p a n e s e A r c h i t e c t u r e and Japonesa, no dejarán que transcurra mucho tiempo sin que nos veamos
t h e a s p e c t s w h i c h w e r e n o t i n c l u d e d in this obligados a revisar de nuevo, en otro número especial, aquellos aspec-
issue. tos que se nos quedan fuera en esta ocasión.

\
PLANIFICACIÓN
PLANIFICATION
aldea agrícola agricultural town
Arquitecto Noriki Kurokawa( Noriaki Kurokawa, architect
(Grupo Metabolismo). (Metabolism Group)

Estamos a c o s t u m b r a d o s a la o p o s i c i ó n c i u ­ One is accustomed to thinking

of city vs. country when spea­
d a d vs. c a m p o , c u a n d o h a b l a m o s d e " e l é x o ­
king of "the farmers' exodus to
d o d e c a m p e s i n o s hacia las c i u d a d e s " , o d e
the city", or "the dispersion of
" l a d i s p e r s i ó n d e las p o b l a c i o n e s , u r b a n a s " . urban populations".
S i n e m b a r g o , así c o m o o t r a s c o m u n i d a ­ As other working communities
des d e trabajo, (industriales, comerciales, t u ­ such as industry and commerce
r í s t i c a s ) , se a g r u p a n e n t o r n o a las c i u d a d e s , are located in and around cities
t a m b i é n los núcleos agrícolas d e b e n agru­ so also should the agricultural
parse en comunidades compactas, cuya ade­ community be located in com­
cuada planificación tiene gran importancia pact and well planned suburban
porque constituirían un tejido sub-urbano areas so as to form ties with
e n t r e l a s m e t r ó p o l i s , y p o r q u e e n sí m i s m a s the urban area, and because
these suburban areas may, in
l l e v a n al g e r m e n d e f u t u r a s c i u d a d e s .
the future, be cities themselves.
El e s q u e m a q u e se p r e s e n t a es u n a p r o ­
The idea presented is a pro­
posición de Noriaki Kurokawa, (quien, junto position of Noriaki Kurokawa,
con Kinoyori Kikutake, Masato O t a k a y el (who together with Kinoyori Ki­
crítico N o b u r u Kawazoe integra el grupo kutake, Masato Otaka, and the
M e t a b o l i s m o ) , p a r a la r e c o n s t r u c c i ó n d e las critic Noburu Kawazoe makes
a l d e a s a g r í c o l a s e n la P r e f e c t u r a d e A i c h i , up the Metabolism Group), for
d e v a s t a d a e n 1 9 5 9 p o r e l t i f ó n d e la B a h í a reconstruction of the agricultu­
d e Ise. T o m a n d o e n c u e n t a e l h e c h o d e ral towns in Aichi which were
destroyed by the Ise Bay Typ­
q u e la m a y o r í a d e las a l d e a s i n u n d a d a s se
hoon of 1959. The majority
concentraban en superficies m u y compactas,
of the flooded towns were lo­
Kurokawa p r o p o n e unidades d e 5 0 0 x 5 0 0 m., cated in very compact areas so
organizadas alrededor d e un t e m p l o o d e Kurokawa has proposed units of
una escuela primaria, sobre un " s u e l o " arti­ 500 by 500 meters organized
f i c i a l s o b r e p o s t e s d e c o n c r e t o q u e se l e ­ around a temple or a grade
v a n t a 4 mts. d e la t i e r r a , y a d o n d e se c o ­ school, and located on artifical
n e c t a n t o d a s las i n s t a l a c i o n e s y c i r c u l a c i o n e s "soil" over pilotis, off the ground,
d e l a u n i d a d . T a m b i é n a e s t e n i v e l se e n ­ where all the installations and
circulations meet. This level
c u e n t r a n los servicios c o m u n e s v d e espar­
also contains the services area.
c i m i e n t o s o c i a l . La t i e r r a l i b e r a d a se u t i l i z a
The earth then is free for agri­
p a r a la a g r i c u l t u r a o p a r a t r a b a j o s c o n e x o s , cultural use while the private
y las h a b i t a c i o n e s p r i v a d a s se e l e v a n a s a l v o dwellings are above the instal­
de inundaciones como hongos por encima lations level so as to protect
del nivel d e instalaciones. them from floods, (see p.).

1. M a q u e t a / M o d e l / (To-
rihata).
2. C o n j u n t o e n la r e g i ó n /
Regional Plan.
3. C o r t e esquemático / Sec-
tion.
programas de vivienda housing programs
y problemas urbanos and urban problems
en japón in japan
Corporación Japonesa d e la V i v i e n d a . * Vecindad: con 5 0 0 viviendas y jar- The Japan Housing Corp.
dín d e recreo.
La c o r p o r a c i ó n J a p o n e s a d e l a V i v i e n d a The Japan Housing Corpora-
* Comunidad: con 2,000 viviendas y
tion includes private and state
es u n o r g a n i s m o d e p a r t i c i p a c i ó n estatal y parque comunal. participation. It undertakes a
privada q u e emprende una buena parte d e * Gran comunidad: con 6,000 vivien- large part of the construction
los p r o g r a m a s d e c o n s t r u c c i ó n d e m u l t i f a m i - das, p a r q u e central, salón d e reunio- for multifamily dwellings.
l i a r e s e n e s e p a í s ( v e r p á g . ). nes, oficinas administrativas, centro The Corporation is also in-
S i n e m b a r g o , su l a b o r n o p u e d e d e s l i g a r s e comercial, centro médico, guardería, terested in town planning. From
the interesting text which we re-
d e la p r e o c u p a c i ó n p o r los p r o b l e m a s d e j a r d í n d e n i ñ o s , sucursal d e las o f i - ceived we excerpt the principal
planificación urbana. Del interesante texto cinas estatales, c o r r e o , primaria y se- urban planning aspects of this
q u e n o s h a p r o p o r c i o n a d o su D e p a r t a m e n t o cundaria. organization:
d e C o n s t r u c c i ó n , e x t r a c t a m o s aquí los p r i n - 3) R e g e n e r a c i ó n U r b a n a . A p a r t i r d e las 1) Land Development. Land
cipales aspectos urbanísticos q u e encara dicha u n i d a d e s s o b r e u n m í n i m o d e 3 h e c t á r e a s , se to be used for dwellings is cho-
organización: prevé un programa d e regeneración q u e po- sen according to local planning
d r í a l l e g a r a las 2 0 , 0 0 0 v i v i e n d a s e n á r e a s laws and the master plan for
1) H a b i l i t a c i ó n P r e d i a l . T o m a n d o e n c u e n -
each town. One of the most
t a la m a g n i t u d d e los p r o y e c t o s , se e s c o g e n centrales d e c o m u n i d a d e s urbanas y a exis- frequently used methods is that
los p r e d i o s p a r a la c o n s t r u c c i ó n d e c o n j u n t o s tentes. A u n q u e el p r o g r a m a requiere bas- of "land reallotment" in which
h a b i t a c i o n a l e s , d e a c u e r d o c o n las leyes d e t a n t e c a p i t a l , y se e n f r e n t a a c o m p l i c a c i o n e s the corporation acquires more
p l a n i f i c a c i ó n l o c a l e s y las c a r a c t e r í s t i c a s d e l e g a l e s y p r e d i a l e s , se está y a e n u n a e t a p a than 40% of the land to be
rehabilitated in exchange for its
los p l a n o s r e g u l a d o r e s e n c a d a población. d e p r u e b a c o n los diversos m é t o d o s para technical studies and its gift of
U n o d e los m é t o d o s m á s e m p l e a d o s es e l d e solucionar este aspecto. the necessary services. Between
" r e l o t i f i c a c i ó n p r e d i a l " , e n e l c u a l la C o r - 4) Creación de Nuevas Ciudades. La 1955 and 1962 the corporation
poración adquiere más d e l 4 0 % d e l área handled 48 zones with a total
concentración demográfica e n las g r a n d e s
of 445000 hectares. Besides the
p o r habiiltar, a c a m b i o d e los estudios téc- c i u d a d e s ha sido n o t a b l e e n los últimos años. areas used for dwellings and
n i c o s y d e las o b r a s d e d o t a c i ó n d e s e r v i - A n u a l m e n t e más d e 3 0 0 , 0 0 0 p e r s o n a s lle- services, the corporation also is
cios necesarios. El á r e a s e r e e s t r u c t u r a y gan a Tokyo y 170,000 a Osaka. thinking of new industrial zones
se r e l o c a l i z a n las p r o p i e d a d e s d e a c u e r d o which can be considered as sour-
C o m o c o n s e c u e n c i a , las z o n a s r u r a l e s a l - ces of work for the communi-
con el plan. E n t r e 1 9 5 5 y 1 9 6 2 se r e c t i f i - r e d e d o r d e las c i u d a d e s , e s p e c i a l m e n t e e n ties founded by the corporation.
caron 4 8 zonas con un total d e 4 4 5 , 0 0 0 hec á r e a s c e r c a n a s a las v í a s d e f e r r o c a r r i l , se
tareas. Entre las áreas p o r h a b i l i t a r , n o so- 2) Community Development.
están c o n v i r t i e n d o rápidamente en lugares
The dwellings, specially those
l a m e n t e se i n c l u y e n las q u e se d e s t i n a n a d e v i v i e n d a sin p l a n e s a d e c u a d o s p a r a el located outside the cities, need
v i v i e n d a y servicios, sino t a m b i é n las z o n a s uso d e la t i e r r a , c o n la c o r r e s p o n d i e n t e c o n - to have he common services do-
industriales nuevas q u e p u e d e n constituir u n a f u s i ó n d e t r á f i c o h a c i a los c e n t r o s u r b a n o s nated. The amount donated de-
f u e n t e d e t r a b a j o p a r a las c o m u n i d a d e s f u n - pends upon the number of in-
y la f a l t a d e s e r v i c i o s m u n i c i p a l e s c o m p l e -
d a d a s p o r la c o r p o r a c i ó n . habitants. Areas have been clas-
t o s . U n a d e las t a r e a s a e m p r e n d e r p o r l a sified as follows:
C o r p o r a c i ó n , s e r á e l d e s a r r o l l o d e las á r e a s
2 ) D e s a r r o l l o d e la C o m u n i d a d . Los c o n - — small neoghborhood: 250
s u b u r b a n a s d e u n a m a n e r a i d ó n e a , esto es,
j u n t o s d e v i v i e n d a , s o b r e t o d o si se l o c a l i z a n residences and a park for
la c o n s t r u c c i ó n d e g r a n d e s c o n j u n t o s r e s i d e n - recreation
fuera d e centros urbanos existentes, requie-
ciales —nuevas ciudades—, d e a c u e r d o c o n
ren u n a d o t a c i ó n d e servicios c o m u n e s q u e — neighborhood: 500 residen-
planes coherentes, en tamaños d e aproxi- ces and a park for recrea-
a su v e z d e p e n d e d e l n ú m e r o d e h a b i t a n t e s
m a d a m e n t e 3 0 0 h e c t á r e a s c o n t o d o s sus ser- tion
q u e p u e d e n costearla. Se h a n j e r a r q u i z a d o
vicios públicos, y c o n centros d e trabajo — community: 2000 residen-
las u n i d a d e s d e a c u e r d o c o n l a s i g u i e n t e ces and a community park
industrial, administrativo, y científico, para
tabla: — large community: 6000 re-
a y u d a r así a l a d i s p e r s i ó n d e l a p o b l a c i ó n
* Vecindad menor: con 2 5 0 viviendas, sidences, central park, meet-
q u e a h o r a se a g l o m e r a e n las g r a n d e s c i u -
ing hall, administrative of-
y jardín d e recreo. dades. fices, commercial center,
 nursery, kindergarden, city
branch offices, post office,
grade school, and high
school.

