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DESIGN PROCESS OF JAPANESE PAVILION IN VENICE BIENNALE (1956) BY

TAKAMASA YOSHIZAKA Reconstruction of formal manipulations through
morphological analysis on design sketches and dra...

Article in Journal of Architecture and Planning (Transactions of AIJ) · September 2022

DOI: 10.3130/aija.87.1786

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 日本建築学会計画系論文集 第87巻 第799号, 1786-1797，2022年9月
【カテゴリーⅠ】 J. Archit. Plann., AIJ, Vol. 87, No. 799, 1786-1797, Sep., 2022
DOI https://doi.org/10.3130/aija.87.1786

吉阪隆正のヴェニス・ビエンナーレ日本館の設計過程
国立近現代建築資料館所蔵の設計スケッチ・図面の分析を通じた形態操作の再構成
ĨΆΎɋ<—Zxi˜~[–w™”ȆȠΨ<̢̥ͧʲ
DESIGN PROCESS OF JAPANESE PAVILION IN VENICE BIENNALE (1956)
Łʻ͜ʂµƤˋ̈́ǿΨǍ̊<̢̥icqp˜ĿΞ<ìȨU͡(.ƪLJDzÆ<æȿlj
DESIGN PROCESS OFBY TAKAMASA
JAPANESE YOSHIZAKA
PAVILION IN VENICE BIENNALE (1956)
Reconstruction of formal manipulations through morphological
BY TAKAMASA YOSHIZAKAanalysis on design sketches and drawings
possessed
Reconstruction of formal by National
manipulations Archives
through of Modernanalysis
morphological Architecture, Tokyo
on design sketches and drawings
possessed by National Archives of Modern Architecture, Tokyo

富 岡 義 人＊1，田端 千夏子＊2，男 鹿 智 哉＊3

Yoshito
źƊ ˰®ζ1θʇʾ
TOMIOKA, ChikakoċŘũ ζ2
TABATA and Tomoya
θʊΰ 3
ȓĴζOJIKA
Yoshito TOMIOKA, Chikako TABATA and Tomoya OJIKA
































This paper is to reconstruct design process of Japanese pavilion in Venice biennale, Italy (1956) designed by Takamasa YOSHIZAKA
with his laboratory and reveal architect's formal manipulations conducted under strategic design thinking. Study materials were
original design drawings possessed by National Archives of Modern Architecture, Tokyo. The discussion goes as following:
1. Chronological order of the design drawings was established by date inscriptions and formal similarities.
2. Transformability (formal variation or changes) in each "study" (subdivided partial process in design) was analyzed and interpreted.
3. Architect's formal manipulations were reconstructed and charted, and relevant design intentions were concluded.































Keywords : Design Method, Synthesis of Form, Tree Conservation, Discontinuous Unity, Jyuichi OTAKE, Atelier U
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＊1
三重大学大学院工学研究科建築学専攻 教授・博士（工学） Prof., Div. Archi., Graduate School of Eng., Mie Univ., Dr.Eng.
ζ1＊œͶśŬśŬΉƎŬʧʷʮƤˋŬžǵǸǣ˜ĐŕδƎŬε
2 Prof., Div. Archi., Graduate School of Eng., Mie Univ., Dr. Eng.
三重大学大学院工学研究科建築学専攻 准教授・博士（工学） Assoc. Prof., Div. Archi., Graduate School of Eng., Mie Univ., Dr.Eng.
＊3
三重大学大学院工学研究科建築学専攻博士前期課程 学生・学士（工学）
ζ2 œͶśŬśŬΉƎŬʧʷʮƤˋŬžǵéǸǣ˜ĐŕδƎŬε Graduate
Assoc. Student,
Prof., Div. Archi.,
Div. Archi., Graduate
Graduate School
School of Eng.,
of Eng., MieMie Univ.,
Univ., Dr.B.Eng.
Eng.
ζ3 œͶśŬśŬΉƎŬʧʷʮƤˋŬžǵĐŕùȝ̳ʲŬʅ˜ŬŕδƎŬε
Graduate Student, Div. Archi., Graduate School of Eng., Mie Univ., B. Eng.

