1) Tadanori Yokoo was born in 1936 in Japan and grew up during a period of significant cultural transformation as the country shifted away from traditional ways following World War II.
2) He showed an early interest and talent in art and began his career designing posters and illustrations. One of his earliest major works was a 1965 self-titled poster that shocked viewers with its themes of death and confronted Yokoo with his own fears.
3) Yokoo was heavily influenced by travels to the West in the 1960s, where he experienced cultures in America and Europe firsthand. This led him to question his Japanese identity and to develop a style that blended Western and traditional Japanese influences.
This document provides a site analysis for Minya, Egypt, including:
- Location details and the origin of the city's name from ancient Egyptian
- A historical overview from the Predynastic period through modern times, highlighting important periods like the Old Kingdom, Middle Kingdom, and Islamic rule
- Details on the local environment, including climate, soil type, and plants that thrive in sandy soil common to the area
The site being analyzed is in Minya. Key points about the site include its location on the Nile River, nearby historical sites from different periods, and that the soil is rocky sandy soil suitable for drought-tolerant plants.
1) A-Place serves as the headquarters for ASYA Design, one of the largest and most successful architecture firms in the Philippines.
2) The office aims to create an enjoyable and productive work environment, with various amenities like a cafeteria, basketball court, and design competition prizes.
3) The office layout and policies are designed to protect client confidentiality, with different teams separated to exclusively serve different major developer clients.
door Michel Weijers van het C2C Expolab, verantwoordelijk voor concept en opdracht voor het Stadskantoor vanuit de gemeente Venlo; architect Hans Goverde van Kraaijvanger architecten, verantwoordelijk voor zowel het ontwerp van het pand als het gebied eromheen en Hans van Cooten van Mostert De Winter, verantwoordelijk voor al het levende groen.
Over circulair en Cradle to Cradle ontwikkelen, ontwerpen en bouwen en de rol van levend groen bij een gebouw dat de lucht zuivert.
Hans Ibelings is a Dutch art historian and architecture critic. He has written extensively on architectural movements including postmodernism, modernism, deconstructivism, and supermodernism. The document discusses the key principles and influences of each movement. Modernism emphasized simplicity, rejection of ornament, and use of new materials like steel and glass. Postmodernism reacted against modernism with a return to traditional forms and reference to historical styles. Deconstructivism introduced non-rectilinear shapes and fragmentation. Supermodernism refers to a trend toward abstract, neutral architecture reflecting the last phase of modernism. Globalization is discussed as exerting influence on contemporary architecture through increased cross-cultural contact and the image of the global city
Kenzo Tange was a prominent Japanese architect born in 1913. He studied under Le Corbusier and helped reconstruct Japan after World War II. Throughout his career, Tange sought to unite technology and humanity in his works and believed architecture should reflect social structures and progress toward the future. Some of his most notable projects include the Hiroshima Peace Park and Center, the Kagawa Prefectural Office, the National Gymnasium for the 1964 Tokyo Olympics, and the master plan for Expo '70 in Osaka. Tange viewed himself as continually advancing and creating a dynamic balance between inconsistencies.
The document discusses modern and postmodern architecture. Modern architecture emerged in the early 20th century and was characterized by innovative construction technologies, embracing minimalism, and the principle that form should follow function. Postmodern architecture began in the 1960s as a critique of traditional styles, and was characterized by exaggerated and whimsical forms with an emphasis on colors, textures, shapes and humor.
This document provides a site analysis for Minya, Egypt, including:
- Location details and the origin of the city's name from ancient Egyptian
- A historical overview from the Predynastic period through modern times, highlighting important periods like the Old Kingdom, Middle Kingdom, and Islamic rule
- Details on the local environment, including climate, soil type, and plants that thrive in sandy soil common to the area
The site being analyzed is in Minya. Key points about the site include its location on the Nile River, nearby historical sites from different periods, and that the soil is rocky sandy soil suitable for drought-tolerant plants.
1) A-Place serves as the headquarters for ASYA Design, one of the largest and most successful architecture firms in the Philippines.
2) The office aims to create an enjoyable and productive work environment, with various amenities like a cafeteria, basketball court, and design competition prizes.
3) The office layout and policies are designed to protect client confidentiality, with different teams separated to exclusively serve different major developer clients.
door Michel Weijers van het C2C Expolab, verantwoordelijk voor concept en opdracht voor het Stadskantoor vanuit de gemeente Venlo; architect Hans Goverde van Kraaijvanger architecten, verantwoordelijk voor zowel het ontwerp van het pand als het gebied eromheen en Hans van Cooten van Mostert De Winter, verantwoordelijk voor al het levende groen.
Over circulair en Cradle to Cradle ontwikkelen, ontwerpen en bouwen en de rol van levend groen bij een gebouw dat de lucht zuivert.
Hans Ibelings is a Dutch art historian and architecture critic. He has written extensively on architectural movements including postmodernism, modernism, deconstructivism, and supermodernism. The document discusses the key principles and influences of each movement. Modernism emphasized simplicity, rejection of ornament, and use of new materials like steel and glass. Postmodernism reacted against modernism with a return to traditional forms and reference to historical styles. Deconstructivism introduced non-rectilinear shapes and fragmentation. Supermodernism refers to a trend toward abstract, neutral architecture reflecting the last phase of modernism. Globalization is discussed as exerting influence on contemporary architecture through increased cross-cultural contact and the image of the global city
Kenzo Tange was a prominent Japanese architect born in 1913. He studied under Le Corbusier and helped reconstruct Japan after World War II. Throughout his career, Tange sought to unite technology and humanity in his works and believed architecture should reflect social structures and progress toward the future. Some of his most notable projects include the Hiroshima Peace Park and Center, the Kagawa Prefectural Office, the National Gymnasium for the 1964 Tokyo Olympics, and the master plan for Expo '70 in Osaka. Tange viewed himself as continually advancing and creating a dynamic balance between inconsistencies.
