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out of wood and mostly used as residences for coal miners in rural Japan, although a few were commissioned as private urban homes by clients and friends of
Maekawa. None of the PREMOS houses survive today. The houses were supported by L-shaped walls located at the corners of the home, had no columns, and used a collection of floor, ceiling, and partition panels that were all manufactured in the factory before being sent to the building site, where they could be fully constructed within a week. Though PREMOS never reached widespread success owing largely to the actual expenses of the construction and the decline of coal mining in the late 1960s (an industry that had peaked during the U.S. occupation due to the operating needs of national industries, particularly steel), the modernist principles demonstrated in the project—combined dining and kitchen spaces, the Western-style living room, the flat-roofed structure, and the mass-production methods—emblematized the flux of the postwar years and allowed Maekawa to test out ideas borrowed from his time working with European architects within a Japanese context.
492:("cast-in-place") tiles, which were set within wooden frames through which concrete was poured in, became a signature feature of late-career projects. The tiles provide structural support and textural dimension, while creating exteriors that are more resistant to deterioration. During his later years, Maekawa cited an increasing affinity towards William Morris' thinkings on material integrity and the value of aesthetically compelling functional goods, and his experimentation with different tiled facades and floors illustrates his keen engagement with the aesthetic dimensions of contemporary industrial production.
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420:(1958), both also located within Ueno Park. The three complexes are connected by an extended terrace, and the reinforced concrete and formalist cues echo Le Corbusier's structure without fully replicating its visual cues. The National Museum of Western Art is Le Corbusier's only building in East Asia, featuring an austere concrete facade consisting of a rhythmically organized rectangular panels that become compressed as the eye moves upward, adding to the illusion of height that is further pronounced by the pilotis in the interior and exterior of the building.
522:
753:
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427:, while the wooden acoustic panels of the 2,300-seat main auditorium feature organic, cloud-like forms, counterbalancing the heft and linearity of the concrete details. The smaller Recital Hall, which seats 649 individuals and is used for chamber music performances and smaller recitals, has a sound-reflecting panel that resembles a folding screen hung vertically, as well as sound-diffusing concrete niches that similarly call to mind paper cutouts and folds. Both interior elements were designed by sculptor
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maintained a consistently apolitical stance throughout the course of his career, in contrast to both his mentor Le
Corbusier and other contemporaries in Japan—a decision that was surely driven by personal choice, but as Jonathan Reynolds suggests, also allowed him to remain in the good graces of the academy, authorities and other stakeholders who continued to provide him with large-scale commissions that played a central role in the transformation of urban landscapes in postwar Japan.
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236:. Though architecture departments were established at Waseda University and Kyoto Imperial University in the same year, the Tokyo Imperial University program remained the eminent and most influential environment for architectural study in Japan at the time. While the majority of his classmates were interested in the German Bauhaus during this period, Maekawa was drawn towards French artistic and architectural precedents, leading him to the work of Swiss-French architect
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367:) was used in the entryway and staircase. Through the combination of vernacular materials and new design strategies borrowed from his European mentors, Maekawa began to concretize his neo-traditionalist approach to architecture, negotiating the needs of a modern society ravaged by war, imperial order, and American occupation while probing new ways of refashioning national identity through vernacular tropes and regionalist details.
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provides a visual contrast against the bold concrete exterior exterior of the main building and illustrates the architect's aesthetic developments over the course of his postwar career. During the later years of his career, Maekawa began to shift away from relying primarily on exposed concrete as the postwar decades had begun to reveal the vulnerabilities of the material to weathering and discoloration. He pioneered the use of
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Japanese state. Maekawa himself had, at times, been regarded as unpatriotic during the wartime years owing to his interest in Le
Corbusier's non-historicist, proto-Brutalist concrete designs. No longer needing to modify their styles to meet the particular, limiting demands of the state in the post-war, however, Maekawa and his modernist colleagues found greater success with both private and public commissions.
561:, argued that the modernist building would disrupt the skyline and pollute the aesthetics of the Imperial Palace, its looming presence a sign of disrespect to the Imperial family situated in its shadow. Those in favor insisted that aesthetics should not be subject to government regulation, and that such attempts to mandate the visage of the city were antiquated.
