{"id":103618,"date":"2024-07-29T15:20:19","date_gmt":"2024-07-29T06:20:19","guid":{"rendered":"https:\/\/voyapon.com\/?p=103618"},"modified":"2024-11-15T22:02:17","modified_gmt":"2024-11-15T13:02:17","slug":"architecture-of-kyoto-tower","status":"publish","type":"post","link":"https:\/\/voyapon.com\/architecture-of-kyoto-tower\/","title":{"rendered":"The Imposing and Contentious Architecture of Kyoto Tower"},"content":{"rendered":"\n
The charms of Kyoto<\/a>, curated over centuries, are in such abundance that it can seem like an enchanted city. There are lifetimes of shrines and tranquil gardens, generations of craftspeople plying their timeless trades, and festively lantern-lit terraces which line the lazy flow of the Kamogawa River \u9d28\u5ddd<\/strong>. Above it all, stretching dreamily between the distant blue haze of the city\u2019s all-but-encompassing hills, is a vast expanse of alluringly expressive sky, reflecting the colors of the changing hours and seasons.<\/p>\n\n\n This most intangible of the ancient capital\u2019s assets has long been guarded against architectural incursion, and very few structures dare to jut above the city\u2019s gently nestling vista. Of those brave enough to try, none do it with more attention-seeking incongruity, or space-age panache, than Kyoto Tower \u4eac\u90fd\u30bf\u30ef\u30fc<\/strong>.<\/p>\n\n\n\n Having rebuilt in remarkable speed and style following the devastating losses of World War II, Japan went through a further period of rapid modernization, with construction reaching frenzied new heights in the run up to the 1964 Tokyo Olympics<\/a>. This event was seen as an important chance for the country to reintroduce itself; not just as a peaceful ally and a dependable industrial powerhouse, but also as a natural home to cutting-edge design and a colorful pop-culture aesthetic.<\/p>\n\n\n\n As work began on Kenzo Tange\u2019s era-defining Yoyogi National Gymnasium<\/a> in the rapidly expanding chaos of pre-Olympics Tokyo, 280 miles to the west, residents of the capital\u2019s older and more elegant sibling, Kyoto, were also invited, although with very little room for refusal, to share in just a touch of the 20th Century architectural excitement.<\/p>\n\n\n\n A site directly across from the city\u2019s railway station, once home to the now-relocated central post office, had long been pegged for a project thought worthy of its focal position in a city of Kyoto\u2019s cultural standing. An observation deck, of relatively restrained proportions in its original conception, was deemed an appropriate endeavor, but swept along by the artistically adrenalized spirit of the times, accompanied almost certainly by less elevated motives, the project became vastly more ambitious.<\/p>\n\n\n\n With a somewhat slippery use of semantics, emboldened plans for an imposing tower, identified it specifically as a structure<\/em>, making it easy, but not uncontroversial, to overlook an unwritten but hitherto-respected rule, that no building<\/em> should exceed the 180 ft of the Toji Temple<\/strong>. Announcement to the public of the city\u2019s imminent and irreversible skyward lurch was also conveniently delayed past any reasonable point-of-no-return. The 430 ft column of sleek white futurism that rose out of these contentious foundations still dominates the Kyoto skyline 60 years later.<\/strong><\/p>\n\n\n The architect of this remarkable and controversial observatory was Mamoru Yamada, who in 1920 had been a founding member of the Bunriha Kenchikukai<\/a> \u5206\u96e2\u6d3e\u5efa\u7bc9\u4f1a<\/strong> (Secessionist Architecture Group). This six-strong cohort of artistically minded upstarts were directly influenced by the Viennese Secession and its non-traditionalist, anti-nationalist ideas, as well as finding inspiration in contemporary sculpture and the methodology of both Bauhaus and the Amsterdam School. <\/p>\n\n\n\n Alongside other creatively successful, but less publicly recognized work, the short-lived but influential group played their part in the rebuilding of important infrastructure after the Great Kanto Earthquake of 1923, with Yamada and Bunzo Yamaguchi\u2019s still-celebrated Eitai Bridge being the first of many such reconstructions. <\/p>\n\n\n The enticingly firebrand manifesto of the then-young architects had stated, “We secede from the architectural realm of the past to create a truly significant new realm with every building that we construct.” Words that in Yamada\u2019s case were still ringing true as he drew up his plans for Kyoto almost half a century later.<\/p>\n\n\n\n With the help and guidance of Makoto Tanahashi, a doctor of engineering at Kyoto University, Yamada achieved extraordinary feats in the construction of Kyoto Tower. As a rare example of large-scale architecture that utilizes a monocoque structure (more commonly found in the design of ships and airplanes), the tower\u2019s outer shell, composed of specially designed steel sheets, supports its own weight, eliminating the need for a steel frame.<\/p>\n\n\nRapid Expansion<\/h2>\n\n\n\n
A New Realm<\/h2>\n\n\n\n
Panoramic Views from Kyoto Tower<\/h2>\n\n\n\n