Inspired by Le Corbusier, Tange decided to study architecture at the University of Tokyo in 1935. He worked as an urban planner, helping to rebuild Hiroshima after World War II, and gained international attention in 1949, when his design for the Hiroshima Peace Center and Memorial Park was selected. Tange continued to work in and theorize about Urban Planning throughout the 50s; his “Plan for Tokyo 1960″ re-thought urban structures and heavily influenced the Metabolist movement.
Although his style was modernist, as can be seen in his Yoyogi National Gymnasium and St. Mary Cathedral, Tange was also inspired by Japanese history and culture. As he was quoted as saying: ”Architecture must have something that appeals to the human heart, but even then, basic forms, spaces and appearances must be logical. Creative work is expressed in our time as a union of technology and humanity. The role of tradition is that of a catalyst, which furthers a chemical reaction, but is no longer detectable in the end result. Tradition can, to be sure, participate in a creation, but it can no longer be creative itself.”
You can find all of Tange’s works on ArchDaily here.
Special thanks to Emmet Truxes, from Harvard GSD, for sharing this animated video of Kenzo Tange’s Yoyogi Olympic Arena with us. Check out the amazing visualizations set to music by Gray Reinhard (we particularly love the build-up of the magnificently suspended roof around minute 5, which is then further detailed a few minutes later) which was created by a team of six students - Emmet Truxes, Nathan Shobe, Julian Bushman-Copp, Mijung Kim, Jeffrey Laboskey, Misato Odanaka - to understand the construction of the building’s innovate tensile structure.
More about the project after the break.
Founder of Amateur Architecture Studio and Head of Architecture at the China Academy of Art, Wang Shu was the first Chinese architect to hold Harvards Graduate School of Design (GSD) Kenzo Tange professorship. The Harvard lecture honors architect Kenzo Tange by bringing distinguished architects from around the globe to the GSD.
Wang Shu’s practice caught the world’s attention with their pavilion for the 10th Venice Architecture Biennale in 2006. As a critique of the architectural profession, excessive building and the on-going demolitions caused by the rapid urbanization of China, their installation ‘Tiled Garden’ was constructed of 66,000 recycled tiles salvaged from demolition sites. Their work is embedded in the history and traditions of Chinese culture, referencing everyday building tactics and the Chinese vernacular tradition of building, hence their practice name “amateur architecture”.
Reference: The Harvard GSD