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ಶࠎࡢࢫࢣࢵࢳ Individual Sketch
įʣ&
ࢫࢱࢹ࢕ Study
㏲ḟⓗኚᙧ㐣⛬ Sequential Formal Change
᫬㛫⤒㐣 Time
Fig. 2 Typical behavior of transformability along design process




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— 1787 —
 Column A Col. B Column C Column D
஦ᴗ⤒㐣 ㈨ᩱ␒ྕ࣭ཧ↷␒ྕࠉArchive Number / Reference Number
ᖺ ᭶ ᪥௜㸦᭶᪥㸧ฟ᮶஦
Date (M/D) Event
Project dated (M/D)
᪥௜࠶ࡾࠉࠉ ᪥௜࡞ࡋࠉࠉ undated
Year Month Phase NAMA8-154- NAMA8-155- Supplemental NAMA8-154- NAMA8-155- Supplemental
1954 ࠕࣃࣅࣜ࢜ࣥタ⨨ࡢ௳ࡣጤဨ఍ࢆసࡗ࡚ᑂ㆟ࠖ
>஦ົ᪥ㄅ@”Steering Committee will inaugurate”.
038
ࠕ➨ೃ⿵ᆅࡢタᐃࠖ>஦ົ᪥ㄅ@
”2nd site was specified”.
ࠕྜྷ㜰Ặࢆᅖࡳタィᅗࢆ౫㢗ࠖ>஦ົ᪥ㄅ@ࠉ
”Asked Yoshizaka to prepare drawings”. ௻⏬ᨭ᥼ 002, 055, 051(7/20)
Project
ࠕᘓタᩜᆅࡣ᪂ࡋࡃೃ⿵ᆅࢆᣦ᦬ࡉࢀࡓࠖ Support
>஦ົ᪥ㄅ@”New (3rd) site was specified”. 035ʼ

1955 5 5-27-3, 5-27-2(5/1)

6 ࠕ኱Ụ࣭ྜྷ㜰୧Ặ࡟ᘓタࣉࣛࣥసᡂ᪉ࢆ౫㢗
ࡋࡓࠖ>஦ົ᪥ㄅ@
“We asked Ohe and Yoshizaka for proposals”. 042(6/20) 5-28-2(6/19) 5-27-1
10 ࠕྜྷ㜰Ặ࡟タィࢆ౫㢗ࡍࡿࡇ࡜ࡢྍྰ࡟ࡘ
5-27-6
ࡁࠊᓊ⏣ࠊᇼཱྀࠊᆏ಴ࠊ๓ᕝࠊ㇂ཱྀࠊబ⸨ࠊ኱Ụࠊ
ྜྷ⏣ࡢඵẶࢆᣍࡁពぢࢆ⪺ࡃࡇ࡜ࢆ⏦ࡋྜࢃࡏࡓࠖ
>஦ົ᪥ㄅ@ “Decide to get opinions about
Yoshizaka from established architects”.
ࠕᇼཱྀࠊబ⸨ࠊᆏ಴ࠊ㇂ཱྀࠊྜྷ㜰ࡢㅖẶฟ 052
ᖍࡍࡿࠋྛ⮬ࡔ࠸ࡓ࠸ྜྷ㜰Ặ࡟㈶ᡂࡋࡓࠖ>஦ົ
᪥ㄅ@”Many approved Yoshizaka”.
11 ࠕ୍᫖᪥ࡢ᱌ࡣᛮࢃࡋࡃ࡞࠸Ⅼࡀ࠶ࡾ㐌㛫 022, 020, 021 015(11/19) 5-27-5(11/16) 5-28-3
௨ෆ࡟ูࡢ᱌ࢆタィࡍࡿࡼ࠺౫㢗ࠖ>஦ົ᪥ㄅ@ (11/19)
͆Proposal was rejected and asked next sheme”.
12 ࠕᘓタ‽ഛ఍඲ጤဨ఍࣭࣭ྜྷ㜰Ặࡢ᱌࡟ࡘ࠸
017, 018(12/6)
࡚㆟ㄽࠖ>஦ົ᪥ㄅ@”Discussed on 3 shemes”.
ࠕタィࡣ࠾ࡼࡑᴃ෇ᙧࡢሟࢆࡵࡄࡽࡋ࡚ࡑ ᇶᮏタィ
ࡢ୰࡟ᒎ♧ሙࠊᗞ➼ࢆ༑ศ࡟࡜ࡾࠊษࡾᚓ࡞࠸ Schematic 013, 014, 016
኱ᮌࡣᗊࢆ✺ࡁᢤࡅ࡚ᅖ࠸㎸ࡴ᱌࡟ⴠ╔ࠖ Design (12/20)
>஦ົ᪥ㄅ@”Sheme D (Fig.6) was preferred”.
ྜྷ㜰⩚⏣Ⓨ༡ᅇࡾฟᙇ㐌㛫>ᩥ⊩D  5-27-7(12/28)
S@Yoshizaka departed for Itary for 2 weeks. 5-32-1(12/29) 5-32-2
1956 1 5-32-3, 5-32-4(1/2) 5-32-5
075
ࠕᖐᮅࡢྜྷ㜰Ặ᮶ゼࠖ>஦ົ᪥ㄅ@
“Yoshizaka visited office as he came back”.
002, 006(1/18) 060, 074, 057
037 (1/19 in Italy)
065, 034
041, 047, 050, 076
046, 064, 077, 066 1a-34-5
040, 068, 069, 072 008, 003, 010