The document discusses modern and postmodern architecture. Modern architecture emerged in the early 20th century and was characterized by innovative construction technologies, embracing minimalism, and the principle that form should follow function. Postmodern architecture began in the 1960s as a critique of traditional styles, and was characterized by exaggerated and whimsical forms with an emphasis on colors, textures, shapes and humor.
“Wilson and other Biophilia theorists assert that human beings not only derive specific aesthetic benefits from
interacting with nature, but that the human species has an instinctive, genetically determined need to deeply affiliate with natural setting and life-forms.”
and life-forms.”
The document discusses sustainability in the context of architecture and construction in India. It notes that with rapid urbanization, the number of energy-intensive buildings is rising in India. Two main green building rating systems used in India are discussed - LEED, based on the U.S. system but adapted for India, and GRIHA, India's indigenous national rating system. Both aim to promote sustainable practices but have different perspectives. The Auroville experiment near Pondicherry is also mentioned as pursuing sustainability goals at the city-scale through traditional techniques.
Lectures; theory of architecture iv arch 246 iahmed osman
Contemporary Architecture as part of series of lectures by
Dr Ahmed Osman Ibrahim
Associate Professor,
Architectural Theory and Criticism,
College of Architecture and Planning,
Head of Department of Interior Design and
College Quality Manager,
Qassim University,
Saudi Arabia.
Mob: +966 549562614
Email: AO.MOHAMED@qu.edu.sa
Basic overview of the political, cultural and social influences on 20th century Architecture based on Kenneth Frampton's "Modern Architecture: A Critical History', for teaching fifth semester B.Arch students of University of Calicut.
Philippine D-Days: Intro to Green ArchitectureDitz Garobo
Some of the Philippine Most Disastrous Days. An introduction to Green Architecture to Palawan State University, BS in Architecture, Theory of Architecture 02
Lesson 10 - Cultural Globalization (McDonald's)Missws Choi
McDonald's has over 30,000 restaurants in over six continents, opening 1,850 new locations each year. It has expanded globally since opening its first international location in Canada in 1967 and its first Hong Kong restaurant in 1975. Recently, McDonald's launched new promotional campaigns featuring celebrities in commercials broadcast across Asia to target young consumers, changing its marketing strategy from families to youth.
Towards a Critical Regionalism: Six Points for an Architecture of Resistancetzex22
This document summarizes a reaction paper by a student named Lai Tzexiuan on Kenneth Frampton's essay "Towards a Critical Regionalism: Six Points for an Architecture of Resistance." The student agrees with Frampton that architecture should respond to both the natural and cultural contexts of its site. This can include reflecting the local climate and materials through openings and ventilation, or drawing from cultural traditions through placements of rooms and courtyards that evoke landscape paintings. The student believes this type of regionalism is important to avoid conflicts with the site context and create tangible and intangible experiences for humans through architectural poetics and the stimulation of senses.
This document discusses collective behavior, social movements, and social change. It begins by defining collective behavior and explaining how it can lead to social change. It then describes different types of crowd behavior, from casual to protest crowds. The document also examines theories for explaining crowd and mass behavior. Next, it outlines several theories of social movements and types of social movements. It concludes by discussing the stages social movements typically progress through.
The document discusses the history and development of artificial intelligence over the past 70 years, from early research into neural networks in the 1940s to modern deep learning techniques. While AI has made tremendous progress, fully human-level AI remains challenging to achieve and raises complex issues around safety, ethics, and its impact on society that require careful consideration and oversight. Overall progress in AI has occurred in steps by incorporating more data and modeling increasingly complex phenomena, but fully general human intelligence remains a long-term goal that will require ongoing research.
This document provides an introduction to architectural theory and elements. It begins by defining architecture and its origins. It then discusses the functional, aesthetic and psychological contexts for architecture in satisfying human needs. It introduces various functional aspects like site, structure, skin, services, use and circulation. It also introduces Gestalt ideas of visual perception. Finally, it discusses fundamental architectural elements like point, line, plane, form and space.
Architectural Design 1 Lectures by Dr. Yasser Mahgoub - ProcessGalala University
The document discusses the architectural design process. It describes the typical phases as:
1) Pre-design phase which involves programming to understand user needs.
2) Site analysis to understand the site context and how it relates to the user needs.
3) Schematic design phase where the main concepts of form and space are generated to address the user needs within the site context.
The document discusses the preservation of cultural heritage and provides examples from Germany of integrated conservation approaches. It describes how the 1975 European Year of Preservation of Monuments marked a shift towards involving local communities in decisions and renewing historic areas in a way that maintains social diversity. The IBA in Berlin in the 1980s pioneered "careful urban renewal" through community participation and gradual improvements. Leipzig's "Guardian Buildings" program addresses vacant historic structures by having tenants take responsibility for upkeep in exchange for low rents.
Parametricism - Parametric Architecture and Design Haneen Fraihat
This is a presentation research about Parasitism or Parametric Architecture, done for History & Theory of Contemporary Architecture Lecture at the University Of Jordan, by a group of students.Supervised by Dr.Omar Amireh
It contains 1.Definition of Parametric 2. Patrik Schumacher's Identification 3. History 4.A glimpse to Rhino, NURBS, Catia 5. a comparison between CAD and BIM 6. Sketchpad,AutoCAD 7.Parametric modeling 8.Grasshopper and Generative Components 9.How famous is Parametric Architecture. 10.ADVANTAGES
VS.
DISADVANTEGES 11.CLASSIFICATION
12.STYLE 13.ARCHITECTURAL STYLE
The document provides an overview of Japanese art focusing on printmaking and textile work. It discusses the early printmaker Suzuki Harunobu and one of his prints called "Fashionable Seven Komachi Transformed". It also discusses the later printmaker Ogata Gekko and one of his prints called "From Temple Balcony". Finally, it mentions the textile artist Sonoko Sasaki and her dedication to traditional Japanese textiles. The document aims to give readers a sense of the style, social values, and historical importance of art in Japan.