3) Urban Renewal. For units

with a minimum of 3 hectares,
a renewal program for 20,000
residences in the downtown areas
of already existing communities
is forseen. Although this pro­
gram requires a lot of capital,
and there are legal and land
complications, various methods
are being tried so as to solve
these problems.

4) Creation of New Towns.

In the past few years the popu­
lation of the large cities has
been increasing rapidly. Annual­
ly more than 300,000 persons
arrive in Tokyo and 170,000 in
Osaka.
As a result, the rural areas
outside the cities and especially
near railroad tracks have beco­
me areas which lack proper
plans for using the land; there
is also traffic cougestion on the
roads going to and from the
cities, and a lack of complete
urban services. One of the jobs 2
to be undertaken by the corpo­
ration is the suitable develop­
ment of suburban areas by const­
ructing huge residential comple­
xes —new cities—, with an ap­
proximate area of 300 hectares,
its own -public services as well
as centers for industrial, admi­
nistrative, and scientific work
so as to move the people from
the overpopulated cities.

1. Conjunto Soka Matsuba-

ra, con 5 9 2 5 Viviendas
( 2 0 , 0 0 0 habs.) en 51.8
has. / Soka Matsubara
Housing Project. 5925
Dwellings (20,000 inha­
bitants) o n 51.8 h e c t a r e s /
(Futagawa).
2. Conjunto Takane Dai /
Takane Dai Housing Pro­
ject.
3. Conjunto Akabanedai,
con 3333 Viviendas
( 1 1 , 7 0 0 habs.) e n 22.4
Has. / A k a b a n e d a i Hous­
ing Project, 3 3 3 3 D w e l ­
lings (11,700 inhabitants)
o n 22.4 hectares/(Otsj-
ka).
4. Conjunto Shirasagi en
Osaka/Shirasagi Housing
Area, Osaka/(Otsuka). 4
 VIVIENDA
HOUSING
soluciones multifamiliares multifamily
al problema de la vivienda dwellings
as a solution

Corporación Japonesa d e la V i v i e n d a . m a y o r c o n s i s t e e n e l t a m a ñ o y la d i s t r i b u - The Japan Housing

c i ó n d e l o s d e p a r t a m e n t o s . Los m o d e l o s b á - Corporation
A p a r t e d e los e j e m p l o s q u e se i l u s t r a n , sicos s o n 1 D K , 3 D K y 4 D K c o n u n p r o -
2 Here are some of the Corpo-
r e u n i m o s a q u í los aspectos m á s i m p o r t a n t e s m e d i o d e 5 8 m , d o n d e los d í g i t o s corres-
ration's most important plans
d e los p l a n e s d e l a C o r p o r a c i ó n e n m a t e r i a p o n d e n al n ú m e r o d e c u a r t o s d e h a b i t a c i ó n with regard to the design and
de diseño y construcción d e viviendas mul- a b a s e d e " t a t a m i s " y las l e t r a s D y K c o - construction of multifamily dwel-
tifamiliares, según el interesante r e p o r t e p r o - rresponden a un área de comer (dining) lings as included in the report
sent by Mr. Masahiko Honjo.
p o r c i o n a d o a n u e s t r o c o r r e s p o n s a l p o r el se- y una d e cocinar (kitchen) respectivamente.
Head of the Construction De-
ñor Masahiko Honjo, jefe d e l D e p a r t a m e n t o C o m o se v e , se h a l l e v a d o l a c o s t u m b r e t r a - partment:
de Construcción: d i c i o n a l d e l " p i s o a b a s e d e " t a t a m i " y las
divisiones interiores a base d e " f u s u m a " (can- 1) The Corporation's Scope.
celes movibles», d e n t r o d e p a r e d e s d e c o n - Besides urban planning, the Cor-
1) C a m p o d e A c c i ó n . A p a r t e d e la l a b o r
poration is in charge of the
e n su m a t e r i a u r b a n í s t i c a , la Corporación creto. Esto se d e b e n o s o l a m e n t e a q u e following:
t o m a a su c a r g o l o s s i g u i e n t e s p r o b l e m a s e s - constituye el m o d o d e vida más familiar a
pecíficos: l o s j a p o n e s e s , s i n o p o r q u e su modulación — Construction and Adminis-
p e r m i t e u n a m e j o r a d a p t a c i ó n a la v i d a e n tration of about 26,000 dwellings
annually that rent for approxi-
* Construcción y Administración d e alre- espacios reducidos. Sin e m b a r g o , aunque
mately '$ 20.80 U.S.
d e d o r de 2 6 , 0 0 0 viviendas anuales en renta y a se h a l o g r a d o s e p a r a r u n á r e a d e c o m e r
a un p r o m e d i o d e 7,500 Yens ( a p r o x i m a d a - a p a r t e d e los c u a r t o s h a b i t a b l e s (general- — Construction and Sale of
m e n t e u s a d o s c o m o d o r m i t o r i o s ) , la e l e v a c i ó n 14,000 dwellings annually.
mente $ 260.00 mensuales^.
* Construcción y venta de 14,000 vi- d e los niveles d e v i d a e n j a p ó n va e x i g i e n d o
— Construction, rent, and
viendas anuales. q u e se i n c l u y a u n a e s t a n c i a e n l o s m o d e l o s transfer of related facilities such
* C o n s t r u c c i ó n , r e n t a y t r a s p a s o d e ser- básicos. as markets and clinics.
vicios c o n e x o s c o m o m e r c a d o s y clínicas.
— Construction of high rise
* Construcción d e edificios altos e n z o - 3) Investigación y Racionalización. Supe- buildings in congested areas in
nas c o n g e s t i o n a d a s , e n las q u e las u n i d a d e s r a d o s m u c h o s d e l o s o b s t á c u o l s q u e se h a n which the living quarters are lo-
d e v i v i e n d a e n r e n t a o c u p a n las p o r c i o n e s s a l v a d o d e s d e 1 9 5 5 a la f e c h a , l a C o r p o - cated in the top part while the
s u p e r i o r e s d e l o s e d i f i c i o s , m i e n t r a s q u e los r a c i ó n m i r a h a c i a e l f u t u r o b u s c a n d o la su- lower levels contain commercial
or administrative services etc.
n i v e l e s i n f e r i o r e s se p l a n e a n c o n servicios p e r a c i ó n d e sus m o d e l o s y e s p e c i f i c a c i o n e s
for the use or transfer to the
comerciales y / o administrativos, recreativos, constructivas. A l efecto, dispone desde 1963 owner of the land. This system
asistenciales, etc., p a r a uso d e o p a r a tras- d e 3 l a b o r a t o r i o s d e i n v e s t i g a c i ó n e n l o s si- is advantageous when the owner
p a s o al p r o p i e t a r i o d e l p r e d i o . Es d e a n o t a r guientes campos: does not have sufficient capital
for a high rise building which
a q u í la v e n t a j a d e e s t e s i s t e m a , s o b r e t o d o
is needed because of the value
cuando existen muchos terrenos céntricos en * Formas metálicas. D a d o q u e la c o n s - of the land and population den-
las c i u d a d e s c u y o s p r o p i e t a r i o s n o t i e n e n l a trucción racional en concreto armado re- sity. This type of solution is
capacidad financiera suficiente como para q u i e r e d e c i m b r a s m e t á l i c a s , la C o r p o r a c i ó n 17% of tlie Corporation's total
h a e m p r e n d i d o l a c o n s t r u c c i ó n d e 8 casas number of rented dwellings.
c o n s t r u i r e n su p r e d i o e d i f i c i o s a l t o s q u e
j u s t i f i q u e n e l u s o d e la t i e r r a y la d e n s i d a d usando formas metálicas. Los r e s u l t a d o s d e 2) Design and Construction of
d e p o b l a c i ó n p r o p u e s t a e n los p l a n o s r e g u - esas e x p e r i e n c i a s b e n e f i c i a n y a a o t r a s 3 8 2 Dwellings. The corporation gui-
ladores. Este t i p o d e s o l u c i o n e s a b a r c a u n casas q u e se h a n i n i c i a d o p o s t e r i o r m e n t e , y des the work of design and cons-
a m u c h a s o t r a s q u e se c o n s t r u i r á n d e s p u é s . truction, and the private deve-
1 7 % del total d e viviendas en renta p r o m o -
loper is the one who is directly
v i d a s p o r la C o r p o r a c i ó n . responsible for these two as-
* Precolados. Este s i s t e m a se h a u t i l i z a - pects. The traditional Japanese
2 ) D i s e ñ o y C o n s t r u c c i ó n d e las v i v i e n d a s . d o m u c h o e n l a U n i ó n S o v i é t i c a , y se e s t é home uses wood in its principal
parts, and its design takes into
La l a b o r d e l a C o r p o r a c i ó n se l i m i t a a e n - a d o p t a n d o a h o r a e n J a p ó n , d o n d e se c o n - account the country's high tem-
c a u z a r los t r a b a j o s d e d i s e ñ o y c o n s t r u c c i ó n s i g u e n f á c i l m e n t e g r ú a s d i s e ñ a d a s p a r a este peratures and humidity. The tra-
de acuerdo con modelos y normas preesta- tipo d e construcción. D e b i d o a las c o n d i - ditional h o u s e is a separate
ciones presentes d e l sistema vial, hasta el construction with its own fen-
b l e c i d a s , q u e d a n d o la l a b o r e s p e c í f i c a d e d i -
ced in garden around the house.
seño y construcción a c a r g o d e l p r o m o t o r m o m e n t o los p r e c o l a d o s —en f o r m a s d e l t a - The fine quality of the interiors
privado o del constructor. La c a s a t r a d i c i o - m a ñ o d e las h a b i t a c i o n e s — , se c o n s t r u y e n e n and the arrangement of spaces
nal j a p o n e s a , utiliza secciones d e m a d e r a p l a n t a s p r o v i s i o n a l e s e s t a b l e c i d a s al p i e d e is unique.
p a r a sus p a r t e s p r i n c i p a l e s , y su d i s e ñ o t o m a la o b r a . La p r e g u n t a p r i n c i p a l r e s p e c t o a The Corporation's dwellings are
m u y e n c u e n t a las a l t a s t e m p e r a t u r a s y h u - la v a l i d e z d e u t i l i z a r e s t e m é t o d o e n J a p ó n , not of the traditional type; it is
hoped that the inhabitants accept
m e d a d r e l a t i v a q u e se d a n e n e l p a í s . Es r e s i d e e n la resistencia d e los e d i f i c i o s c o n s -
living in an apartment building
u n a c a s a s e p a r a d a d e las d e m á s , e s t r u c t u - truidos c o n secciones precoladas ante los as this is a foreign experience for
r a d a , y t i e n e su p r o p i o j a r d í n b a r d e a d o a l - sismos. H a s t a e l m o m e n t o s ó l o se h a u t i l i - the Japanese.
rededor. El f i n o a c a b a d o d e sus i n t e r i o r e s z a d o e n construcciones d e d o s pisos. There are other problems with
respect to design that have to be
y l a s a b i a a d e c u a c i ó n d e sus e s p a c i o s e s
resolved; perhaps the biggest
s i n g u l a r e n t r e los diseños d e v i v i e n d a e n el * Acabado y E q u i p o d e la Vivienda. problem is the size and distribu-
mundo. El t e r c e r l a b o r a t o r i o se o c u p a d e e s t u d i a r tion of the departments. The
Las v i v i e n d a s q u e p r o p o r c i o n a l a C o r p o - el d i s e ñ o y la p r o d u c c i ó n d e a c a b a d o s y basic models are 1DK, 3DK, and
4DK with an average of 58 sq.
ración difieren bastante del tipo tradicional, equipos tales como fregaderos, ventilas, meters, where the numbers cor-
y se e s p e r a q u e sus h a b i t a n t e s a c e p t e n l a p u e r t a s , tatamis, f u s u m a , tinas, y t o d o s los respond to the number of rooms
condición d e vivir e n v e c i n d a d c o n otros m a t e r i a l e s susceptibles d e ser p r o d u c i d o s in- in a residence based on "tatami".
dustrialmente. Se e s p e r a q u e e s a i n v e s t i g a - and the letters D and K cor-
c d e p a r t a m e n t o s , lo q u e constituye una e x p e -
respond to dining room and kit-
£ r i e n d a a la q u e los j a p o n e s e s n o e s t á n f a - c i ó n sirva t a m b i é n p a r a p r o v e e r d e i n f o r - chen respectively. As one can
"Jj miliarizados. m a c i ó n útil a otras agencias p ú b l i c a s o c u - see the floor is based on "tata-
.5 Existen t a m b i é n o t r o s p r o b l e m a s e n c u a n t o p a d a s e n m a t e r i a d e v i v i e n d a , y a la cons- mi" and the interior divisions are
based on "fusuma and "hoii"
> al d i s e ñ o q u e d e b e n r e s o l v e r s e : quizá el trucción d e viviendas e n g e n e r a l e n el país.
(sliding partitions). There are
two reasons for this. First it is
the traditional way for the Japa-
nese to live, and second it makes
living in reduced spaces easier.
With the rising standard of living
it is becoming necessary to in-
clude a living room in these
dwellings.