2 ࠕ᰿ᮏࡣ⌧ᅾࡢᙧ࡛⾜ࡃࡀ⣽㒊࡟ࡘ࠸࡚ྜྷ
㜰Ặ࡜᠓ㄯ࣭࣭᪥࡟ᘓ⠏ᐙࢆຍ࠼࡚ᑂ㆟ࠖ
>஦ົ᪥ㄅ@”Current scheme has accepted, but
remain uncertain for details”.
ࠕጤဨ఍࣭እົ┬࣭ᘓ⠏ᐙฟᖍࠖ>஦ົ᪥ㄅ@
“Advisory architects discussed about design”. ᐇ᪋タィ 017, 036, 043, 030(2/17)
Working 044, 061(2/17) 049, 073
Design 5-37-2

3 ࡈࢁྜྷ㜰⩚⏣Ⓨ༡ᅇࡾ⌧ᆅᖖ㥔>㏻ಙ@ 029
Yoshizaka departed for Itary for Supervision (3/8 in Japan)
సᴗጞࡵ࣭ᕷᙜᒁ࠿ࡽᕤ஦୰Ṇࡢ㟁ヰ
>┘⌮᪥ㄅ@City office stopped construction.
ࠕࢥࣥࢡ࣮ࣜࢺࡢᗋࡣ࣭࣭ࢭࣥࢳ࡛ࡼ࠸࣭࣭
ࡇࡢᱱࡣࢭࣥࢳࡢᖜ࡛༑ศࡔ࣭࣭ࠖ>㏻ಙ@ 079, 078, 071 009, 005, 007
“...6cm thick is enough for slabs and 20cm width 1a-42-1
for beams...”.
011(3/14) 004
058, 019
╔ᕤ>┘⌮᪥ㄅ@Ground-breaking.
ࠕࢳ࣮ࣗࣈኳ஭ࡢᮦᩱ࡟ࡘ࠸࡚ᡴྜࡍࠖ 059, 056
>┘⌮᪥ㄅ@”Held a meeting about tube-ceiling”.
ࠕኳ஭ࡢࢳ࣮ࣗࣈࡣṆࡵࡓ᪉ࡀࡼ࠸࠿ࠖ
>┘⌮᪥ㄅ@“Is it better to cease the ceiling?”
ࠕ࣏ࣜࢫࢳ࣮ࣟࣝ࡞ࡽ࠺ࡲࡃ࠸ࡃࠖ>┘⌮
᪥ㄅ@”Polystyrene may be good”.
5-38-1(3/28)
ࠕ࣮ࣝࣂ࣮↓⏝ࢆㄆࡴࠖ^┘⌮᪥ㄅ@
”Louvers could be dismissed”. 5-40-1(3/29)

4 ኱➉ࠊ࣮࣐ࣟ╔ >㏻ಙ@Otake arrived.