Katsushika Hokusai was a Japanese artist famous for his woodblock print "The Great Wave off Kanagawa". During the Edo period in Japan, ukiyo-e woodblock prints became a popular art form depicting landscapes and everyday life. Hokusai was influenced by Western techniques like linear perspective and used of Prussian blue. His prints, like "The Great Wave" and "36 Views of Mount Fuji", helped expose Western audiences to Japanese culture and traditions through their depictions of the country's geography and people.
“Wilson and other Biophilia theorists assert that human beings not only derive specific aesthetic benefits from
interacting with nature, but that the human species has an instinctive, genetically determined need to deeply affiliate with natural setting and life-forms.”
and life-forms.”
The document discusses sustainability in the context of architecture and construction in India. It notes that with rapid urbanization, the number of energy-intensive buildings is rising in India. Two main green building rating systems used in India are discussed - LEED, based on the U.S. system but adapted for India, and GRIHA, India's indigenous national rating system. Both aim to promote sustainable practices but have different perspectives. The Auroville experiment near Pondicherry is also mentioned as pursuing sustainability goals at the city-scale through traditional techniques.
Lectures; theory of architecture iv arch 246 iahmed osman
Contemporary Architecture as part of series of lectures by
Dr Ahmed Osman Ibrahim
Associate Professor,
Architectural Theory and Criticism,
College of Architecture and Planning,
Head of Department of Interior Design and
College Quality Manager,
Qassim University,
Saudi Arabia.
Mob: +966 549562614
Email: AO.MOHAMED@qu.edu.sa
Basic overview of the political, cultural and social influences on 20th century Architecture based on Kenneth Frampton's "Modern Architecture: A Critical History', for teaching fifth semester B.Arch students of University of Calicut.
Philippine D-Days: Intro to Green ArchitectureDitz Garobo
Some of the Philippine Most Disastrous Days. An introduction to Green Architecture to Palawan State University, BS in Architecture, Theory of Architecture 02
Lesson 10 - Cultural Globalization (McDonald's)Missws Choi
McDonald's has over 30,000 restaurants in over six continents, opening 1,850 new locations each year. It has expanded globally since opening its first international location in Canada in 1967 and its first Hong Kong restaurant in 1975. Recently, McDonald's launched new promotional campaigns featuring celebrities in commercials broadcast across Asia to target young consumers, changing its marketing strategy from families to youth.
Towards a Critical Regionalism: Six Points for an Architecture of Resistancetzex22
This document summarizes a reaction paper by a student named Lai Tzexiuan on Kenneth Frampton's essay "Towards a Critical Regionalism: Six Points for an Architecture of Resistance." The student agrees with Frampton that architecture should respond to both the natural and cultural contexts of its site. This can include reflecting the local climate and materials through openings and ventilation, or drawing from cultural traditions through placements of rooms and courtyards that evoke landscape paintings. The student believes this type of regionalism is important to avoid conflicts with the site context and create tangible and intangible experiences for humans through architectural poetics and the stimulation of senses.
This document discusses collective behavior, social movements, and social change. It begins by defining collective behavior and explaining how it can lead to social change. It then describes different types of crowd behavior, from casual to protest crowds. The document also examines theories for explaining crowd and mass behavior. Next, it outlines several theories of social movements and types of social movements. It concludes by discussing the stages social movements typically progress through.
The document discusses the history and development of artificial intelligence over the past 70 years, from early research into neural networks in the 1940s to modern deep learning techniques. While AI has made tremendous progress, fully human-level AI remains challenging to achieve and raises complex issues around safety, ethics, and its impact on society that require careful consideration and oversight. Overall progress in AI has occurred in steps by incorporating more data and modeling increasingly complex phenomena, but fully general human intelligence remains a long-term goal that will require ongoing research.
This document provides an introduction to architectural theory and elements. It begins by defining architecture and its origins. It then discusses the functional, aesthetic and psychological contexts for architecture in satisfying human needs. It introduces various functional aspects like site, structure, skin, services, use and circulation. It also introduces Gestalt ideas of visual perception. Finally, it discusses fundamental architectural elements like point, line, plane, form and space.
Architectural Design 1 Lectures by Dr. Yasser Mahgoub - ProcessGalala University
The document discusses the architectural design process. It describes the typical phases as:
1) Pre-design phase which involves programming to understand user needs.
2) Site analysis to understand the site context and how it relates to the user needs.
3) Schematic design phase where the main concepts of form and space are generated to address the user needs within the site context.
The document discusses the preservation of cultural heritage and provides examples from Germany of integrated conservation approaches. It describes how the 1975 European Year of Preservation of Monuments marked a shift towards involving local communities in decisions and renewing historic areas in a way that maintains social diversity. The IBA in Berlin in the 1980s pioneered "careful urban renewal" through community participation and gradual improvements. Leipzig's "Guardian Buildings" program addresses vacant historic structures by having tenants take responsibility for upkeep in exchange for low rents.
Parametricism - Parametric Architecture and Design Haneen Fraihat
This is a presentation research about Parasitism or Parametric Architecture, done for History & Theory of Contemporary Architecture Lecture at the University Of Jordan, by a group of students.Supervised by Dr.Omar Amireh
It contains 1.Definition of Parametric 2. Patrik Schumacher's Identification 3. History 4.A glimpse to Rhino, NURBS, Catia 5. a comparison between CAD and BIM 6. Sketchpad,AutoCAD 7.Parametric modeling 8.Grasshopper and Generative Components 9.How famous is Parametric Architecture. 10.ADVANTAGES
VS.
DISADVANTEGES 11.CLASSIFICATION
12.STYLE 13.ARCHITECTURAL STYLE
The document provides an overview of Japanese art focusing on printmaking and textile work. It discusses the early printmaker Suzuki Harunobu and one of his prints called "Fashionable Seven Komachi Transformed". It also discusses the later printmaker Ogata Gekko and one of his prints called "From Temple Balcony". Finally, it mentions the textile artist Sonoko Sasaki and her dedication to traditional Japanese textiles. The document aims to give readers a sense of the style, social values, and historical importance of art in Japan.
