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Arata Isozaki: four decades of architecture

By: Koshalek, RichardPublisher: New York,USA : Universe, 1998Description: 234 p. ill.[chiefly col.] 21 cm001: 6739ISBN: 0789302306Subject(s): Architecture - Asia | ArchitectureDDC classification: 720.92 ISO
Holdings
Item type Current library Collection Call number Copy number Status Date due Barcode
Book MAIN LIBRARY Book PRINT 720.92 ISO (Browse shelf(Opens below)) 1 Available 090507
Book MAIN LIBRARY Book PRINT 720.92 ISO (Browse shelf(Opens below)) 2 Available 049539

Enhanced descriptions from Syndetics:

Arata Isozaki is one of Japan's greatest architects and a commanding presence in international architecture, as demonstrated in such buildings as The Museum of Contemporary Art in Los Angeles (MOCA), the Disney Building in Lake Buena Vista, Florida, and the New Tokyo City Hall.
From the author of MOCA's 1991 Isozaki exhibition catalog comes this pioneering new book featuring twenty new projects, including the new designs for Toyonokuni Libraries for Cultural Resources and the Kyoto Concert Hall. All are illustrated with photographs, drawings and plans and analyzed by Isozaki himself.

Includes photography credits

Reviews provided by Syndetics

CHOICE Review

This is a smaller, simplified sequel to the 1991 Rizzoli monograph Arata Isozaki, Architecture 1960-1990 (CH, Oct'91), which accompanied the architect's retrospective at the Museum of Contemporary Art in Los Angeles. Eight significant buildings from the 1990s have been added, together with four evocative essays by the architect on the four decades marking the four phases of his career. These welcome additions cover a third of the book. But the graphic material covering the first decades has been substantially reduced--photographs by a third and plans and isometrics even more severely--rendering the descriptive text in this part of the book incomprehensible at times. Stewart's essay on Isozaki's link to K.F. Schinkel, despite the new title, is virtually unchanged, whereas Hajime Yatsuka's perceptive explication of "disjunctive synthesis" has been eliminated, as was the index, the list of buildings, and the bibliography. The photographs are small yet dazzling; but as a handbook for the general readership the price is too stiff. Libraries would do better to invest in the 1991 Rizzoli edition or wait for a better updated monograph. T. K. Kitao; Swarthmore College

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