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still largely remained in states of ruin and disarray, dominated by the presence of black markets. At the time of its completion, the front area was still obscured by impoverish barracks and slums, and the entrance could only be accessed through a narrow path leading to the door. The glass facade filled the flat-roofed building with natural light, while
Japanese
569:) and effected little noticeable change in the appearance of the building and its relation to the palace. Nevertheless, the building and the ensuing debate transformed the discourse surrounding urbanization, economic growth, and aesthetics in the Japanese city, setting the stage for the dozens of skyscrapers that would be constructed in the decades to follow.
408:, was commissioned in commemoration of the 500th anniversary of the establishment of the Tokyo Metropolitan Government in 1956. The building contains a main concert hall, used for ballet, opera, and other large concerts, a smaller recital hall, rehearsal rooms and a music library. The 21,000-square foot complex was designed in conjunction with
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flat on all sides, with modular windows across the entirety of the facade, making the process of removing floors a relatively simple revision. This rendered the debate around aesthetics somewhat moot, as the change in height essentially served as a symbolic gesture (creating a 100 meter limit that would later be surpassed by many buildings in
509:. Maekawa was commissioned for the project, which was slated to have 30 floors and stand 127 meters high. Though the scale seems insignificant today considering Tokyo's high-rise laden skyline, buildings in the surrounding area at the time were limited to a height of just 31 meters due to the requirements of the prewar "aesthetic district" (
294:, for five years. In 1935, Maekawa established his own office, Mayekawa Kunio Associates, and began to enter a number of architectural competitions sponsored by the imperial state. The firm served as a training ground for many Japanese architects who found success in the decades after the war, including
548:
Though the Tokyo
Metropolitan Construction Review Board tried to shut down Tokio Marine's proposal and revive the aesthetic district designation in order to protect the area, lack of consensus among the municipal assembly prevented the plan from materializing, allowing Tokio Marine to move forward to
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Many of
Maekawa's projects from the 1960s onward feature extensive use of glazed tiles on facades and flooring, as seen in examples such as the Saitama Hall, the Saitama Prefectural Museum of History and Folklore, and in the annex of the National Diet Library, where the distinctive blue tile cladding
336:
Owing to the limited resources available during the war, particularly steel, most of
Maekawa's projects between 1937 and 1950 were constructed in wood. Within these restricted circumstances, Maekawa sought to innovate traditional building methods using modernist designs, as can be readily observed in
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movement, Maekawa displayed a reticence towards the megastructures and biomorphic forms that approached the rapid growth of technological modernity with exuberance, and expressed concerns over the capacity of machines to undermine human skill and artistry in architectural labor. At the same time, he
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Bookstore, embodied the spirit of urban renewal and cultural revival amidst the ravaged landscape of war. The two-story wood frame building featured a glass-clad facade facing the street, creating a stark visual and symbolic distinction between the bookshop and its surroundings, the latter of which
345:
of architecture that had dictated much of the public construction during the early twentieth century across the
Japanese empire. As a result, Maekawa and his fellow architects were primed to lean more liberally into their modernist impulses, which were no longer regarded as political threats to the
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was a client of
Maekawa's during the war) and architectural engineer Kaoru Ono to create a production line of prefabricated housing, a project that was dubbed Prefabrication Maekawa Ono San-in Kōgyō, or PREMOS for short. PREMOS produced approximately 1,000 units, which were made almost exclusively
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In the wake of the widespread firebombing of cities across Japan, many
Japanese citizens were forced to construct makeshift shelters and barracks out of found materials. Within this context of postwar destruction, Maekawa capitalized on his interest in low-cost, prefabricated housing that had been
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After a year of discussion, the Construction Review Board and Tokio Marine settled on a compromise: the building would be shrunk to a height of 99.7 meters and 25 stories. No significant changes to the appearance of the building were made, as Maekawa's design consisted of two rectangular volumes,
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As industrialization and economic growth progressed rapidly and urban centers swelled in size throughout the 1960s, the Tokyo skyline became increasingly punctuated by high-rise skyscrapers that signified the onset of a new postwar era. In 1965, the Tokio Marine & Nichido Fire Insurance Co.