Katsushika Hokusai was a Japanese artist famous for his woodblock print "The Great Wave off Kanagawa". During the Edo period in Japan, ukiyo-e woodblock prints became a popular art form depicting landscapes and everyday life. Hokusai was influenced by Western techniques like linear perspective and used of Prussian blue. His prints, like "The Great Wave" and "36 Views of Mount Fuji", helped expose Western audiences to Japanese culture and traditions through their depictions of the country's geography and people.
The document discusses the woodblock print "Under the Wave off Kanagawa" by Japanese artist Katsushika Hokusai. It was created in the 18th century during a time when landscape painting emerged as a popular subject in Japan, coinciding with the rise of inexpensive multicolor woodblock prints. The artwork was influenced by both traditional Japanese and Chinese landscape painting styles as well as Dutch landscape engravings imported during this era, demonstrating how Japanese artists both drew from artistic traditions of other eras and places while also innovating their own styles.
The document discusses influences and changes during Japan's Meiji Era from 1868 to 1912. It describes how Japan underwent major political and government shifts, influenced by Western powers, moving from a feudal system to a modern bureaucracy. This led to changes in lifestyle, industry, and technology for citizens. Literature from this era reflected the struggles of the people during this transition period. The culture was shaped by both the new government system and works of authors like Mori Ogai that showed cultural connections.
The document discusses literature during the Ming Dynasty and Tokugawa Period in China and Japan. It notes that literature played a larger role in daily life in Japan during this time compared to China, where technological advancements were prioritized more. Literature flourished as an art form in Japan during the Tokugawa Period after the country isolated itself, while in China literature remained more for entertainment than an important part of life. Both time periods saw significant cultural developments through their literature.
This presentation discusses the influence of Japanese art on fashion over time. It begins by exploring early Jomon art from 11,000-300 BC which featured clay sculptures. Part 2 notes that early Japanese fashion was heavily influenced by Chinese styles after trading was established. Contemporary Japanese art, as discussed in Part 3, draws from traditional sculpture while incorporating new technologies. Finally, Part 4 addresses how modern Japanese fashion has begun integrating Western influences as the culture has learned from other civilizations.
This document analyzes the artwork "Mimi" by Chad Hines. It is a two-foot by two-foot piece displayed at an art show that depicts an elderly woman named Mimi surrounded by a jumbled assortment of materials. The piece uses many media like wood, fabric, paper and metal. It gives the viewer details to observe and analyze regarding Hines' use of elements like color, texture and composition to convey a spiritual quality and reminder of loved ones.
This document discusses Yukio Mishima's concept of consciousness and determination as depicted in his novels Spring Snow and The Decay of the Angle. It summarizes Mishima's background and literary career, the history of Japanese literature, and analyzes how the main characters in the two novels represent different aspects of consciousness and determination. The protagonist in Spring Snow lacks consciousness and dies young, while the protagonist in The Decay of the Angle is too conscious of himself and isolates from society. The hero of Mishima's tetralogy has both consciousness and determination, using his life to contribute to humanity. The document concludes that for Mishima, consciousness and determination must work together to build a positive future for Japan.
Woodblock printing originated in China as a method of printing on textiles, but was later adapted in Japan during the Edo period to print on paper. It involves carving an image or design onto a woodblock which is then inked and pressed onto paper or fabric. The most common themes in Japanese woodblock prints, known as ukiyo-e, depict scenes of everyday life and nature. Ukiyo-e art became popular among both the upper and common classes in Japan. The document provides instructions for making one's own woodblock print using simple materials like Styrofoam, paint, and paper.
Katsushika Hokusai was an influential Japanese artist born in 1760. His most famous work, The Great Wave off Kanagawa, depicts a giant wave threatening boats off the coast of the Kanagawa Prefecture. The woodblock print had a significant impact, popularizing ukiyo-e art internationally and influencing European artists like Debussy. Hokusai's realistic yet stylized depictions of Japanese landscapes and people came to define Japan's artistic identity both domestically and abroad.
The Second World War had a huge global impact and ended with the atomic bombings of Hiroshima and Nagasaki in 1945. Japan surrendered unconditionally and underwent 7 years of American occupation. The war accelerated technological developments and the use of experimental materials in design. It also increased graphic design and propaganda. Art during the war chronicled different nations' experiences and perspectives. The Holocaust resulted in the systematic murder of approximately 12.7 million people under the Nazi regime.
Exploring Chaos and Certainty: The Enduring Vision of Makoto HatoriMakoto Hatori
In 1969, I presented a conceptual work that incorporated the externality of "sand" as a non-self-contained material. The exhibition embraced "sand" as a medium, intentionally inviting randomness and disrupting the delicate balance between things that are inherently difficult to define. This artistic exploration reflects the recognition of an emerging unknown externality, embodying the age of chaos. This was a pivotal moment that shaped my subsequent creative philosophy. During this period, Makoto Hatori's sensibility gravitated toward traditional Japanese ceramics.
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Exploring the 'Floating World'_ Understanding Edo Period Japan (1).pptxAakashChavda4
This presentation offers a concise look at Japan during the Edo period, focusing on its vibrant entertainment district and cultural dynamics. It covers art, literature, theater, and daily life, highlighting the emergence of ukiyo-e prints and societal influences.
Similar to Tadanori Yokoo: Clash of Reality & Ideals (14)
Nina Chan has over 10 years of experience in graphic design, marketing, and project management. She has a Master's degree in International Marketing and excels in creative skills like design, branding, and web development. Nina is proficient with Adobe Creative Suite and has a track record of delivering high-quality work on deadline.
This document provides background information on Harvey Milk, the first openly gay elected official in the United States. It summarizes his early life, including being born in New York to Jewish parents, acknowledging his homosexuality in his teens while keeping it secret, graduating college and briefly teaching, and then working on Wall Street before moving to San Francisco and opening the Castro Camera shop. It also includes photographs from different periods of Milk's life.
