Shinohara Kazuo: Renowned Japanese Architect Gets His Due at Kemper Art Museum
Courtesy of Tokyo Institute of Technology Shinohara Kazuo, Interior, Repeating Crevice, Ōta Ward, Tokyo, 1969‐71. Photo by Taki Kōji, c. 1971.
Most St. Louisans know of our European inspired architecture -- Gothic spires, Roman temples and Mansard roofs, but the city owes much of its beauty to architects from a country on the other side of the world: Japan. For the last 60 years, Modernist architects such as Tadao Ando and Gyo Obata's masterpieces continue to shape the landscape of our city. Consequently, the Kemper Art Museum's new exhibition on the work of Japanese architect Shinohara Kazuo is all the more relevant today.
Born in Japan in 1925, Shinohara's career lasted more than 30 years, and his mentoring of rising young architects carries his legacy to the present day. Japan, after World War II, was a country rebuilding from the extensive destruction of the war, but it also was experiencing an economic miracle that necessitated an intensive building boom. Shinohara came of age when the Modernist movement in architecture, with its clean lines and emphasis on simple and functional design, would meld comfortably with the already austere, yet elegant, design of traditional Japanese homes.
See also: The Gothic Revival Churches of North St. Louis
The exhibition space takes advantage of the "white box" gallery at the Kemper; the floor continues the white walls of the gallery, requiring visitors to remove their shoes, as in a traditional Japanese home, to keep the white floor immaculate. Architecture exhibits in museums are difficult; you cannot magically bring an entire building into a gallery, so Seng Kuan, exhibition curator and professor of architectural history at Washington University, provides an array of Shinohara's working drawings, blue prints and photographs to transport us into the architect's working process and philosophy.
Eschewing the placing of exhibits on the wall, Kuan instead displays the drawings and photographs on tables in the middle of the gallery. The walls of the gallery are bare, save for some select quotes from the architect and wall text. The tables are arranged in an almost classroom-style arrangement, suggesting drafting tables at an architecture school. The exhibit proceeds chronologically through Shinohara's four stylistic periods before terminating in a single row of his students' works.
Shinohara's 1964-6 House in White is an elegant introduction to the architect's work. Deceptively simple in its design, the house features only a couple of rooms but demonstrates his emphasis on beauty in simplicity. Tradition also appears in the placing of a "heart pillar" in the middle of the public room; this ancient post features in Oceanic architecture and frequently is not a structural, but purely symbolic design element.
Courtesy of Tokyo Institute of Technology Shinohara Kazuo, Great room (hiroma), House in White, Suginami Ward, Tokyo, 1964‐66. Photo by Murai Osamu, c. 1966.
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