3) Investigations - The Corpo-

ration is trying to improve its
models and construction methods.
Since 1963 they have established
3 laboratories for investigation
purposes in the following areas:
Metal Forms - The Corpora-
tion has constructed 8 houses
using metal forms; this has be-
nefited 382 houses built later and
will benefit others to the built in
the future.
Precasting - The machinery us-
ed in this process is easily ob-
tained in Japan. Due to unfavor-
able road conditions, the precast-
ing plant is right at the con-
srtuction site. The validity of this
method for Japan has not been
established as it is not yet known
how well these building will
resist earthquakes. Precasting has
not been used in construction of
more than 2 floors.
Finishings and Equipment -
The 3rd laboratory studies the
design and production of finish-
ings and equipment such as bas-
ins, windows, doors, tatamis, fu-
suma, bath tubs, and all materials
that can be produced by industry.
It is hoped that this investigation
will benefit all other public
agencies concerned with materials
for dwellings as well as the con-
struction of dwellings in general.

1. C o n j u n t o K u d e n c h o . Vis-
t a e x t e r i o r d e s d e la z o -
na d e juegos/Kudencho
Housing Area. View
from playground. I
2. Conjunto Hama Koshien.
Centro Comercial/Hama
Koshien Housing Area.
Shopping CentreAOtsu-
ka).
3. Vivienda tipo de 32.92
m.- con: vestíbulo, coci-
na, desayunador, baño, 1
cuarto habitable y terra-
za/32.92 m.- — Type
Dwelling — with entran-
ce, dining-kitchen. bath-
room, 1 tatami-room and
balcony.
4. • Vivienda tipo de ' 46.96 2 tatami-rooms and bal- Dwelling, with entrance,
2
m. con: vestíbulo, coci- cony. living room, dining-kit-
na desay., b a ñ o 2 cuar- Vivienda tipo de 77.18 chen, bathroom, 3 tatami
tos h a b i t a b l e s y terra- m.2
con: vestíbulo, sala, rooms and balcony
2
za/46.96 m. — type comedor-cocina, baño, 3
Dwelling, with entrance, cuartos habitables y te-
dining-kitchen, bathroom, 2
rraza/77.18 m. — Type
EDIFICIOS C O M E R C I A L E S
C O M M E R C I A L BUILDINGS
yomiuri comercial centro comercial
center yomiuri
Murano and Mori, architects Arquitectos Murano y Morí.

This building in constructed of C o n s t r u i d o e n f e r r o - c o n c r e t o , este e d i f i c i o

reinforced concrete; it has 8 tiene 8 pisos y 2 s u b t e r r á n e o s c o n un es­
floors and 2 floors underground 2

in an area consisting of 3815 sq. pacio de 3,815 metros . El e d i f i c i o e s o c u ­

meters. The Yomiuri newspaper, p a d o p o r el p e r i ó d i c o Y o m i u r i , u n o d e los
one of the largest in Japan, has d e m a y o r c i r c u l a c i ó n d e J a p ó n . En l o s p i s o s
its offices on the 6th, 7th, and 6, 7 y 8 t i e n e el d i a r i o sus o f i c i n a s ; los 5
8th floors. The first 5 floors are
occupied by the Sogo department p r i m e r o s pisos los o c u p a el g r a n almacén
store. The building is in the form S o g o q u e t i e n e su c a s a m a t r i z e n O s a k a . El
of a triangle, and it can be used edificio tiene forma triangular y puede con­
as an auditorium or theater. vertirse en auditorio o teatro.
The western wall has no win­ El m u r o o e s t e n o t i e n e v e n t a n a s , r e v e s t i d o
dows so as to avoid exposure to c o n tessera p a r a e v a d i r la e x p o s i c i ó n d i ­
the sun's rays. The northeastern
recta a los r a y o s d e l s o l . Su l a d o n o r o e s t e
side is very interesting where the
window panels from the north t i e n e a s p e c t o s i n t e r e s a n t e s q u e se o r i g i n a n
and the east sides join. al u n i r u n b l o q u e d e c r i s t a l al o t r o .

1. Vista noroeste/North-east
side of the bldg./(M.
(Arai).
2. Planta 7 o . piso, c o n A u -
ditorio/7th. floor plan,
with Auditorium.
3. Corte/Section.
4. Vista suroeste/Southwest
side/(Murasawa).
5. Auditorio / Auditorium /
(Murasawa).
EDIFICIOS DE GOBIERNO
GOVERNMENT BUILDINGS
palacio de gobierno en government palace
tatebayashi tatebayashi
. Kinoyori Kikutake and
A r q . Kinoyori Kikutake y asociados Associates, architects
1. Vista g e n e r a l d e s d e el
sureste / G e n e r a l view
from southeast/(O. Mu-
rai).
2. Salón del Consejo M u ­
nicipal / Assembly Hall /
(Y. F u t a g a w a ) .
3 . - Planta 1er. piso. Aten­
c i ó n al p ú b l i c o / 1 st f l o o r .
Citizens' A r e a .
4. Planta 4 o . piso. Consejo
y Oficinas para conseja-
les/4th. floor. Assembly
hall and assembly offices.
5. Fachada sur/South elev­
ation.
 C E N T R O S DE ENSEÑANZA,
INVESTIGACIÓN Y C U L T U R A
TEACHING, INVESTIGARON
AND CULTURE CENTERS

universidad gakushnin gakushuin university

Arquitecto Kunio M a y e k a w a . Kunio Makeyawa, architect

1. V i s t a d e la S e c c i ó n de
Humanidades y del Aula
Magna desde el sur /
South view of Bldg. for
Literature and Lecture
Hall/(F. Murasawa).
2. Sección d e Humanidades,
Administración M Aula
M a g n a / B u i l d i n g s f o r Li-
terature, Administration
O f f i c e and Lecture H a l l /
(F. M u r a s a w a ) .
3. Interior del A u l a M a g n a /
L e c t u r e H a l l (F. M u r a s a -
wa).
 L P l a n t a Baja / G r o u n d
Floor:
A . Administración / A d ­
ministration.
B. A u l a Magna/Lecture
Hall.
C. Sección d e Ciencias/
Sciences Building.
D. S e c c i ó n de Humani­
dades / Literature
Bldg.
E. Biblioteca/Library:
1) V e s t i b u l o / L o b b y .
2) A c e r v o / S t a c k
room.
3) H e m e r o t e c a / P e ­
riodicals.
4) Lectura / Reading
room.