Problem Statement:
Asian American music artists lack media exposure and have difficulty standing out in the mainstream music industry.
Purpose Statement:
This study was done to design a product showcasing Asian American music artists in a positive and empowering light – breaking preconceived stereotypes and adding diversity to the current music industry.
Target Audience:
People ages 15-30
Asian American youth
People with interest in the music industry
People seeking to find new music artists
Impact Statement:
This project will impact Asian American music artists, the Asian American community, and the music industry in terms of creativity, innovation, and diversity.
Creative/Innovation Impact – This project will have a creative impact in the music industry by offering a unique blend of music that is rarely seen in mainstream music
Economic Impact – By adding diversity into the music market and providing people with new music, this will generate more sales. In addition, this will be targeting Asian Americans, who hold strong and often untapped economic power.
Cultural Impact – Since this project will be focused on showcasing talented Asian American music artists, the public will be exposed to a more diverse group of musicians. We seldom see Asian American artists in mainstream media, so this exposure can break stereotypes and empower people to follow their dreams.
Societal Impact – The more the general public is exposed to Asian Americans as part of our society and mainstream music, the more people will be accepting of them and not view them as “foreign”.
William 'Loky' W.J. and Patrick 'Murasaki' Orara met in a music class and discovered their shared passion for music. After William composed an instrumental for Patrick to write lyrics for, they were impressed by Patrick's talents. They decided to form a full production team called Mind Harmony Production to continue collaborating on song ideas, lyrics, mixes, and instrumentals. Their goal is to make music that resonates with people and reflects life's moments, feelings, ideas, and sensations.
BV Wines aims to market to young professionals aged 25-30 by establishing brand loyalty earlier. Currently focusing on older customers, BV will implement a digital strategy across blogs, social media and online ads tailored to this younger demographic. The campaign will position BV as an essential part of an affluent, sophisticated lifestyle through messaging showcasing the wine's role in professional and social settings. BV will measure the strategy's success through social media engagement and online sales.
International Upcycling Research Network advisory board meeting 4Kyungeun Sung
Slides used for the International Upcycling Research Network advisory board 4 (last one). The project is based at De Montfort University in Leicester, UK, and funded by the Arts and Humanities Research Council.
Practical eLearning Makeovers for EveryoneBianca Woods
Welcome to Practical eLearning Makeovers for Everyone. In this presentation, we’ll take a look at a bunch of easy-to-use visual design tips and tricks. And we’ll do this by using them to spruce up some eLearning screens that are in dire need of a new look.
Explore the essential graphic design tools and software that can elevate your creative projects. Discover industry favorites and innovative solutions for stunning design results.
Architectural and constructions management experience since 2003 including 18 years located in UAE.
Coordinate and oversee all technical activities relating to architectural and construction projects,
including directing the design team, reviewing drafts and computer models, and approving design
changes.
Organize and typically develop, and review building plans, ensuring that a project meets all safety and
environmental standards.
Prepare feasibility studies, construction contracts, and tender documents with specifications and
tender analyses.
Consulting with clients, work on formulating equipment and labor cost estimates, ensuring a project
meets environmental, safety, structural, zoning, and aesthetic standards.
Monitoring the progress of a project to assess whether or not it is in compliance with building plans
and project deadlines.
Attention to detail, exceptional time management, and strong problem-solving and communication
skills are required for this role.
9. Introduction
Page 1
Page 3
Chapter One
WHO IS TADANORI YOKOO?
GRAPHIC DESIGN IN POST-WWII JAPAN
Page 9
Chapter Two
AT THE BEGINNING
Page 21
Chapter Three
INTERNATIONAL AND BEYOND
11. Tadanori Yokoo is a successful graphic designer, illustrator,
printmaker, and painter. Filled with creative energy and often
referred to as the “Japanese” Andy Warhol, Tadanori Yokoo
has left an indelible mark in the graphic design world. Yokoo’s
work is highly autobiographical and largely inspired by the Psy-
chedelic movement going on during the 1960s in the United
States. Genres that reoccur in his art are: death, lust, surreal-
ism, politics, and psychedelia. His work does not circulate only
within the parameters of Japan, but has gained world wide
recognition and created an international impact.
Introduction
14. 4 Graphic Design Post-WWII Japan
W
orldWarIIwillalwaysbeetchedinthemindsof thecountries
that partook or were affected in this gruesome war.
Though Japan was not the only country devastated by
the high mortality rate and bombings, the aftermath did
leave twenty-three thousand homes in Tokyo, their major
economic capital, destroyed, which left the country in a very unfortunate situation.
However, this was a chance for Japan to reinvent themselves and thrive through
adversity. This shift has marked a turn in Japan’s cultural history, a turn toward
modernism, advanced technology, lifestyle and attitude change, and a new spin on
art. According to Maggie Kinser Saiki, author of 12 Japanese Masters, “Japan took
fewer than 15 years to move from a feudal backwater to Asia’s first modern consumer
nation. Japan was reinventing itself, rising from the phoenix ashes of World War
II” (Saiki 9). With the influence of the western lifestyle encroaching into the
Japanese culture, people were changing the way they dressed, act, ate, to their ideals,
and even the way they spend money. Saiki points out the catalyst that stemmed this
new behavior was the “new architecture, new art, new technology, the rejects of
things “Japanese,” rising urban landscapes, new roadways and railways, new social
mores, the untenability of a nation on its knees, the insatiable desire to succeed by
imitation and education” (9). The emergence of industrialism in Japan allowed
graphic design to become a major profession.
DESIGN AND JAPAN
4 Clash of Reality & Ideals: The World Tadanori Yokoo
15. Graphic Design Post-WWII Japan 5
Figure 1: a la maison de m.civecawa, 1965
Movement and Changes
The 1960s was a time of activism, especially with the 1968 student strikes and anti-war protests occurring in the
United States. During this time of change and liberal leanings, underground art, theatre and dance groups in Japan
also participated in their own type of movement, exploring various themes, taboo and controversial, in their pieces.