173:. His postwar prefab housing projects borrowed from manufacturing strategies in the automotive industry to create houses that privileged light, ventilation, and openness against the feudal hierarchical principles perpetuated by the interior divisions found in traditional Japanese homes.
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throughout his career. Firmly insistent that both civic and vernacular architecture should be rendered through a modernist lens appropriate to the contemporary lifestyle of the Japanese people, Maekawa's early work and competition entries consistently pushed back against the dominant
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inside the house to create a two-story space, while integrating traditional grid formations in the deeply recessed windows, Maekawa deftly combined values borrowed from his European mentors with the vernacular building traditions of Japan. The original house, which was located in
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The careful balance between traditional and modern design principles in Maekawa's early work is best illustrated by his own home, designed in 1942. The Maekawa House, constructed in wood, has been described as a critical node in his aesthetic development. By bringing
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system was suspended after its purposes were deemed unnecessary with the onset of the Building Standards Act (municipalities could later pursue this designation provided they establish a separate ordinance specific to their area).
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and architect Alfred Roth. He participated in projects including the unbuilt Cité Mondiale (Mundaneum) center—an expansion upon the League of Nations headquarters in Geneva and a utopian vision conceptualized to hold
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Building Workshop and Mitsubishi Jisho Sekkei, slated to be completed in 2028. The building's fate falls in line with a trend befalling numerous other Tokyo skyscrapers built in the same era, such as the
423:
Tokyo Bunka Kaikan features a wide-set cornice supported by square pilotis, which continue into the interior of the large entrance hall. The upturned eaves are reminiscent of Le Corbusier's
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running up the length of the structure, which emphasized the verticality of the building and suppressed the windows to provide an illusion of greater height. This facade, along with the
164:, Maekawa began to articulate his own architectural language after establishing his own firm in 1935, maintaining a continuous tension between Japanese traditional design and European
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448:
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debates in 1970s Tokyo surrounding urban beautification and building height regulation. Many noted modernist architects began their careers in Maekawa's office, including
553:) as politicians, architects, and planners engaged in heated discourse over the symbolic and visual stakes of the proposed building. Dissenters, such as Tokyo Governor
572:
In 2021, Tokio Marine & Nichido Fire Insurance Co. announced that Maekawa's building would be demolished and replaced with an even taller structure designed by
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in Japan. Maekawa came from a privileged background, and possessed samurai heritage on both sides of the family; his paternal grandfather was a retainer of the
256:, a diplomat stationed in Paris with the Japanese delegation to the League of Nations. While in Paris, Maekawa primarily worked under Le Corbusier's brother
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431:. The forms of the two halls extend above the level of the roof, creating dynamic hexagonal and triangular prisms that enliven the rectilinear structure.
439:
Maekawa took on a series of large-scale civic, cultural, and corporate projects during the latter half of his career, including the main building of the
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1209:[A Review of the Disputes about what the scenery of Marunouchi Area should be concerning the construction plan of the Tokyo Kaijo Building].
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with the project. The widely publicized back-and-forth surrounding the construction created what was termed the "aesthetics debate" (
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and Takamasa Yoshizaka, both of whom had also apprenticed under Le Corbusier. The building works in harmony with Le Corbusier's
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His home (and one-time office), which he designed and completed in 1942, has been preserved and permanently installed in the
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brewing since his time in Le Corbusier's office. While Le Corbusier's concepts for affordable housing, such as the
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443:(1968) (the annex, also designed by Maekawa Kunio Associates, was completed in 1986), the Steel Pavilion at
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380:, failed to gain traction due to the high costs of actually producing them, Maekawa was inspired by the
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advocated by Le Corbusier and the modernist visions for urban living and mass production he proposed.
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184:, as well as the Tokyo Kaijo Building, a 25-story tall skyscraper that became the flashpoint for the
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Double-height living room area featuring furnishings and lighting designed by Maekawa
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and a key figure in Japanese postwar modernism. After early stints in the studios of
71:
513:) designation and the Building Standards Act enacted in 1950. In 1948, however, the
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1328:
Kumagai, Takaaki. “Maekawa Kunio: Prefabrication and Wooden Modernism 1945-1951.”