PLANTA BAJA

P l a n t a 1er. Piso/1 s1
Floor:

A. Administración / Ad
ministration.

1 ) Rector/President.
2) O f i c i n a s / O f f i c e s .
3) J u n t a s / M e e t i n g s .
4) Servicios / Servi­
ces.

B. Aula Magna / Lectu­

re tlall.

C. Sección de Ciencias/
Sciences Bldg.

5) Aulas/Classrooms.
6i Aula/Classroom.

D. Sección de H u m a n i d a -

des/Literature Bldg.
7)Dirección / Direc­
tor.
8) A u l a s / C l a s s r o o m s .
8) A u l a s / C l a s s r o o m s .
9) J u n t a s / M e e t i n g s .
10) L a b o r a t o r i o s / La­
boratories.
1 1) Aula/Classroom.
E. Biblioteca/Library.

12) Informes / Infor­

mation.
13) Tarjetas / R e f e r e n ­
PRIMER PISO ce r o o m .
14) A c e r v o / S t a c k
room.
15) O f i c i n a s / O f f i c e s .

( 1 4 y 16 son salas d e
lectura e n el siguiente
n i v e l / 1 4 a n d 16 are rea­
d i n g r o o m s at n e x t f l o o r ) .
Vista general / General view. Minoru Ohta, architect Arquitecto Minoru Ohta.

club de estudiantes clark The island of Hokkaido

northern Japan. The
is in
extreme
La isla H o k k a i d o e s t á s i t u a d a a l n o r t e d e l
Japón. Los f r í o s e x t r e m o s d e l i n v i e r n o i m ­
winter cold requires special pro­
universidad de hokkaido tection and insulation from the
p o n e n la n e c e s i d a d d e p r o t e c c i ó n y aisla­
miento d e lexterior, condiciones diferentes
weather and a different architec­
tural expression from the rest of al r e s t o d e l p a í s y q u e r e q u i e r e n p o r t a n t o
the country where the winter una expresión arquitectónica diversa. Hok­
student unión at clark weather is more mild. Hokkaido k a i d o h a s i d o p o b l a d o p o r la i n m i g r a c i ó n
has been populated largely within japonesa d u r a n t e un siglo, es p o r esto u n a
university in hokkaido the last century and so it is a región relativamente nueva d o n d e el peso
relatively new region where tra­ d e la t r a d i c i ó n n o e s m u y g r a n d e . Un edi­
dition is not verv important. f i c i o b a j o es m á s a p r o p i a d o a la l l a n u r a d e
Because of the Sapporo Plains, S a p p o r o ; n o es el c l i m a , sino el d e s e o d e
and not the weather, a low build­ h o r i z o n t a l i d a d l o q u e h a c e a d o p t a r la f o r m a
ing was chosen so as to achieve del edificio. Se trata d e a r m o n i z a r el e x ­
harmony between the exterior
t e r i o r a la f u n c i ó n d e l e s p a c i o i n t e r i o r . La
and the interior spaces. The part
parte del edificio proyectada para un movi­
of the building which has the
miento activo tiene libertad d e m o v i m i e n t o
meeting quarters achieves free­
dom of movement by using a d e l i n t e r i o r al e x t e r i o r m e d i a n t e e l u s o d e
glass wall. The areas dedicated cristal e n la f a c h a d a . Las s e c c i o n e s d e d i c a ­
to more sedentary activities are das a actividades sedentarias están cerradas
closed off by solid walls. por muros sólidos.
 aulas takanodai. universidad takanodai studios -
de arte musashino musashino art
university
Arquitecto Yoshinobu Ashihara. Yoshinobu Ashihara, architect

El e d i f i c i o e s l a p r i m e r a f a s e d e l p r o y e c t o This building was recently fin­

que fue terminado recientemente. Consta de ished. It consists of IS class­
18 a u l a s c o n o r i e n t a c i ó n n o r t e , s o b r e p o s t e s . rooms facing the north, and it is
Para l l e g a r a las aulas es p r e c i o s p a s a r constructed on pilots.
por una espaciosa plaza proyectada para
Before arriving to the class­
uso d e t o d o s los e s t u d i a n t e s c o n u n área
rooms, it is necessary to go
d e 5 7 x 5 4 m e t r o s . D e las 3 ó u n i d a d e s i n ­
c l u i d a s e n t r e las c o l u m n a s d e c o n c r e t o , d o c e through a spacious plaza consist­
están libres y d e j a n pasar el sol q u e brilla ing of 57 by 54 meters and to be
e n el p a v i m e n t o d e l piso b a j o . Mediante used by all the students. Of the
esta c o m p o s i c i ó n , se h a l o g r a d o u n a g r a n 36 units in this building, 12 are
p r o p o r c i ó n d e áreas libres para el uso d e free and let the sun in. There
e s t u d i a n t e s y m a e s t r o s y la p o s i b i l i d a d d e are many free spaces for the
elegir un lugar abierto, con luz d e sol, o students and teachers which can
b i e n e n la s o m b r a p a r a d e s c a n s o o c o n v e r ­ be used for rest, conversation,
sación. etc.

1. Vista a e r e a d e las aulas

y los p a t i o s / A e r i a l view
of studios a n d courts.
2. Detalle/Detail.
3. Vista a e r e a / A e r i a l view.
Plaza y f a c h a d a norte/
4. N o r t h side with square
in f r o n t .
5. Patios e n t r e p i l a r e s / P i l o -
tis a r e a / ( F o t o s M . A r a i ) .
 instituto central teijin teijin research
de investigaciones institute
Arquitecto James Stewart Polshek. James Stewart Polshek, architect

Detalle entrada / Entrance. Detail. Vista general / General view.

centro cultural en culture

fukuoka center in fukuoka
Arquitecto Takeo Satow. Takeo Satow, architect

1. Detalle Fachada / Exte­

rior Detail.
2. Vestíbulo/Entrance.
3. Vista g e n e r a l del lado
norte/Overall view of
north side/(Fotos: M . Ot-
suka).
ARQUITECTURA DEPORTIVA
SPORTS ARCHITECTURE
national gymnasium gimnasio nacional en yoyogi,
inyoyogi, tokyo tokyo

Kenzo Tange and URTEC, A r q u i t e c t o s Kenso T a n g e & URTEC.

architects Doctor Yoshikatsu Tsuboi,
Dr. Yoshikatsu Tsuboi, structural
consultor d e la estructura.
consultant

The National Gymnasium in­ El G i m n a s i o N a c i o n a l l o f o r m a n d o s c o n s ­

cludes 2 constructions and an­ t r u c c i o n e s y los a n e x o s q u e los u n e n . El
nexes which join them. The main G i m n a s i o principal tiene 15,000 asientos y
gym has 15.000 seats and swim­
ming pools which can be convert­ piscinas e q u i p a d a s p a r a su c o n v e r s i ó n e n
ed into ice skating rinks. The pistas d e p a t i n a j e s o b r e hielo. El G i m n a s i o
other gym has 4,000 seats and A n e x o c o n 4 , 0 0 0 asientos tiene varias apli­
has various uses. The annexes caciones,- e n l o s j u e g o s o l í m p i c o s f u e e s c e ­
have an administrative section, a
restaurant, and a passageway for nario d e los j u e g o s d e b a s q u e t b o l . Los
the public. a n e x o s q u e u n e n a los d o s g i m n a s i o s c o n ­
The main gym has a high t i e n e n l a s e c c i ó n a d m i n i s t r a t i v a , al r e s t a u ­
tension steel structure, and its rante y un paso para el público.
concave form results in a smaller La e s t r u c t u r a d e l g i m n a s i o p r i n c i p a l e s t á
interior volume to control the
temperature and the acoustics. r e s u e l t a a base d e a c e r o a la t e n s i ó n . U n a
The cables are suspended be­ e s t r u c t u r a así i n c l u y e u n e s p a c i o m e n o r e n
tween 2 thick colums to form the su f o r m a c ó n c a v a q u e e l e s p a c i o convexo
principal axis and are anchored d e u n a c ú p u l a , y p o r e s t o a l i g e r a las c a r g a s
at both ends of the building so d e l c l i m a artificial y f a c i l i t a el c o n t r o l acús­
as to achieve greater stability.
tico.
The roof is suspended between
the cables and the sides of the Los c a b l e s s u s p e n d i d o s ( c o m o e n u n p u e n ­
seats. t e ) e n t r e d o s g r u e s o s p i l a r e s f o r m a n los e j e s
There is stress all along the principales d e l g i m n a s i o m a y o r y están an­
upper archs until the base of the clados en ambos extremos del edificio para
huge columns where the 2 archs
mayor estabilidad. La c u b i e r t a e s t á s u s p e n ­
find equilibrium.
d i d a e n t r e los c a b l e s axiales y los e x t r e m o s
s u p e r i o r e s d e las g r a d a s , y f o r m a d a p o r u n
gran n ú m e r o d e cables d e acero en catena­
Vista g e n e r a l d e G i m n a ­ ria.
sio N a c i o n a l (al f r e n t e ) Los e s f u e r z o s d e b o r d e , c o r r e n a l o l a r g o
y e l G i m n a s i o A n e x o (al d e los arcos s u p e r i o r e s y l l e g a n a los p u n t o s
fondo)/Aerial v i e w of base d e las g r a n d e s c o l u m n a s , d o n d e los
N a t i o n a l G y m (fore­ dos arcos e n c u e n t r a n e q u i l i b r i o .
ground) and Annex G y m
(background)/{K. Miwa).
estadio de pista y campo en stadium in
el parque komazawa komazawa park