They chose themes revolving around sexuality, traditional and pop cultures, and the grotesque. While doing so, they
integrated social and political satire and commentary. They were not afraid to speak their minds and liberate
themselves as artists to express how they feel and think. Figure 1 features a poster Yokoo created for the Butoh Dance
Group performance, Rose Colored Dance. It shows a mixture of traditional woodcut block prints with symbolic
iconographies of Japanese underground art and pop culture.
“
”
They were not afraid to speak
their minds and liberate
themselves as artists to express
how they feel and think.
MOVEMENTS AND CHANGES
Chapter 1: Graphic Design Post-WWII Japan 5
16. Designers, who were born within the
time period between 1929 and 1944,
grew up exposed to the transformation
Japan was going through. These
designers include: Yusaku Kamekura,
Kazumasa Nagai, Kiyoshi Awazu, Ikko
Tanaka, Mitsuo Katsui, Issey Miyake,
and of course, Tadanori Yokoo. A
generation gap between these men
and their predecessors has been
distinguished. There is on one side of the
spectrum ideals left by the “Old Japan”
andontheotherside freshandinnovative
“New Japan” highly influenced by the
west. Postwar design in Japan essentially
narrates the relationship between East
and West. For Japan, the western ideals
played a huge influence in their life.
A lot of how the Japanese perceive design
is based on what the Americans brought
EAST AND WEST
over. Japanese Postwar design was
ultimately a way for Japan to show off
to the West, by applying western style
while keeping the traditional Japanese
art theory, in hopes of becoming better
than the West.
Constructivism was a huge influence for
the Japanese design movement. Phillip B.
Meggs, author of A History of Graphic Design,
explained that though the constructivist
style was employed in Japanese design,
“the systematic organization and strong
theoretical foundation of constructivism is
temperedbyatraditionalJapaneseinclination
toward intuitive problem solving activity
and a heritage of simplified emblematic
form” (417). Japanese designers are drawn
to central placement of images and words
and having everything else organized
around the middle.
6 Clash of Reality & Ideals: The World Tadanori Yokoo
17. So, how did Post-World War II affect Japan in terms of design and how
designers felt about themselves? They were torn between the idea of what it
means for them to be “Japanese.” Are they “Japanese” enough, and how is
that idea defined? The 1960s in Japan was about searching and questioning.
After World War II, Japan’s image became more nationalistic and symbolic.
The designers growing up during this period were able to experiment with
their design, not limited to any particular style. Highly influenced by the west,
they mixed modern and traditional Japanese elements in their work. Japanese
graphic designers attempted to maintain national traditions while incorporating
international influences.
The relevance between the history and events going on at the time of Post-
WWII and the way the artists created their work is extremely high. The pop
art, avant-garde, and psychedelic movements going on in the 1960s influenced
Tadanori Yokoo. He was inspired and emulated much of that style into his work.
His art is thought-provoking, complex, unique, and daring, which easily makes
him one of the most compelling artists in Post-War Japan. Yokoo collaborated
with important names in the high arts, dance, literature and film during the
20th century. He broke boundaries and created a world that was his.
NEW JAPAN
Chapter 1: Graphic Design Post-WWII Japan 7
Figure 2: “Koshimaki-Osen”, 1966
18. “
Because I sense the imbalance in the
world around me, I
unconsciously tend towards balance
and symmetry.
20. I
n 1936, Tadanori Yokoo was born into a world where culture, lifestyle, and
politics were shifting. He grew up around post-war design ranging from packaging,
labeling, signage, to other daily items. He lived with his parents in Nishiwaki,
located in Hyogo Prefecture, which was considered a major textile area. Most of the
textiles were labeled in western lettering. His parents were merchants and had a very
limited education. However, they made sure to teach Yokoo a great deal about life, respect, and how to
live successfully. A major thing his parents taught him was the practice of animism, which is the
belief that spirits not only exist in humans but in animals and inanimate objects as well. Yokoo
was quoted saying, “My parents taught me early on that I wasn’t going to accomplish
much through egoism alone. They borrowed strength from the gods they sensed
around them, and taught me to do this too.”
GROWING UP
At a young age, Yokoo’s interest in the arts was clearly evident. He was
always eager to learn, grow, and discover. Yokoo did not seek any high
profile careers for he just wanted to paint. He got into this profession
by replicating existing paintings, designing wrapping paper for stores,
ENTERING THE PROFESSION
21. Chapter 2: At The Beginning 11
and drawing posters for the Chamber of Commerce. In high school, he submitted his
very first piece, an Art Deco-inspired poster, to an annual festival in 1954.
Two years later, he was a Kobe Shimbun newspaper contributor, and by 1960,
he already won multiple awards and started off his career as a stage designer for
an avant-garde theatre in Tokyo. In that very year, he was also granted the
invitation to join the Nippon Design Center, a group Tadanori Yokoo had wished to be a
part of. Within a year, he became well-known for his design style and illustrations.
“
”
My parents taught me early on that I wasn’t going
to accomplish much through egoism alone. They
borrowed strength from the gods they sensed
around them, and taught me to do this too.
22. Tadanori Yokoo’s first piece that garnered high recognition was a self-titled post-
er he submitted to the Persona group’s 1965 exhibition. This poster received much
attention because it differed from the graphic styles of his contemporaries. He became
obsessed with death after he left the Nippon Design Center and started freelancing.
The poster has his name “Tadanori Yokoo” visibly shown on the top with a man right
below, adorned in western clothing and holding a rose, hanging by his neck against
a blue sky with a burst of red rays. The bottom corners have childhood pictures of
himself and top corners contain an image of Mount Fiji erupting and a bullet train.
The main statement reads, “having reached a climax at the age of 29, I was dead.”