ࠕ࢞ࣛࢫࣈࣟࢵࢡ◁྿ࡁᐇ㦂ࠊගࡢ㏱㐣≧ἣ
ᕤ஦ᣦ♧ 045(4/9) 048
ࡼࡋ࣭࣭ኳ஭࣮ࣝࣂ࣮⠇⣙ྍ⬟ࠖ>┘⌮᪥ㄅ@
“Sandblast worked good. Good light. Louvers can Design 063
be eliminated”. on Site
016
ࠕኳ஭࢞ࣛࢫࣈࣟࢵࢡಶవࡿࡇ࡜࡟࡞ࡿࠋ 054
ࡑࡢฎ⨨㸽ࠖ>┘⌮᪥ㄅ@ 025
“240 glass brocks will remain. Any use?” 1a-44-1(4/14)

ࠕධཱྀᡬ࠾ࡼࡧࢥࣥࢡ࣮ࣜࢺヲ⣽᳨ウ࡯ࡰ 012(4/23)
Ỵᐃࠖ>┘⌮᪥ㄅ@
”Entrance door and concrete details has done”. 067, 080 ཷ௜ྎ

5 ࠕධཱྀ㊊ࡠࡄ࠸タィᅗࢆΏࡍࠖ>┘⌮᪥ㄅ@ 028(5/2) 033, 032, 031, 029

“Issued grating design”. ࡃࡘࡠࡄ࠸
ࠕୖ㝵Ꮝࡢࡩࡓ㔠ලタィࠖ>┘⌮᪥ㄅ@
“Designing metalworks of flaps on floor hole”. 018, 070(5/7) 027(5/7) ✰ࡢࡩࡓ
001 ▼ᶫグᛕᶆ

6 㛤㤋ᢨ㟢࣮࢞ࢹࣥࣃ࣮ࢸ࢕ >┘⌮᪥ㄅ@
Opening garden party. 062(6/15)

1957 032(ʼ57/3/1) 1b-56-1(3/2) 023, 007 021

 019(ʼ84/5/5) 4-67-1(ʼ84/5) 020
1984 ᩥ⊩ ฟ∧ࡢࡓࡵࡢసᅗ> ᩥ⊩ SS@ 022(ʼ84/5) 2-30-1(ʼ84/5) 023
Preparation of drawings for publication. 024(ʼ84/12/24) 026, 025
031(ʼ84/12)

sketches and drawings

Fig. 3 Design timeline and relevant

— 1788 —
ARCHIVE NUMBER GRAPHIC FEAT. FORMAL FEATURE
DWG.
REFERENCE NUMBER SCALE STAMP SITE PLANNING PLANNING SECTIONAL STRUCTURE DETAILS
154-038 MAP
[Study 1]

ᕠᅇ⤒㊰ Go-around
1/100

㧗ᗋ Raised
ṇ᪉ᙧ Square bldg.

㌺ Eaves
ᩜᆅ Site1
154-002, 055, 051 PLAN, ELEV, SEC
Wandering

㛫 Ken

ᩜᆅ Site2
5-27-3 PERS 3 sites
[Study 2]

ᩜᆅ Site3
5-27-2 PERS

₯ධࡾ Underpass Approach

154-035ʼ LAND TREE SURVEY Scanning building

ࢡࣜ࢔ࢫࢺ࣮ࣜClerestory
5-27-1 PLAN forms and
PERS site arrangements

୍᪉ྥᛶ Mono-direction
5-28-2

ࣦ࢛࣮ࣝࢺ
154-042 MAP, PLAN, PERS

ᶞᮌ㈏㏻ Tree Penetrating

Shell Vault
ᅵᡭ Bank

ሟ Wall enclosure

᱁Ꮚ Frame
5-27-6 SKETCH PLAN

1/200

␗ᙧ㛤ཱྀ⦕ Triagle edge

▼ቨ Stone Wall
5-27-5 SKETCH PLAN

୰ᗞ Court
ⓒே⏫༳Hyakunincho
154-052 SKETCH PLAN
5-28-3 PLAN

ᘏఙᛶ Imaginary extension

154-022, 020, 021, 155-015 PLAN, ELEV, SEC

㢼㌴ᙧቨ Windmill walls

155-017, 018 PLAN, ELEV
1/500

155-013, 014, 016 PLAN, ELEV, SEC

࣏࣮ࢳ Porch
5-27-7 PLAN, PERS

⯒⿦㏻㊰ Pavement
[Study 3]

