Kenzo Tange (1913-2005) is widely regarded as a key figure bridging Japan and the rest of the world after WWII, a position that is further underscored by his international projects and close connectedness with the greats of 20th century architecture. At the same time Tange sought to tap into the tension area between Japanese tradition and present day technology, a balancing act that resulted in unique architectural solutions. Yet despite his undisputed importance the number of publications dealing with his (net)works is quite modest.
In 2012 Lars Müller Publishers released „Kenzo Tange: Architecture for the World“ in collaboration with the Harvard GSD, a handsome and informative volume that finally has been reprinted. In eight essays, that alternate with photographs, plans and drawings, the authors focus on the first two decades of Tange’s independent practice and the particular circumstances he operated in: in postwar Japan the architect was involved in the discussions surrounding reconstruction, tradition, architectural education and the country’s identity. These discussions are exemplified by the Hiroshima Peace Museum and the question of whether its concrete stilts were borrowed from Le Corbusier or represent an homage to the Sosho Imperial Treasure House or the Ise Shrine. Tange himself supported the latter reading of his design. A much more clear reference to Japanese tradition can be found in the Yoyogi Gymnasium: its tensile roof construction referenced ancient Shinto shrine roofs.
What the authors also highlight is the breadth of Tange’s work that also included regional and town planning, photography, furniture design and stage sets. What binds all parts of his oeuvre together is his consideration for the human being as point of reference: even in his megastructures he factored in a potential feeling of isolation that he sought to counter with systems of mass communication. Although this today might seem laughable, Tange’s consideration nonetheless stands out among his contemporaries.
„Kenzo Tange: Architecture for the World“ provides an expertly contextualized account of the architect’s postwar practice, highly readable and warmly recommended!