Red rays emulate a rising sun, which was considered an old-fashioned Japanese motif
at the time. This rising sun motif reoccurs in most of Yokoo’s work, eventually
becoming his signature style and an international symbol of Japanese pop art.
This poster shocked most of his friends and confronted him with his own worst fear.
While in school, he learned about western rationality. As he started to travel
around the world, he became more familiar with this concept and experienced
this movement first-hand. He went to the United States and Europe and was
introduced to the Dada movement, the psychedelic hippie culture, and various
social trends happening in the West. Yokoo had experienced culture shock, having
realized the amount of “Japanese-ness” inside of him, the kind that existed prior to
the war. He still held a traditional way of thinking, but after being saturated by what
he saw in the West, he started to change.
Figure 3 (right): “Tadanori Yokoo”,
silkscreen, 1965
12 Clash of Reality & Ideals: The World Tadanori Yokoo
23.
24. Yokoo reflected on himself and eventually found his goal: “to express, rather than
escape, the passion and the earthy, animistic culture of his native Japan.” Yokoo’s
art often depicts balance even though it may appear to be chaotic and all over the
place. There is always a central focus point that draws our eyes toward the middle. He
explained, “Because I sense the imbalance in the world around me, I unconsciously
tend towards balance and symmetry, two methods of expressing the ideal world.
Sometimes I go too far, and wish later that I’d left some images jutting out over the
borders” (166). This idea of “balance” is reflected throughout his book Yokoo’s Collage
Design, where he plays with the positioning of images on a gridded layout.
Tadanori Yokoo also fell in love with the face of a child — the purity,
innocence, and curiosity captivated him. Yokoo explains that the face is “the ideal
form of a human being because one must have those elements, of innocence and
purity and reverence. Of course, only young children have that face, because every
time ideals collide with reality, they crumble a little. Still, as a symbol, it’s perfect.”
He believed that we should see the world and objects around us through eyes of a
child before the adult world corrupts and taints the youthful vision.
His goal:
To express, rather than
escape, the passon and the
earthy, animistic culture of his
native Japan.
“
”14 Clash of Reality & Ideals: The World Tadanori Yokoo
25. Throughout Tadanori Yokoo’s career, influences and inspiration from culture, social movements,
and various people are reflected in his art. Some of Yokoo’s role models include: Yukio Mishima,
The Beatles, Ken Takakura, Andy Warhol, Peter Max, Tomi Ungerer, and Milton Glaser.
Out of all the people on this list, Mishima has influenced Yokoo the most. Mishima’s 1963 novel,
The Temple of the Golden Pavilon, captivated the young Tadanori Yokoo and inspired him to write his own
autobiography. After reading Mishima’s book, he felt an instant spiritual connection with the author.
They both held the same type of mindset and thinking. Mishima and Yokoo often pondered about
what would happen when ideals and reality clash. They also were concerned with the link between
art and life. An exhibition catalogue featured an interview with Mishima discussed the effect of
Yokoo’s inner world clashing with outer reality. Mishima responds:
Yokoo’s work has all the unbearability of the Japanese. His work angers people, and scares
them, with its vulgar colors. It’s scary how much his common billboard colors resemble the
Coca Cola ones. Yet while average people don’t want to look at them, it makes them look.
What makes Yokoo’s work not just the art of a madman is his interest in the world around
him. For example, the parody he achieves through the brutal treatment of the common.
In his ruinous working of his inner world, the vulgar is scorned. It is not just the inner
world, however. In exploding outward, it becomes a parody that makes us laugh. It
is this that makes it healthy. Even do, even if he becomes international, I hope he
doesn’t let go of the strange map of our Japan.
INFLUENCES
YUKIO MISHIMA
26. After Yukio Mishima passed away,
Yokoo retreated to a very emotional
territory. He produced many posters of
the late novelist. One in particular is
featured in Figure 4 to the right. The
poster showed Mishima beneath a hand
with the finger cut off. This is in reference
to the finger cutting ceremony by some
Japanese cults. The hand is surrounded
by splattered red blood. Mishima was a
part of a samurai cult and participated in
a suicide ritual of plunging a sword into
his stomach. Mishima’s death caused a
great deal of pain for Yokoo, so at one
point he decided to completely stop
work to reflect on life. He was afraid of
death, and through his travels in India,
he reached a fascination for their culture,
Buddhism, UFOs, and extraterrestrial
civilizations.Hestarteddesigninghiswork
around these themes, creating collages
and posters of the universe and different
religious symbols.
Figure 4 (above):
“A Ballad Dedicated to the Pinky-Cutting
Ceremony”, silkscreen, 1966
Figure 5 (right):
“The Aesthetic of the End”,
silkscreen, 1966
16 Clash of Reality & Ideals: The World Tadanori Yokoo
27. Chapter 2: At The Beginning 17
During the 1960s, most Japanese illustrators were obsessed with the style of Saul
Bass and Ben Shahn. However, Yokoo took another route and found inspiration
through the Push Pin Studio, a New York based design company, Milton Glaser,
Seymour Chwast and Peter Max. The eclecticism in their work is highly reflected
in Yokoo’s earlier works. After studying their designs he believed that illustration
can stand on its own and be as powerful as a painting. Yokoo’s style of drawing is
similar to Chwast’s thin lines and flat colors. The 1960s San Francisco rock posters
and multicolored prints Peter Max designed also influenced Yokoo. He implemented
the style of clashing images and incorporating Dada photo collages into his
own designs. Compared to Milton Glaser, Yokoo’s typography is eclectic and
is splattered all over the place, whereas Glaser’s style is more controlled.
Yokoo’s designs are excessive and include repetition of images and random fragments.
Push Pin Studio
Figure 6: “New York”, 1968 Figure 7: “The Wonders of Life on
Earth”, 1965
28. The Psychedelic movement in the United States during the 1960s counterculture
was the language of rock-and-roll. People were taking LSD, marijuana, and many
other drugs to stimulate themselves. In turn, people used the experience they received
from the drugs and transferred it to create visual art. Initially a scene appealing to
American youth culture, it spread like wildfire into mainstream popular culture.