Arquitecto Masachika Murata. Masachika Murata, architect

El p a r q u e d e K o m a z a w a e s u n l u g a r d e Komazawa Park is a recrea-

recreo p a r a el p u e b l o d e T o k y o localizado tional area for the people of
a u n o s 1 2 k m s . al s u r o e s t e d e l c e n t r o d e l a Tokyo. This area includes 43
hectares and was prepared for
ciudad. El á r e a c o m p l e t a d e 4 3 h e c t á r e a s
use in the 1964 Olympics. The
f u e p r e p a r a d a p a r a d a r servicio e n los j u e g o s
stadium was projected as an in-
olímpicos de octubre 1 9 6 4 . El e s t a d i o s e
tegral part of the park and care
proyectó como parte integral del parque d e
was taken in planning for traffic.
K o m a z a w a , c u i d a n d o el m a n e j o d e las líneas
d e t r á f i c o e n t r e el e s t a d i o y la a v e n i d a d e Different types of visitors were
a c c e s o y la e s t a c i ó n d e c a m i o n e s e n e l l a d o classified as follows: A. General
este. spectator. B. V.I.P.'s. C. Com-
Las f u n c i o n e s d e l e s t a d i o se a g r u p a r o n e n mittees, officials, and athletes.
los siguientes c a p í t u l o s p a r a d i f e r e n c i a r t r á - D. Press. E. Lodging, conferen-
fico d e naturaleza diversa: A . Espectadores, ces, and exhibitions. F. Admin-
c o m u n e s . B. E s p e c t a d o r e s e s p e c i a l e s . C . C o - istrative functions. The general
m i t é s , o f i c i a l e s y a t l e t a s . D . P r e n s a . E. A l o - spectator enters by bridges from
jamiento, conferencias y exhibiciones. F. the plaza that surrounds the sta-
dium and arrives at his seat by
Funciones administrativas. Los e s p e c t a d o r e s
using one of many interior pas-
g e n e r a l e s e n t r a n al e s t a d i o p o r p u e n t e s d e s -
sageways. It takes only 7 minutes
d e l a p l a z a q u e r o d e a al e s t a d i o ; l l e g a n a
to empty the building.
sus a s i e n t o s a t r a v é s d e v o m i t o r i o s d i s t r i b u i -
d o s e n e l interior,- e l t i e m p o r e q u e r i d o p a r a The stadium is proyected ac-
la e v a c u a c i ó n es d e 7 m i n u t o s . cording to international norms,
La c a n c h a e s t á proyectada de acuerdo and soccer can be played there
c o n las n o r m a s i n t e r n a c i o n a l e s y es a p r o p i a - also. It has a 400 mt. race track
d a para f ú t b o l soccer. La p i s t a a n u l a r d e with 8 lanes. There is also a
4 0 0 metros tiene 8 carriles, y h a y u n a pista racing track with 100 meters for
para carreras d e 1 0 0 metros planos con 10 10 competitors.
competidores. Las e n t r a d a s a la p i s t a se
hacen p o r cuatro lugares para facilitar el The capacity of 20,000 seats
uso e n j u e g o s y carreras d e m a r a t h ó n . was determined by the nature of
La c a p a c i d a d d e 2 0 , 0 0 0 a s i e n t o s f u e d e - the park, the city's master plan,
t e r m i n a d a p o r la n a t u r a l e z a d e l p a r q u e d e and future use. It is a good size
K o m a z a w a , su l u g a r e n e l p l a n o g e n e r a l d e and the spectators feel close to
la c i u d a d y e l u s o q u e t e n d r á e n e l f u t u r o . the participating athletes as the
Es d e u n t a m a ñ o c o n f o r t a b l e y l o s e s p e c t a - spectator siis in one of the two
main stands which are in the
d o r e s se s i e n t e n c e r c a d e los atletas p a r t i -
form of a large oval with seats
cipantes, en dos tribunas principales frente
on different levels.
a frente, f o r m a n d o un gran óvalo c o n altu-
ra variable. Concrete was used for the
Se usó c o n c r e t o a r m a d o p a r a t o d a la es- structure, and the stands' roof is
t r u c t u r a c o n la c u b i e r t a d e las t r i b u n a s e n a cantlevered canopy. Six fan
v o l a d i z o d e 8 m e t r o s . Seis t e c h o s e n f o r m a shaped canopies cover the main
d e a b a n i c o c u b r e n la s e c c i ó n p r i n c i p a l d e stands; the roof's structure is
a s i e n t o s ; las e s t r u c t u r a s d e las c u b i e r t a s s o n supported at the ground level and
c a r g a d a s al n i v e l d e l s u e l o y s e a p o y a n e n rests on the outside of the oval
el e x t e r i o r d e la estructura o v a l . Se utili- structure. Inverted columns cast-
ed on the site were used to in-
zaron columnas invertidas coladas e n el l u -
crease the structure's rigidity so
g a r p a r a i n c r e m e n t a r la r g ü d e z d e la es-
as to withstand earthquakes and
t r u c t u r a c o n t r a las f u e r z a s sísmicas, y p a r a
to increase the concrete's com-
a u m e n t a r las s e c c i o n e s d e c o m p r e s i ó n d e l pression in areas where there is
concreto en zonas con grandes esfuerzos de great stress.
deformación.
S e u s a r o n losas d e c o n c r e t o p r e c o l a d a s e n Precasted concrete slabs were
los asientos e s c a l o n a d o s p a r a d i s m i n u i r el p e - used for the seats to diminish the
so m u e r t o y p a r a m a y o r r a p i d e z y f a c i l i d a d dead loads and facilitate con-
e n la c o n s t r u c c i ó n . struction.

1. Vista aérea del Parque

Komazawa: Arriba, el
. Estadio de M. Murata
a b a j o , el G i m n a s i o d e Y.
Ashihara/Aerial view of
K o m a z a w a Park. A b o v e :
the Stadium b y M . M u r a -
ta. Below: the gymna-
sium by Y. A s h i h a r a /
(Nikkon Kensetsu).
2. El e s t a d i o d e s d e l a p l a -
za/Stadium viewed from
p l a z a / ( M . Arai.)
1 . Planta/Plan:

A) Martillo/Hammer.
B) Disco/Disc.
C) Salto/Springs.
D) Salto/Springs.

2. Corte transversal/Trans­
versal Section.
3. Detalles estructura/Struc-
tural Details.
4. Vista interior/1 n t e r i o r
view/(M. Arai).
5. Detalle voladizo/Canopy
over Grand Stand/(M.
Arai).
6. Torre de control desde
e l p ó r t i c o b a j o las g r a ­
das/Control tower vie­
wed through promena­
de under grand stand/
(T. O g a w a ) .
gimnasio en el parque gymnasium in
de komazawa komazawa park
A r q . Yoshinobu Ashihara Yoshinobu Ashihara, architect

El g i m n a s i o p a r a 4 , 0 0 0 e s p e c t a d o r e s , c o n ­ The gym has 2 basketball

tiene 2 canchas d e basquet-ball. courts and room for 4,000 spec­
Las 4 c o n c h a s p a r a b o l o i d e - h i p e r b ó l i c a s d e tators. The 4 H-P shells deter­
la c u b i e r t a d e t e r m i n a n el u s o d e l e s p a c i o i n ­ mine the use of interior spaces,
t e r i o r , l a l o c a l i z a c i ó n d e l a s c a n c h a s y las
the location of the courts, and
líneas d e v i s u a l i d a d .
the line of vision.
N o es necesario l l e g a r a los asienttos p o r
r a m p a o escalera p o r q u e el t e r r e n o ha sido Ramps or stairs are not neces­
e x c a v a d o , l o g r a n d o un acceso directo. Bajo sary to arrive at one's seat as
las t r i b u n a s e s t á u n j a r d í n h u n d i d o d e 1 0 8
the earth was excavated to pro­
metros de diámetro, espacio creado por cuatro
vide direct access to the seats;
gigantescas nervaduras q u e d i v i d e n el jardín
d o n d e los e s p e c t a d o r e s p u e d e n descansar d u ­ there is a sunken garden under
r a n t e los i n t e r m e d i o s d e las c o m p e t e n c i a s the stands to be ussed by the
deportivas. spectator during intermission.

1. Vista general / General

view.
2. Corte/Section.
3. Planta/Plan:

1) A s i e n t o s / S e a t s .
2) C o n t r o l e s y P r e n ­
sa / Controls &
Press.
3) A r e n a / A r e n a .

4. Vista aérea/Aerial view.

 ARQUITECTURA RELIGIOSA
RELIGIOUS ARCHITECTURE
anexo al santuario de humo annex to the izumo
sanctuary

A r q . Kiyonori Kikutake y asociados Kiyonori Kikutahe and Associates

El S a n t u a r i o d e I z u m o , ¡ u n t o c o n l o s d e I s s , The Izumo Sanctuary together

es d e los m á s a n t t i g u o s y v e n e r a d o s d e l S h i n - wjth the Ise Sanctuary is one of
t o i s m o ¡ a p o n e s . El e d i f i c i o a n e x o e n c o m e n d a - the oldest and most venerated
Shinto shrines. This annex is for
d o a Kiyonori Kikutake tiene funciones de re-
receptions, administration, a mu-
cepción, administración, museo, y también
seum, and also ceremonies. While,
ceremoniales. Es n o t a b l e su i n d e p e n d e n c i a
the design and structure have an
f o r m a l y e s t r u c t u r a l , a l a v e z q u e su r e l a c i ó n air of independence, the building
c o n el paisaje y c o n el c a r á c t e r s a g r a d o d e l is integrated with the landscape
conjunto. Constituye una lección ejemplar p a - and the sacred character of the
ra o t r o s países d o n d e la c o n s e r v a c i ó n d e m o - complex. This serves as a good
n u m e n t o s se e n t i e n d e r í g i d a m e n t e , l i m i t a n d o lesson in flexibility — that is
así las p o s i b i l i d a d e s d e c r e a c i ó n e n z o n a s new buildings being built along-
c o n t i g u a s a las o b r a s y a c o n s a g r a d a s . side old, sacred buildings.

