Resumen:
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[EN] In 1937, a Japanese Pavilion was presented to the International Exhibition in Paris. This pavilion broke with the
traditional and vernacular architecture that Japan had built in previous exhibitions. The audacity of ...[+]
[EN] In 1937, a Japanese Pavilion was presented to the International Exhibition in Paris. This pavilion broke with the
traditional and vernacular architecture that Japan had built in previous exhibitions. The audacity of the proposal generated
a lot of controversy in the japanese country, due to its language, away from the native typologies and constructive systems.
Indeed, the approach introduced a new model, using new materials such as steel and glass. The first project submitted to the
competition, designed by Kunio Mayekawa, and the final built project, designed by Junzo Sakakura, have a common
denominator represented by the figure of the Master: Le Corbusier. The article analyzes the influence of the Master in the
ejecution of the projects. While Mayekawa progressed looking for its own way, Sakakura designed the pavilion in Sèvres
Street Studio, influenced by the training and suggestions of Le Corbusier. Then, he managed to combine in its architecture
deep Japanese tradition with modernity. The pavilion can be considered as a pioneering work of modern Japanese
architecture that becomes part of the international scene ,indeed, it was awarded with one of the architectural prizes granted
by the French organization, together with the pavillions designed by Aalto and J.L.Sert
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[ES] In 1937, a Japanese Pavilion was presented to the International Exhibition in Paris. This pavilion broke with the
traditional and vernacular architecture that Japan had built in previous exhibitions. The audacity of ...[+]
[ES] In 1937, a Japanese Pavilion was presented to the International Exhibition in Paris. This pavilion broke with the
traditional and vernacular architecture that Japan had built in previous exhibitions. The audacity of the proposal generated
a lot of controversy in the japanese country, due to its language, away from the native typologies and constructive systems.
Indeed, the approach introduced a new model, using new materials such as steel and glass. The first project submitted to the
competition, designed by Kunio Mayekawa, and the final built project, designed by Junzo Sakakura, have a common
denominator represented by the figure of the Master: Le Corbusier. The article analyzes the influence of the Master in the
ejecution of the projects. While Mayekawa progressed looking for its own way, Sakakura designed the pavilion in Sèvres
Street Studio, influenced by the training and suggestions of Le Corbusier. Then, he managed to combine in its architecture
deep Japanese tradition with modernity. The pavilion can be considered as a pioneering work of modern Japanese
architecture that becomes part of the international scene ,indeed, it was awarded with one of the architectural prizes granted
by the French organization, together with the pavillions designed by Aalto and J.L.Sert
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