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1967 Decorated with Suomen Leijonen Ritarikunnan l Luokan Komentajamerk (Finland)
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announced that they would be constructing a new headquarters in proximity to the
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Berkeley and Los Angeles, California: University of California Press, 2001.
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1090:"Tokyo Metropolitan Festival Hall (Tokyo Bunka Kaikan) / Kunio Maekawa"
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1953, '55, '56, '61, '62, '66 Prize of Architectural Institute of Japan
627:
221:
387:
Maekawa collaborated with aircraft factory San-in Kōgyō (whose owner,
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Contemporary Japanese architecture : tracing the next generation
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After graduating in 1928, he travelled to France to apprentice with
1323:
Maekawa Kunio and the Emergence of Japanese Modernist Architecture.
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in 1918, and in 1925 enrolled in the Department of Architecture at
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852:
Maekawa Kunio and the Emergence of Japanese Modernist Architecture
677:
525:
View of tiles on the exterior of the Tokio Marine Nichido Building
520:
341:. The end of the war also brought a close to the dominance of the
305:
1177:"材料からみた近代日本建築史 その12 戦後建築に見るタイル -巨匠たちのタイル作法-｜積算資料アーカイブ｜けんせつPlaza"
416:(1959), which the three architects had also worked on, and the
1044:"Maekawa Kunio: Prefabrication and Wooden Modernism 1945-1951"
286:
In 1930 he returned to Japan and worked under Czech architect
496:
Tokio Marine Nichido Building (Tokyo Kaijo Building) and the
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Tokio Marine & Nichido Fire Insurance Head Office (1974)
734:
Kanagawa Prefectural Library and Music Hall, Yokohama (1954)
371:
Prefabrication Maekawa Ono San-in Kōgyō (PREMOS) (1946-51)
984:"A Paris, l'Asile Flottant de le Corbusier nec mergitur"
796:
1959 Decorated with Riddare av Kungl. Vasaorden (Sweden)
337:
his first post-war project, the Kinokuniya Bookstore in
244:
Career beginnings under Le Corbusier and Antonin Raymond
1342:
Journal of Asian Architecture and Building Engineering
1151:. Process: architecture. Tokyo: Process Architecture.
1149:
Kunio Maekawa: sources of modern Japanese architecture
1002:"Modernism and the Roots of Contemporary Architecture"
363:(a material famously featured in Frank Lloyd Wright's
224:, while his maternal relatives were retainers of the
808:
1968 Grand Prize of Architectural Institute of Japan
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His first major project in the post-war period, the
615:1955 The International House of Japan, Tokyo (with
269:'s Universal Decimal Classification Collection—the
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109:
97:
87:
79:
60:
45:
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608:1954 Kanagawa Prefectural Library and Music Hall,
449:Saitama Prefectural Museum of History and Folklore
696:1976 Kumamoto Prefecture Museum of Art, Kumamoto
176:He is particularly known for his designs of the
1338:"Development of the Esplanade by Kunio Maekawa"
142:
746:The International House of Japan, Tokyo (1955)
466:In contrast to his younger colleagues such as
404:(Tokyo Metropolitan Festival Hall) located in
136:
711:1979 National Museum Western Art Annex, Tôkyô
705:1978 Yamanashi Prefecture Museum of Art, Kôfu
260:, along with furniture and interior designer
8:
1336:Tsukano, Michiya; Sendai, Shoichiro (2018).
758:Fukushima Education Center, Fukushima (1956)
721:1982 Kumamoto Prefectural Theater, Kumamoto
324:, has been dismantled and relocated to the
1252:"東京海上日動ビル本館が解体、レンゾ・ピアノ氏設計の「新・本店ビル」は28年度竣工"
31:
20:
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121:The National Museum of Modern Art, Tokyo
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684:Tokio Marine and Nichido Fire Insurance
453:Tokio Marine and Nichido Fire Insurance
326:Edo-Tokyo Open Air Architectural Museum
201:Edo-Tokyo Open Air Architectural Museum
39:Edo-Tokyo Open Air Architectural Museum
882:"How Le Corbusier Became Big in Japan"
1200:
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645:1959 Setagaya Community Centre, Tokyo
537:tiles that clad the building, nod to
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182:National Museum of Modern Art, Tokyo
1147:Adachi, M.; Goto, S., eds. (1984).