1. S a c e r d o t e s S h i n t o y Edif.
A d m v o . / S h i n t o Priests
a n d A d m . B l d g . / ( Y Ishi-
moto).
2. Vista d e s d e el p o r t a l N a -
nakuchi-mon/View from
Nanakuchi-mon (gate)/
(Y. F u t a g a w a ) .
Planta Baja/Main Floor:

1) Entrada/Entrance.
2) Recepción de pe-
r e g r i n o s / Pil­
g r i m s'reception-
room.
3) Almacén / Store­
room.
4) Sagrario / Trea­
sury-room.
5) Escaleras/Stairs.
6) Serv. Sanit/Rest-
rooms.

Planta M e z z a n i n e / Mez-
zanine:

1) E s c a l e r a s / S t a i r s .
2) O f i c i n a s / Secre­
tary's r o o m .
3) C u a r t o c e r e m o ­
nial / Ceremonial
room.

Vista interior / Interior view/(Y. Futagawa)

 templo funi-zendo funi-zendo temple
A r q . Yoshiro Taniguchi Yoshiro Taniguchi, architect

El Z e n - B u d i s m o e n su i n t e r p r e t a c i ó n j a p o n e - The Japanese interpretation of

sa c o n t i e n e d i v e r s o s e l e m e n t o s o p u e s t o s : P o r Zen-Buddhism has many opposite
u n a p a r t e , e l Z e n g u a r d a la t r a d i c i ó n . Sus elements. On one hand, Zen fol-
lows tradition. Its followers ad-
d i s c í p u l o s se a d h i e r e n a u n t i p o d e e n s e ñ a n z a here to teachings that have been
c o l o q u i a l q u e d a t a d e sus o r í g e n e s e n C h i n a . in effect since its origins in China.
Hay queines d e f i n e n el Z e n chino c o m o Some people define Chinese Zen
as a mixture of Hindu Buddhism
una mezcla d e Budismo Hindú y Taoísmo. De and Taoism. The Chinese Zen
cualquier m a n e r a , el Z e n chino tiende a c o n - considers Zen superoir to life
s i d e r a r e l Z e n s u p e r i o r a la v i d a r e a l . itself.
But, on other hand, Zen has
Pero p o r otra parte, existen muchos méto- many different methods and
dos y escuelas d e p e n s a m i e n t o d e n t r o d e l Z e n . schools of thought. Japanese Zen
Los f u n d a m e n t o s d e l Z e n ¡ a p o n e s se a p o v a n favors life and faces it. For
e n la v i d a d e l p u e b l o ( y buscan s u p e r a r p e r o example Zen sermons speak of
the individual forming himself.
a l a v e z e n f r e n t a r a al v i d a r e a l . In China the temples which were
Esta v i s i ó n s e h a r e f l e j a d o e n l a p r á c t i c a usually in the mountains are
d e l Z e n e n J a p ó n . P o r e j e m p l o , los s e r m o n e s related to the landscape; the same
is true in Japan where most of
o " m o n d o s " m o d e l o s e n los q u e el d i s c í p u l o the temples are in urban areas.
Z e n d e b e r á f o r m a r s e a sí m i s m o , n o s o n s i m - The temples' architecture has
p l e m e n t e la h i s t o r i a s d e los sutras, s i n o la e x - been influences greatly bv the
presión de principios del Budismo vigentes en fine arts, warfare, as well as
Buddhism's asymmetrical and na-
nuestros días y v e r t i d o s e n los i d i o m a s c o n - turalistic tendencies.
temporáneos. La m i s m a r e l a c i ó n d e l t e m p l o The example presented here is
c o n el p a i s a j e , o r i g i n a d a e n C h i n a d o n d e los a typical urban religious center
t e m p l o s se c o n s t r u í a n e n las m o n t a ñ a s , h a d e - near one of Tokyo's central com-
mercial zones. So space is pro-
b i d o a d a p t a r s e a la r e a l i d a d d e l p a i s a j e u r b a -
vided to study as well as meditate.
n o , d o n d e se e n c u e n t r a n l a m a y o r p a r t e d e Sixty people can meditate in the
l o s t e m p l e s Z e n j a p o n e s e s . El j a r d í n d e l t e m - "Funi", and ten can be accom-
p l o se v u e l v e e n t o n c e s u n e l e m e n t o i m p o r t a n - modated overnight for various
ttypes of studies. The gardens
te d e n t r o d e la c o m p o s i c i ó n . Todo ello ha
are well integrated into the over
t e n i d o g r a n i m p o r t a n c i a e n e l p a s a d o d e las all design.
B e l l a s A r t e s y las A r t e s G u e r r e r a s d e l J a p ó n ,
y b u e n a p a r t e d e l c a r á c t e r d e su a r q u i t e c t u r a
c o n sus t e n d e n c i a s a s i m é t r i c a s y n a t u r a l i s t a s ,
l e d e b e su i n f l u e n c i a .
El e j e m p l o q u e se p r e s e n t a e n u n c e n t r o
religioso típicamente urbano, enclavado m u y Plantas Baja y Alta /
c e r c a d e u n a d e las z o n a s m á s c é n t r i c a s y c o - Ground a n d 1 st. F l o o r s :
merciales d e Tokyo. Consecuentemente, tiene
espacio para meditación y estudio para pro- 1) Acceso/Entrance.
fesionistas, h o m b r e s d e negocios y ancianos. 2) Vestibulo/Lobby.
Sesenta p e r s o n a s p u e d e n m e d i t a r e n el Funi 3 !Servicios/Services.
y diez p u e d e n alojarse para estudios noctur- 4 Sala de medita-
nos. Los j a r d i n e s d e l t e m p l o s o n p a r t e i n t e - ción / Meditation
grante del diseño. Room.
5) A l t a r / A l t a r .
6) L i b r o s / B o o k v a u l t .
Acceso. En l a e n t r a d a s e l e e : " E l t i e m p o
7) Cuartos d e m e d i -
transcurre tan rápidamente . . . " / A p r o a c h path
tación / Medita-
to the main entrance, characters mean: " T h e time
tion rooms.
passes so r a p i d l y . . . "
 Vista general / General view.

catedral católica de tokyo the catholic

cathedral in tokyo
Kenzo Tange, architect
A r q . Kenzo Tange

El p r o y e c t o d e T a n g e t r i u n f ó e n u n c o n - This project won in a closed

curso cerrado con otros dos d e M a e k a w a y contest with Maekawa and Tani-
Taniguchi, y parte d e una capacidad para
guchi. There is room for 2,600
2 , 6 0 0 fieles — d e los cuales 6 0 0 s e n t a d o s -
aparte d e t o d o s los espacios para el culto with seats for 600 of these. The
c o m p r e n d i d o s e n u n a C a t e d r a l . Su f o r m a y shape is that of a rhomboid and
su e s t r u c t u r a r e s p o n d e n a u n d e s p l a n t e r o m -
b o i d a l a p a r t i r d e d o n d e se g e n e r a n c u a t r o there are 4 H.P.'s which don't
m a n t o s p a r a b o l o i d e s q u e sin l l e g a r a ¡ u n t a r s e join, yet do define, the 4 vertical
d e f i n e n las c u a t r o a b e r t u r a s v e r t i c a l e s (tres d e
openings {three of these are
las c u a l e s s o n e n t r a d a s ) , y la c r u z l a t i n a e n e l
remate del edificio. entrances).
1. Vista exterior / G e n e r a l
view. ARQUITECTURA Y TURISMO
2. Fachada lateral /
view.
Side
ARCHITECTURE AND TOURISM
3. Cuarto y terraza/Room
and balcony.
4. Pasillo cuartos / Circula- hotel honjima hotel honjima
tion/(Fotos O . Murai).

Arq. Noriaki Kurokawa Noriaki Kurokawa, architect

Vista g e n e r a l al o r i e n t e General view. East s i d e .

hotel tokoen, yonago hotel tokoen, yonago

Kiyonori Kikutake and A r q . Kiyonori Kikutake y asociados
Associatess architects
Gengo Matsui, Structural G e n g o M a t s u i , C o n s u l t o r d e la Estructura
Consultant
1 . Planta Baja / Ground
Kiyoshi Awazu, Interior Design Kiyoshi A w a z ú , Diseño d e Interiores
Floor: Masayugi Nagare, Landscape
Architect Masayuki N a g a r e , Diseño d e Jardines
1) Entrada / Entran-
ce.
2) Vestíbulo/Hall.
3) Adiministración /
Offices.
4) L o b b y / L o b b y .
5) C o m e d o r Japonés
/ D i n n i n g - r o o m . Ja-
panese style.

Planta 4o. piso/4 th.

Floor Plan:

1) C u a r t o s e s t i l o o c -
cidental / Wes-
tern type rooms.
2) Suites estilo o c c i -
dental / Western
t y p e suites.
3) Suites m i x t a s /
Western and-japa-
nese style suites.
4) Suite estilo japo-
n é s / J a p á ñ e s e style
suites.
5) C u a r t o s estilo j a -
ponés / Japanese
style rooms.
1. V e s t í b u l o g e n e r a I / Inte-
rior of Hall.
2. Suite en estilos o c c i d e n -
tal y japonés / W e s t e r n
a n d Japanese style s u i t e . /
3. Fachada oeste / West
elev.

