I've spent the last three decades thinking about Japanese aesthetics, and in particular if and how they can be meaningfully used beyond Japan. I'm the author of several books on the subject: Frank Lloyd Wright and Japan, Place Time and Being in Japanese Architecture, This Here Now: Japanese Building and the Architecture of the Individual, and most recently, The Constructed Other: Japanese Architecture in the Western Mind. I teach about Asian Pacific architecture at the University of Hawai'i, Mānoa.
I wrote
This Here Now: Japanese Building and the Architecture of the Individual
Okakura links Taoist and Zen philosophy to the tangible world by way of the aesthetics of tea, which are actually the aesthetics of life itself. The title of this slim volume is disarmingly understated, then. It is the most approachable book on aesthetics I know.
Now available in a gorgeous hardcover slipcase edition, this "object d'art" will be sure to add grace and elegance to tea shelves, coffee tables and bookshelves. A keepsake enjoyed by tea lovers for over a hundred years, The Book of Tea Classic Edition will enhance your enjoyment and understanding of the seemingly simple act of making and drinking tea.
In 1906 in turn-of-the-century Boston, a small, esoteric book about tea was written with the intention of being read aloud in the famous salon of Isabella Gardner, Boston's most notorious socialite. It was authored by Okakura Kakuzo, a Japanese philosopher, art…
Yanagi argues that wabi and sabi are actually expressions of shibusa, and finds the essence of all three in directness and authenticity. Despite Elizabeth Gordon devoting two entire issues of House Beautifulto shibui in 1960, it remains largely overlooked today.
craftsman working in a set tradition for a lifetime? What is the value of handwork? Why should even the roughly lacquered rice bowl of a Japanese farmer be thought beautiful? The late Soetsu Yanagi was the first to fully explore the traditional Japanese appreciation for objects born, not made.' Mr. Yanagi sees folk art as a manifestation of the essential world from which art, philosophy, and religion arise and in which the barriers between them disappear. The implications of the author's ideas are both far-reaching and practical. Soetsu Yanagi is often'
Like TheBook of Tea,In Praiseappears to be a straightforward lament over the rapid loss of traditional values in modernizing Japan, but it repays multiple re-reading. On closer reading it is found to reflect the "both and" sentiment common in early 20th century Japan and summed up in the term wakon yosai, "Japanese spirit Western learning."
An essay on aesthetics by the Japanese novelist, this book explores architecture, jade, food, and even toilets, combining an acute sense of the use of space in buildings. The book also includes descriptions of laquerware under candlelight and women in the darkness of the house of pleasure.
This book was far ahead of its time inexplaining the active manipulation of space and time in traditional Japanese gardens, from the diminutive tsuboniwa courtyard gardens that transported the city dweller to the heart of the wilderness, to the temple gardens that procured remote features of the natural landscape.
This beautifully illustrated book is difficult to find now. The images effectively speak for themselves, however, and make up for the inevitable shortcomings of even the most informed attempts to sum up these concepts verbally.
This is the first book to analyze Japanese architecture from a phenomenological perspective, and to explain how buildings can be designed to help us both celebrate and overcome our individuality. It shows how buildings can not only serve as extensions of the body, to effectively help affirm what, where, and when we are, but can also enable us to share the normally subjective experiences of this, here and now with others.