590:1932 Kimura Industrial Laboratory,
1398:Recipients of the Legion of Honour
1250:日経クロステック（xTECH） (7 October 2021).
854:. University of California Press.
216:Kunio Maekawa was born in 1905 in
14:
954:. London: Routledge. p. 85.
701:Museum of East Asian Art, Cologne
626:1955 Okayama Prefectural Office,
400:One of his best-known works, the
1279:"雨のみちデザイン｜驟雨異論｜丸の内の悲喜劇：超高層建築の本性"
1116:"1960年代の言説を中心にみる「技術」と「人間精神」について"
817:1978 Decorated with Officier de
775:
763:
751:
739:
727:
708:1979 Fukuoka Art Museum, Fukuoka
435:Late career projects (1960s-80s)
1006:Kateigaho International Edition
814:1974 Prize of Japan Art Academy
1088:Team, ArchEyes (25 May 2020).
880:Saval, Nikil (8 August 2018).
470:and those associated with the
414:National Museum of Western Art
332:Post-war projects (1945-1960s)
1:
802:1963 UIA Auguste Perret Award
691:Tokyo Metropolitan Art Museum
529:Maekawa's design made use of
457:Tokyo Metropolitan Art Museum
252:through the aid of his uncle
228:. He entered the prestigious
147:, 14 May 1905 – 26 June 1986)
1307:. The Miyagi Museum of Arts.
669:1966 Saitama Cultural Centre
605:1952 Nippon Sogo Bank, Tokyo
1211:Utsunomiya Kyowa University
1175:大川, 三雄 (18 December 2019).
1000:Fujimori, Terunobu (2008).
850:Reynolds, Jonathan (2001).
350:Kinokuniya Bookstore (1947)
143:
1424:
1408:University of Tokyo alumni
1393:People from Niigata (city)
819:l'ordre National du Merite
1332:22, no. 22 (2018): 36–45.
1277:布野, 修司 (20 August 2021).
1042:Takaaki, Kumagai (2018).
664:Hayashibara Museum of Art
396:Tokyo Bunka Kaikan (1961)
234:Tokyo Imperial University
230:First Tokyo Middle School
137:
125:
113:Mayekawa Kumio Associates
105:
92:Tokyo Imperial University
30:
1114:沙矢香, 中尾; 智成, 河田 (2014).
716:The Miyagi Museum of Art
642:1959 Harumi flats, Tokyo
212:Early life and education
1403:Kunio Maekawa buildings
811:1972 Mainichi Art Prize
1321:Reynolds, Jonathan M.
1181:www.kensetsu-plaza.com
948:Steele, James (2017).
914:木内, 昇 (26 July 2015).
526:
483:(cast-in-place) tiling
311:
298:and Toshihiko Kimura.
64:26 June 1986 (aged 81)
916:"浜口ミホ 家族に寄り添う、住空間を創造"
672:1970 Steel Pavilion,
599:1938 Dairen Town Hall
524:
441:National Diet Library
309:
37:Maekawa House in the
1388:Modernist architects
1355:10.3130/jaabe.17.213
1283:雨のみちデザイン｜タニタハウジングウェア
1133:10.3130/aija.79.1441
1066:Matsukuma, Hiroshi.
770:Setagaya Ward Office
461:Miyagi Museum of Art
343:Imperial Crown Style
302:Maekawa House (1942)
171:Imperial Crown Style
1383:Japanese architects
1068:"東京文化会館に託した前川國男の願い"
1012:(3). Archived from
557:and Prime Minister
543:Wainwright Building
277:Madeleine Zillhardt
1229:ud.t.u-tokyo.ac.jp
1126:(700): 1441–1447.
1072:Tokyo Bunka Kaikan
1016:on 10 August 2009.
886:The New York Times
657:Tokyo Bunka Kaikan
602:1942 Maekawa House
596:1936 Hinamoto Hall
579:World Trade Center
527:
425:Notre-Dame du Haut
402:Tokyo Bunka Kaikan
312:
292:Frank Lloyd Wright
281:The Salvation Army
262:Charlotte Perriand
218:Niigata Prefecture
178:Tokyo Bunka Kaikan
16:Japanese architect
1305:"Floor Guide Map"
1207:"東京海上ビルと美観論争について"
1158:978-4-89331-043-9
961:978-1-138-94124-3
788:Honors and awards
585:Selected projects
455:Building (1974),
418:Japan Art Academy
389:Yoshisuke Ayukawa
275:barge project by
207:Career beginnings
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986:. 23 March 2020.
