Thesis (Ph. D.)--University of Washington, 1999. / Includes bibliographical references (leaves 285-300).

This is a study of the unexplored layers of the Japanese practice of urban planning and architecture in urban Manchuria (current northeast China) during the first half of the twentieth century. I reframe my examination within a broader context of international imperialism and Japanese reception of modern architecture during the first half of the twentieth century and argue that the dynamic interactions among the Japanese, Russian, and Chinese politicians and architects mutually shaped the international cityscapes in Manchuria. Moreover, I examine Japanese architects’ writings and buildings to illustrate how they regulated the indigenous and former colonial spaces and constructed a modern living space in Manchuria through the development of residential houses. 旧満洲（現在中国東北地方）における植民地都市空間の研究は、これまで公共建築や日本帝国の拡張を中心におこなわれてきた。本研究では、旧満洲都市の商業・生活空間に焦点をあて、建築史、美術史、地域学、社会学などを融合させた従来と異なる学際的なアプローチで、旧満洲の植民地都市空間を再考し、植民地支配の空間体験とモダニズムの本質を解明する。 満洲のケーススタディとして、20世紀前半の長春＝新京の商業・生活空間に焦点をあて、日・中・露の連携と競争がもたらした都市空間の形成と変遷を明らかにする。著者が発見した数枚の古地図を分析し、文献資料と照合しながら、1932年まで長春に共存した日本鉄道付属地とロシア鉄道付属地や中国の城内・商埠地との空間的な相互依存関係を検討する。三国の政治と経済の錯綜する土地である長春は、流動的で多層的な都市空間だったのである。さらに、満洲で活躍した日本人建築家の活動と言説を中心に、彼らが設計したモダン住宅や植民地観光のビジュアル資料を再考し、観光表象における「帝国的まなざし」と日常空間との重なりや齟齬を明らかにし、その観光空間と戦後に流行した満洲ロマンやノスタルジーとの関係にも焦点をあててきた。

Japanese have been known to have a special notion toward the aestheticism which deals with human experiences. They are ingenious about finding subtle beauty within every little thing which exists in nature and apply that to their architecture. What are the secrets behind all this? This thesis focuses on the research of Japanese aesthetic principles to find out the way for application in the architecture in the United States. / Department of Architecture

Thesis (Honors)--College of William and Mary, 2008. / Includes bibliographical references (leaves 49-50). Also available via the World Wide Web.

Thesis (M Arch)--Montana State University--Bozeman, 2009. / Typescript. Chairperson, Graduate Committee: Maire O'Neill. Includes bibliographical references (leaves 69-75).

Master of Science

Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture and Planning, 1994. / Includes bibliographical references (v 2., leaves 309-325). / The study examines the architectural preservation program as it has developed over the past century in Japan, and demonstrates how relics of the past have been manipulated and re-interpreted by individuals and communities seeking to define a modern identity. The study chronicles the development of preservation practice from a national perspective, followed by a local historical analysis of the town of Tsumago in Nagano Prefecture. It is proposed that a nativist and modernist construction of the common Japanese house has had a special place in the history of the modern movement in Japan which influenced the conceptualization, study and preservation of traditional architecture over the past century. Also, the legal tools and field practices of both the national preservation program and the grass-roots district preservation movement have been tied to ideological and political concerns which have affected building designation, restoration, and public presentation. The most important example of the grass-roots district preservation movement in Japan is Tsumago-juku in Nagano Prefecture, the first example of such a movement in Asia. It is demonstrated that Tsumago's place in the formation of Japan's modern national identity was of primary importance to the success of its preservation effort. Restoration work there resulted in important national legislation and created a conflict between the "living tradition" of local carpentry and community vs. professional preservationist. This centered on the nature of architectural tradition and definition of authenticity. As a result of the preservation effort, the town's history and traditions have been re-invented to suit the needs of the present, and its material historicity has been compromised in the name of a greater authenticity in the building process. Yet the modernist ideal of a structurally "honest" and materially "natural" Japanese house has made the acceptance of preservation intervention problematic in the architectural community, further demonstrating that the way old houses are preserved is as much a reflection of the architectural and political ideology of our time as they are a portrait of the past. / by Cherie Wendelken-Mortensen. / Ph.D.

This dissertation examines a phenomenon that arose in modern Japanese art and architecture in the late 1920s and early 1930s, which I term “integrated art.” I argue that “integrated art” was a distinct genre of art characterized by several impulses toward totality: the unification of multiple artistic media, the melding of art and its viewership, and most notably, the collapse of traditional Japanese arts (the “past”) with modernism (the “present”). “Integrated art” was indebted both to 19th century European notions of the Gesamtkunstwerk (the "total artwork") that had begun circulating in Japan in the 1900s, and to tea and other Japanese art practices. It also a particular local response to the rapid modernization and disorienting Westernization of the late 19th and early 20th centuries. The genre’s fascination with the “past” sprouted from a growing concern over the preservation of Japanese culture in modern times, and a perceived disconnect between extant practices of fine art and cultural identity. To define this genre of total art, I examine three cases that can be understood as “integrated art”: the “total flowers” of ikebana master Teshigahara Sōfū (1900-1979), the teahouse-inspired structures of architect Horiguchi Sutemi (1895-1984), and the stage performances of the artist collective Jikken Kōbō (active 1951-1957). The sum of these three artistic practices gives shape and weight to the amorphous tendency of “integrated art,” making its characteristics and goals visible. By conducting visual analyses of each case study’s works, their photographic documentation, and related writings, I show that each creator or group of creators pursued an intangible—and largely impossible—totality: a holistic, timeless Japanese art practice that resolved the fractured, modern present. In doing so, I offer a narrative of modern Japanese art that not only traverses diverse media and practices, but also interrogates the aesthetic and political stakes of traditional arts, modernism, and totality. Questions of totality permeate modernism in various regions of the world—by analyzing “integrated art,” this study not only enriches our understanding of these transnationally linked ideas, but also celebrates the cultural particularities of total art in pre-World War II through early postwar Japan.