According to Steven Heller, author of Anatomy of Design, “Psychedelic design
was one of the first indigenous American graphic design mannerisms” (Heller 32).
As a leading Japanese designer, Yokoo was infatuated with psychedelic design.
The vibrant and contrasting colors, free forms, extreme stylization, repetition of
symbols and motifs, and interesting use of typography drew Yokoo in. He took
these traits and introduced Japan to his own kind of psychedelic style. Ironically, he
ended up influencing postmodern America with his “blends of controlled anarchy,
brilliant palette, neo-surrealist compositions, and graphic wit” (32). By the 1970s,
the psychedelic style started to fade out of the scene, but Yokoo’s distinctive and
unique personal style and traits continued to stay.
PSYCHEDELIA
“
”
The vibrant and contrasting
colors, free forms, extreme
stylization, repetition of
symbols and motifs, and
interesting use of typography
drew Yokoo in.
18 Clash of Reality & Ideals: The World Tadanori Yokoo
29. Figure 8: “The Trip”, 1968 Figure 9 & 10 (Top left and bottom): “The Exhibition
of Art by Henry Miller”, 1968
Figure 11 (Top Right): “The
Dream Merchant Faeries”, 1968
32. I
n 1968, Tadanori Yokoo submitted his art work, poster “Word and Image”
for the first time internationally to the MOMA exhibition in New York. It was
there where he succeeded over his three role models – Milton Glaser, Peter
Max, and Tomi Ungerer. Yokoo won because he was able to explain rationally
about his design. He believed that people should have an understanding
of both the old Japanese way of thinking and the modern, rational way of thinking
to be successful.
Tadanori Yokoo enjoyed traveling because it enlightened him and drew much
inspiration. As he traveled across the United States and Europe, he made encounters
with musicians asking him to design their posters and album covers. Some notable
bands include: The Beatles, Emerson, Lake and Palmer, Carlos Santana, Earth Wind
andFire,andCatStevens.HewasclosefriendswithJohnLennon,aswellasYokoOno,
and Carlos Santana. He created posters reflecting the time, culture, and their music.
22 Clash of Reality & Ideals: The World Tadanori Yokoo
INTERNATIONAL RECOGNITION
“
”
Yokoo won because he was
able to explain rationally
about his design.
33. Chapter 3: International and Beyond 23
Figure 12:
“The Beatles”, 1972
Figure 13:
“Emerson, Lake & Palmer”, 1972
Figure 14:
“Earth, Wind & Fire”, 1976
34. Figure 15:
“Santana Lotus”, 1974
Yokoo’s design cover, “Santana Lotus”, for Carlos Santana
received multiple awards at the 6th Brno Biennal in 1974
Close-up images are examples of themes he was clearly
mystified by: Buddhism, UFOs, science fiction, religion, etc.
24 Clash of Reality & Ideals: The World Tadanori Yokoo
35. By the 1980s, we see a strong transition in his art from hard, thick cartoon lines
to a softer, more expressionist, type of design. He gained interest in the fine arts
and began to paint. Yokoo believed he could discover new potential in painting.
He stripped away the graphic design’s postmodern sense of abstraction and simplicity,
and to focus in the details. His paintings are soft and warm, autobiographical,
and mystical. They also incorporate influences from spiritualism, psychedelic posters,
science fiction, Japanese aesthetics, and comic art.
In the 1990s, Tadanori Yokoo, keeping up with technology, started using the
computer to create and recreate his works. He redesigned some of his posters digitally
and played with the arrangement of their parts. However, he believed that the use
of the computer brings about more problems. He felt that creativity may be limited,
due to the ease of automatically designing and deleting mistakes. It takes away the
thrill and experience from actually creating art from hand.
Tadanori Yokoo was nostalgic of his youthful past, which was very evident
in his paintings. Yokoo “shows visible regret for lost innocence” and his work
“perfectlymirrorshisgeneration–oneforwhomhistoryisclearlycutintwo:prewarand
postwar” (Richie 108). However, Yokoo was so successful and renowned that
government officials and academics admire him. Many of his art pieces adorn
everyday objects in Japan such as cosmetics and food containers. Although he is
retired now, his work still reigns and his ideals and philosophy remain strong.
Tadanori Yokoo remains a young child at heart.
AND BEYOND
Chapter 3: International and Beyond 25
38. BIBLIOGRAPHY
Arntson, Amy E. Graphic Design Basics. Australia: Thomson/Wadsworth, 2007. Print.
Heller, Steven, and Mirko Ili. The Anatomy of Design: Uncovering the Influences and
Inspirations in Modern Graphic Design. Gloucester, Mass.: Rockport, 2007. Print.
Meggs, Philip B. A History of Graphic Design. New York: John Wiley & Sons, 1998.
Print.
Richie, Donald. Japanese Portraits: Pictures of Different People. North Clarendon, Ver-
mont: Tuttle, 2006. Print.
Saiki, Maggie Kinser. 12 Japanese Masters. New York: Graphis, 2002. Print.
Yokoo, Tadanori. Tadanori Yokoo. Woodbury, N.Y.: Barron’s, 1977. Print.
Special Thanks:
SFPL Main Library
Thanks for providing me with such useful and interesting information on Tadanori Yokoo.
Professor Steve Jones
Thanks for providing helpful feedback in the creation of this book. I learned a lot about
layouting, the grid system, and had fun desiging.
Tadanori Yokoo
Thanks for your contribution to the graphic design world. Your work is incredibly inspiring
and captiviating. Researching and absorbing your style and designs has enabled me to branch out of my
personal design aesthetics and try something new. My style has always been simplistic and modest, while
yours is eclectic, bold, and daring. I found it refreshing to see the world throughyour eyes and trying
out new designs I would never have done before. Designing this book was an amazing experience and I
learned a lot.