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799:1962 Asahi Prize
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592:Hirosaki, Aomori
459:(1975), and the
272:Louise-Catherine
258:Pierre Jeanneret
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53:Niigata, Niigata
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1316:Further reading
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1256:日経クロステック（xTECH）
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1205:山島, 哲夫 (2010).
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686:Building, Tokyo
632:1956 Fukushima
621:Junzo Yoshimura
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555:Ryokichi Minobe
531:colossal orders
507:Imperial Palace
502:
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429:Masayuki Nagare
398:
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290:, a student of
288:Antonin Raymond
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162:Antonin Raymond
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88:Alma mater
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1348:(2): 213–219.
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1330:Dearquitectura
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1242:
1225:"美観地区の歴史（その１）"
1216:
1213:(in Japanese).
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1074:(in Japanese).
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436:
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410:Junzo Sakakura
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861:9780520921412
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500:debate (1974)
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378:Dom-Ino House
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144:Maekawa Kunio
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132:Kunio Maekawa
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72:Minato, Tokyo
69:
63:
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44:
40:
34:
29:
25:Kunio Maekawa
22:
19:
1345:
1341:
1329:
1322:
1299:
1287:. Retrieved
1282:
1272:
1260:. Retrieved
1255:
1245:
1233:. Retrieved
1228:
1219:
1210:
1185:. Retrieved
1180:
1148:
1142:
1123:
1120:日本建築学会計画系論文集
1119:
1109:
1097:. Retrieved
1093:
1071:
1050:(22): 36–45.
1047:
1014:the original
1009:
1005:
978:
950:
924:. Retrieved
919:
909:
897:. Retrieved
885:
851:
650:Kyoto Kaikan
571:
563:
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489:
486:
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374:
353:
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313:
285:
270:
254:Naotake Sato
250:Le Corbusier
247:
238:Le Corbusier
226:Tsugaru clan
215:
198:
185:
175:
158:Le Corbusier
131:
130:
18:
1378:1986 deaths
1373:1905 births
574:Renzo Piano
559:Eisaku Sato
551:bikan ronso
515:bikan chiku
511:bikan chiku
498:bikan ronso
468:Kenzō Tange
296:Kenzō Tange
190:Kenzō Tange
186:bikan ronso
80:Nationality
49:14 May 1905
1367:Categories
826:References
612:, Kanagawa
567:Marunouchi
535:terracotta
490:"uchikomi"
472:Metabolism
356:Kinokuniya
283:in Paris.
267:Paul Otlet
98:Occupation
970:956633931
894:0362-4331
666:, Okayama
638:Fukushima
634:Education
406:Ueno Park
382:free plan
361:Ōya stone
322:Kamiōsaki
166:modernism
154:architect
118:Buildings
101:Architect
68:Toranomon
1289:2 August
1262:2 August
1235:1 August
1094:ArchEyes
926:7 August
821:(France)
718:, Sendai
674:Expo '70
636:Center,
610:Yokohama
481:uchikomi
463:(1981).
451:(1971),
447:(1970),
445:Expo '70
339:Shinjuku
180:and the
151:Japanese
110:Practice
83:Japanese
1187:11 July
899:26 June
693:, Tokyo
652:, Kyoto
628:Okayama
479:Use of
222:Ii clan
74:, Japan
55:, Japan
1155:
1099:1 July
968:
958:
920:日本経済新聞
892:
858:
317:piloti
279:, and
149:was a
1048:Dearq
714:1981
699:1977
689:1975
682:1974
678:Osaka
662:1964
655:1961
648:1960
138:前川 國男
1291:2023
1264:2023
1237:2023
1189:2023
1153:ISBN
1101:2022
966:OCLC
956:ISBN
928:2023
901:2022
890:ISSN
856:ISBN
619:and
192:and
160:and
61:Died
46:Born
1350:doi
1128:doi
541:'s
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