Fachada sur/South elev.

c
>

C5/

0>
i»i O i ° I ° i. i. i. i o I ° i <• IHHTT
'7¡

3
c
3<u
3 C A S A S CONTEMPORÁNEAS
3 CONTEMPORARY HOUSES

casa en las montañas mountain home

ashi-no-ma roya ashi-no-maroya

A r q . Tsutomu Ikuta. Tsutomu Ikuta, architect

En e s t a c a s a d e v a c a c i o n e s , e l a r q u i t e c t o The architect used wood in this

ha resuelto el p r o b l e m a a base d e m a d e r a , vacation home, and, as in the
y c o m o e n los e j e m p l o s t r a d i c i o n a l e s j a p o n e - traditional Japanese house, the
ses, é s t a l u c e su c a l i d a d c o m o m a t e r i a l y c o - wood is used to good advantage
m o e l e m e n t o estructural sin afeites ni d i s i m u - as a material and as a structural
los, t a n t o i n t e r i o r c o m o e x t e r i o r m e n t e . element inside and outside.
 architect's casa para arquitecto,
house in tokyo en tokyo

Kiyonori Kikutake and Arqs. K i y o n o r i K i k u t a k e y A s o c i a d o s

Associates, architects Sukenobu Tani, diseño estructural.
Sukenobu Tani, Structural Design

Situated in Tokyo bay, this S i t u a d a e n la b a h í a d e T o k y o , la casa d e l

house of reinforced concrete is A r q . K i k u t a k e e l e v a c o n t o d a s i m p l i c i d a d sus
above the landscape and its own estructuras d e concreto armado, p o r encima
d e l p a i s a j e u r b a n o c i r c u n d a n t e y d e sus p r o -
annexes.
pios anexos.
Because of its formal solution
P o r su t r a t a m i e n t o f o r m a l y p o r su d i s e ñ o
and interior design, this project
de interiores participa plenamente d e concep-
is an international solution and tos internacionales d e arquotectura c o n t e m p o -
yet one can see its relation to the r á n e a , y s i n e m b a r g o , su p a r e n t e s c o c o n las
architects' other two projects otras d o s soluciones q u e p r e s e n t a m o s es evi-
presented here. dente.
 mr. k.'s house casa del señor K.

Nonaki Kurokawa, architect A r q .Nonaki Kurokawa

This project is related to the Este p r o y e c t o e s t á e m p a r e n t a d o c o n l a s

houses proposed by Kurokawa in c a s a s h o n g o p r o p u e s t a s p o r K u r o k a w a e n su
his Agricultural Town and has A l d e a Agrícola, y parte d e varios concep-
the following basic concepts: t o s básicos.-

* As in his previous projects, the * C o m o e n los p r o y e c t o s anteriores, la casa

house is raised off the ground. se e l e v a p o r e n c i m a d e l t e r r e n o .
* There are 3 levels, the entrance * Consta d e tres niveles, el nivel d e des-
level, the "social contact level p l a n t e , el nivel d e " c o n t a c t o social" ( q u e
(where the traditional tea cere- es b á s i c a m e n t e u n e s p a c i o p a r a la c e r e -
mony takes place), and last m o n i a d e l T é , t r a d i c i o n a l d e la hospita-
the domestic level where one lidad japonesa), y p o r último el nivel
sleeps, relaxes, and where the p r o p i a m e n t e d o m é s t i c o , c o n sus z o n a s d e
services are. estar, d o r m i r y serevicios.
* The element that connects * El e l e m e n t o d e l i g a e s u n a c o l u m n a h u e -
these levels is an empty col- ca d e c o n c r e t o , q u e c o n t i e n e las instala-
umn that has the installations c i o n e s y las c i r c u l a c i o n e s v e r t i c a l e s .
and the stairway.
* Mientras el nivel " s o c i a l " es un espacio
' The social level is covered and c u b i e r t o , p e r o a b i e r t o al p a i s a j e c i r c u n -
has a good view of the sur- d a n t e , e l n i v e l d o m é s t i c o l i m i t a sus a b e r -
rounding areas while the dom- turas a los tragaluces p a r a iluminación, y
estic level has only sky domes a u n a serie d e v e n t a n a s al n i v e l d e l p i s o ,
for lighting purposes and a q u e o b l i g a n a u n a vista hacia el exterior
series of windows at floor level d e a r r i b a h a c i a a b a j o . Si b i e n e s t o p u e -
which oblige one to look down. d e p a r e c e r u n p o c o f o r z a d o , n o está m u y
While this might seem strange l e j a n o d e l c o n c e p t o t r a d i c i o n a l d e la casa
it is within the traditional Ja- j a p o n s e a , c u y a v i s t a al e x t e r i o r se r e c o r -
panese concept of looking from tan e n p a n o r á m i c a s a ras d e l suelo d e tal
the house to floor level panor- m a n e r a q u e la m i r a d a se c o n c e n t r e e n l o s
amas in the garden. atractivos d e la j a r d i n e r í a .
 DISEÑO
DESIGN
cuatro diseños interiores en residencias
four interior house designs

house with
casa con piso de tierra an earth floor
Arq. Kazuo Shinohara Kazuo Shinohara, architect

Los l e c t o r e s y a e s t a r á n a d v e r t i d o s d e l c a - In the Japanese house the

rácter inseparable entre el diseño arquitectó- architectural design, the interior
nico y el diseño d e interiores y m u e b l e s e n design, and the furniture are
las casas j a p o n e s a s . S i n e m b a r g o , e s t o s e j e m - inseparable. We are including
plos h e m o s q u e r i d o a g r u p a r l o s o o r la c a l i d a d these examples because of the
d e su d i s p o s i c i ó n i n t e r n a p o r l a a r m o n í a e n t r e quality and harmony between the
sus e l e m e n t o s t r a d i c i o n a l e s y m o d e r n o s , y traditional elements and because
s o b r e t o d o p o r q u e e l A r q . S h i n o h a r a se h a the architect was in charge of the
e n c a r g a d o él m i s m o , c o n la a y u d a d e d i s e ñ a - house as well as the interiors and
d o r e s y artistas, d e l d i s e ñ o d e m u e b l e s e the furniture design.
interiores.
This vacation house is simple
En c u a n t o a e s t a c a s a d e v a c a c i o n e s , e l
— an earth floor gives a rustic-
j e j e m p l o m á s s e n c i l l o , e l piso d e t i e r r a d a la
touch — and yet defined — as
t ó n i c a al t r a t a m i e n t o r ú s t i c o — v a l a v e z r e f i -
seen by the rest of the materials
n a d o — d e l r e s t o d e los m a t e r i a l e s , b á s i c a m e n -
which are basically wood.
te maderas.
La s i m p l i c i d a d d e l a d i s t r i b u c i ó n e s c o n s e - The simple distribution is a
cuencia d e q u e los d o s cuartos habítales, m o - result of the bedrooms (2), based
d u l a d o s a b a s e d e e s t e r a s " t a t a m i " , se c o m u - on "tatami", communicating with
n i c a n c o n la z o n a d e estar c o m e r y servicios the living room, dining room, and
p o r m e d i o d e canceles corredizos, lo q u e services by means of sliding par-
hace obsoleto el c o n c e p t o d e l pasillo d e co- titions. This makes our western
municación interior d e nuestra arquitectura c\>ncept of inside passageway
occidental. obsolete.

2
Planta (53.8 m .)/Plan
(53.8 m 2
.)

1) A l c o b a s / t a t a m i -
rooms.
2) C o m e d o r / D i n i n g .
3) Cocina/Kitchen.
4) Bano/Bathroom.

1. Vista exterior / General view.

2. Alcobas con tatami/Tatami-rooms
(Fotos S. O t s u j i ) .
2 3. Vista hacia el comedor y la cocina
/ V i e w towards dining and kitchen.
casa en komae house in komae
Kazuo Shinohara, architect A r q . Kazuo Shinohara

Although this house falls with­ Este e j e m p l o , m á s a d e n t r o d e l c o n c e p t o

in western architectural concepts
occidental, no deja d e tener un carácter típi­
it has a typical Japanese char­
c a m e n t e j a p o n é s e n e l u s o d e la m a d e r a e n
acter because of natural wood
that was used. The bamboo scre­ sus c a l i d a d e s n a t u r a l e s . La p e r s i a n a d e b a m ­
en divides the living room and b ú e s t a b l e c e u n a d i v i s i ó n v i r t u a l e n t r e la es­
the dining room — kitchen which t a n c i a y la c o c i n a - c o m e d o r , q u e e n r e a l i d a d
in reality is one space. f o r m a n un solo espacio.

Estancia / Living - r o o m / (Fotos: N. Nassoku).

 house with a
large roof casa con una gran cubierta
Kazuo Shinohara, architect A r q . Kazuo Shinohara

Below a large roof traditional B a j o u n a s o l a g r a n c u b i e r t a , se h a n busca-

and contemporary environments
have been combined. In some do aquí ambientes tradicionales y contempo-
areas there is a minimum of r á n e o s : é s t o s se a m u e b l a n e n u n a m í n i m a p a r -
furniture with walls and closets,
as well as sliding partitions inside te y d e p e n d e n en gran medida de las p a r e -
and outside, to denote the tradi- d e s - a l a c e n a y d e las d i v i s i o n e s c o r r e d i z a s ha-
tional, and, in other areas, to
denote the contemporary there cia el interior y el e x t e r i o r ; a q u e l l o s en cam-
are furniture and the concepts b i o se a m u e b l a n p r o f u s a m e n t e y los c o n c e p t o s
of solid walls and transparent
Detalle c o m e d o r / Detail muro-sólido y ventana-transparente nos son
windows which are familiar to
D¡n¡ng/(0. Murai). the West. más familiares.
Kazuo Shinohara, architect A r q . Kazuo Shinahora

The brilliant architectural spa- El b r i l l a n t e e s p a c i o a r q u i t e c t ó n i c o creado

ces are underlined by the interior p o r S h i n o h a r a se v e s u b r a y a d o p o r e l d i s e ñ o
design and domestic equipment.
The designer Katsuhiko Shirahi- d e a m b i e n t e s y e q u i p o d o m é s t i c o , e n el q u e
shi and the painter Setsu Asa- c o n t ó c o n el c o n c u r s o d e l d i s e ñ a d o r Katsuhito
kuru worked with the architect. S h i r a h i s h i y d e l p i n t o r S e t s u A s a k u r a . La p a r -
The liighest part of the "umbrel-
t e m á s a l t a d e l p a r a g u a s se s i t ú a p r e m e d i t a -
la roof" is situated above an
undetermined zone between the damente sobre una zona indeterminada entre
living room, dining room, and the la e s t a n c i a , e l c o m e d o r , y e l n ú c l e o q u e f o r -
nucleus which forms the tradition- m a n la r e c á m a r a t r a d i c i o n a l y los s e r v i c i o s sa-
al bedroom and bathroom. The
solution looks spacious although nitarios. La s o l u c i ó n l u c e m u y e s p a c i o s a a
there are only 55 sq. meters. p e s a r d e c o n t a r a p e n a s c o n 5 5 m~.
1. Cuarto japonés / Tatami
r o o m / ( N . Hassokul.
2. Planta/Plan:

1 a)Estancia / Living-
room.
1 b) C o m e d o r - coci­
na / Dining-kit-
chen.
2 i Cuarto japonés/
Tatami-room.

3. Estancia d e s d e el c u a r t o
j a p o n é s / Living-room
v i e w e d from tatami-
r o o m / Í O . JvVurai).
diseño interior interior design for
del teatro nissei, the nissei theater,
tokyo

Arqs. Murano y Morí Murano and Mori, architects \

T e x t u r a e s la p a l a b r a c l a v e e n l a c o n c e p - Texture describes the interior

c i ó n d e interiores p a r a este t e a t r o d e 1 5 0 0 of this theater which seats 1500.
espectadores. Textura q u e sigue lineamientos The texture follows technical and
t é c n i c o s y f u n c i o n a l e s e n c u a n t o a la acústica, functional lines with regard to
la v i s i b i l i d a d y l a i l u m i n a c i ó n d e l l o c a l ( l o s acoustics, visibility, and lighting
estudios relativos se v e r i f i c a r o n p r i m e r o jen (studies were made using a model
u n a m a q u e t a 1 / 1 0 ) , p e r o q u e t a m b i é n está 1/10 the original size), and it
í n t i m a m e n t e l i g a d a al g u s t o p o r e l t r a t a m i e n -
also reflects good taste in treat-
t o f o r m a l ó p t i c o - h á p t i c o , q u e e n este caso
ing the visual and emotional asp-
adquiere proporciones de embriaguez.
ects of the interior.
Así, los p a r a m e n t o s — e s p e c i a l m e n t e el d e
la p a r e d d e l f o n d o d e la s a l a — , s o n b á s i c a - The wall surfaces, specially
mente absorbentes del sonido, mientras q u e those at the back of the theater,
los p l a f o n e s se o r g a n i z a n d e a c u e r d o c o n absorb sound while the ceilings
normas d e c o n t r o l acústico p o r r e f l e x i ó n y d i - reflect and diffuse sound waves
f u s i ó n d e las o n d a s s o n o r a s . S e t r a t a d e p e - according to acoustical norms.
queñas " c o n c h a s ' d e material acústico e n co- Small acoustic opaline shells are
lor o p a l i n o sobre f o n d o azul cobalto. En on a dark blue background. The
c u a n t o a las u n i d a d e s d e i l u m i n a c i ó n , b r i l l a n lighting fixtures are located in the
c o m o s o l e s e n las d e p r e s i o n e s q u e se f o r m a n depressions of the scalloped ceil-
e n la s u p e r f i c i e o n d u l a d a d e l p l a f ó n , y están ing and look like suns. The fix-
rodeadas cada una de cuatro pequeños orifi- tures are surrounded by 4 small
cios q u e h a c e n la f u n c i ó n d e r e s o n a d o r e s . holes that act as resonators.
 departamentos prefabricated
prefabricados apartments
Arq. Noriaki Kurokawa (Grupo Metabolismo) Noriaki Kurokawa, architect
(Metabolism Group)
E n t r e m u c h o s d e l o s i n t e n t o s d e los p i o n e ­
Many of the pioneers of mod­
ros d e la a r q u i t e c t u r a m o d e r n a , s o b r e s a l e la ern architecture have tried to
p r e o c u p a c i ó n p o r h e r m a n a r los s i s t e m a s d e bring together contemporary pro­
p r o d u c c i ó n c o n t e m p o r á n e o s c o n la i n d u s t r i a duction systems and the con­
d e l a c o n s t r u c c i ó n . La n o r m a l i z a c i ó n , la t i p i ­
struction industry. Standardiza­
tion, préfabrication, and mass
f i c a c i ó n , la p r e f a b r i c a c i ó n y la f a b r i c a c i ó n e n production are successive steps
serie, son escalones sucesivos q u e t i e n d e n a to insure producing large quan­
a s e g u r a r la p r o d u c c i ó n d e b i e n e s e n g r a n d e s tities at minimum cost in the
cantidades, con un costo m í n i m o y en un
least time possible.
tiempo reducido. However there is still a large
gap between variety and stand-
S i n e m b a r g o , n o se h a l o g r a d o s a l v a r e l
aardization, quality and quantity,
abismo que existe, entre v a r i e d a d y estandari­ permanent architectural solutions
zación, calidad y cantidad, duración y mutua- and temporary architetctural sol­
b i l i d a d d e las s o l u c i o n e s d e h a b i t a c i ó n c o l e c ­ utions when speaking of collect­
tiva.
ive dwellings.
Este ú l t i m o c o n c e p t o es m u y i m p o r t a n t e , This last concept is very imp­
ortant as it presents the idea of
p u e s t o q u e n o s l l e v a a la n o c i ó n d e c a m b i o o
change or interchange of the
i n t e r c a m b i o d e las p a r t e s q u e c o m p o n e n l a parts that make up a dwelling
h a b i t a c i ó n e n t e n d i e n d o q u e éstas c o n s t a n d e which consist of elements with a
elementos de vida variable: parte del e q u i p o different life span: part of the
o r i g i n a l d e u n e d i f i c i o , c o m o las i n s t a l a c i o n e s ,
building's original equipment such
as the installations may give out
p u e d e s u c u m b i r a l u s o i n c e s a n t e a n t e s q u e la before the structure and yet the
e s t r u c t u r a , y sin e m b a r g o , su v i d a d e t e r m i n a duration of the installations det­
la v i d a ú t i l d e l t o d o . H e a h í u n e j e m p l o d e la ermines the useful life of the
necesidad d e partes intercambiables. Por o t r a
building as a whole. This is an
example of interchangeable parts
p a r t e , el c r e c i m i e n t o , disminución o c a m b i o d e being necessary. On the other
las f a m i l i a s , o la f l u c t u a c i ó n e n sus p o s i b i l i d a ­ hand, changes in a family which
d e s e c o n ó m i c a s o e n su p o s i c i ó n s o c i a l , t i e n d e inhabits a dwelling such as an
a reflejarse en nuevos cambios funcionales o increasing or decreasing number
of members, a change in the
m a t e r i a l e s e n la v i v i e n d a . family's economic possibilities or
T o d o s e s t o s r a z o n a m i e n t o s h a n s i d o des­ social position are reflected in
functional or material changes of
a r r o l l a d o s en u n a t e o r í a b a s t a n t e más c o m ­
the dwelling.
p l e j a p o r el A r q . K u r o k a W a , q u i e n ha l l e g a d o
a la c o n c l u s i ó n d e q u e n o b a s t a n la n o r m a ­ These thoughts are part of
l i z a c i ó n y la e s t a n d a r i z a c i ó n d e m e d i d a s , c o ­ Kurokawa's theory which is quite
complicated. He is aware that
m o t a m p o c o la p r o d u c c i ó n e n s e r i e d e m a t e ­
mere standardization of sizes,
r i a l e s y su m e r o t r a t a m i e n t o i n d u s t r i a l . Es n e ­ and production in quantity don't
1. V i s t a g e n e r a l d e la m a ­ c e s a r i o p a r t i r d e m ó d u l o s q u e n o se l i m i t e n a solve the problem. Standard parts
queta/General view of la e s t é t i c a o a la g e o m e t r í a " e l e m e n t a l , s i n o should not be limited to aesthet­
the m o d e l . ics or elementary geometry but
que tomen en cuenta conceptos de función,
should take into account function,
2. Elementos p r e f a b r i c a d o s / materiales, e q u i p o y duración. El r e s u l t a d o materials, equipment, and dur­
Pre-fabricated c o m p o ­ d e t o d o e l l o l l e v a al c o n c e p t o d e p a r t e s c o - ation. The result leads to con­
n e n t s . n e c t a b l e s , v sistemas c o n e c t o r e s , q u e p e r m i t e n nectable parts and connecting
l a m a y o r f l e x i b i l i d a d e n las s o l u c i o n e s c o m o
systems which permit greater
3. Detalle de ensamble/De-
flexibility in solutions such as the
tail. la q u e a q u í se p r e s e n t a . one presented here. .
1- Edificio/Building.
2. Planta y variaciones/Plan
and variations.
3. Detalle montaje / Cons­
tructive system.
4. Una u n i d a d espacial y
funcional / A spatial a n d
f u n t i o n a l unit.
5. Conjunto de unidades/
C o m p l e x of dwellings.
ó. Organización celular d e
edificios / Cellular dis­
position of buildings/(Fo-
t o s Y. F u t a g a w a . )
 AQUÍ TAMBIÉN
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a su problema, lo hemos hecho en miles de ocasiones.
El Medidor de gas AMECO tiene características que indiscutiblemente le dan una
exactitud asombrosa y sus adelantos técnicos le aseguran precisión absoluta y
duradera. *
En su próxima obra en donde piensa instalar los sistemas de gas que surten
diferentes locales simultáneamente, evite dificultades, consúltenos todo lo concer-
niente a la medición individual de gas, resolveremos su problema...

MEDIDORES,S. A. Av. Morelos No.98 8o.piso México I. D.F. Tel.35-18-00