ᵽཱྀ Gargoyle

୰ኸୗࡾᒇ᰿ Center roof dropped

ศᲷ Separated bldgs
5-32-1 PLAN, PERS
5-32-2 PLAN Integration of

㣕▼ Stone Passage

ࣆࣟࢸ࢕Pilotis
5-32-3 PLAN, PERS (V shape) formal techniques
5-32-4 ELEV, SEC and establishment

(15m sq)
5-32-5 ELEV
of basic form

᭤⥺ቨ Curved wall

1/50

154-075 PLAN

┤⥺ቨ linear wall

እ࿘ᱱኴ Wide beam around

ኚ᩿㠃ᱱ Tapered beam
155-002, 006 SKETCH, PLAN

㢼㌴ᙧ㓄⨨ࡢᴂᙧᰕ Wedge column in windmill

ࢺࢵࣉࣛ࢖ࢺ Toplight
154-060 PLAN

(16m sq)

཯ࡾᒇ᰿ Warped roof

154-074 PLAN
154-057 PLAN
154-037 HEIGHT SURVEY
154-065 PLAN
(Zigzag) ࢔ࣉ࣮ࣟࢳ㝵ẁ Approach stair

Ⓨᩓᛶ Spinning out

1/30

154-034 ROOF PLAN, PERS

154-041 ELEV
154-047 ELEV
154-050 SEC
154-076 SEC
154-046, 064, 077, 066 PLAN, PERS
1a-34-5 PERS
154-040 SKETCH
SKETCH

ᰕෆ❿ᵽ Drain thru column

154-068
155-008 SKETCH

࣮ࣝࣂࣃ࢖ࣉኳ஭ Diffuser ceiling

155-003 PLAN
Ỉᖹᗊ Flat canopy

154-069 PLAN
155-010 SEC, PERS etc.

࢞ࣛࢫࣈࣟࢵク Grass brock

1/20

154-072 CEILING
154-017, 036, 043, 044,
Working Drawings

₃ᩯᙧFunnel
061, 049, 155-030
154-073 FLOOR PATTERN
5-37-2 FLOOR PATTERN
155-029 CEILING,FLOOR
᪩኱༳Waseda

154-079 WALL SEC

155-009 WALL SEC [Study 5] [Study 4]

እ࿘ᱱ⣽ Narrow beam around

154-078 WALL SEC Garden design Wall section
155-005 WALL SEC
154-071 WALL SEC
155-007 MEMORANDOM
ᗊᇶ♏ canopy base

1a-42-1 STRUCTURE
155-004 SITE PLAN
155-011 SITE PLAN
(L shape)

154-058 SITE PLAN

₯ධࡾ Pilotis entry

154-019 SITE PLAN

(Rect.)
ᅵᡭ Bank

154-059 SITE PLAN

V.B.P.G.

154-056 SITE PLAN

5-38-1 SKETCH PERS
5-40-1 SKETCH
(Sickle shaped landing)

154-045 SITE PLAN

㙊ᙧ▼ቨ Sickle curved wall

(Sharp trapezpid)

154-048 SITE PLAN

154-063 SEC
154-016 SITE PLAN
154-054 SITE PLAN
1/25

154-025 SITE PLAN

[Details]
1a-44-1 STRUCTURE
155-012 DETAIL ධཱྀ Entrance
154-067 DETAIL
154-080 DETAIL ཷ௜ྎ Reception desk
154-033 DETAIL
154-032 DETAIL
154-031 DETAIL
154-029 DETAIL ࡃࡘࡠࡄ࠸ Grating
1/10

155-028 DETAIL
154-018 DETAIL
1/5

155-027 DETAIL ࡩࡓ Flaps

154-070 DETAIL
155-001 DETAIL グᛕᶆ Commemorative
1/1

154-062, 023,
COMPLETION dwg
155-021, 032, etc.

Fig. 4 Chronological order of sketches and drawings and transition of formal features

— 1789 —
Łʻ̈́ǿΨ<d”ag–Oǖ"̇04QN9ƿTRQɞ

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— 1790 —
 ε

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154-038 *.-&),.
Fig. 5 Drawings from [Study 1]: wandering 3 different sites
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— 1792 —

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— 1793 —

Fig. 11 Various sketches from [Details]
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[Study 2] SIMULTANEOUS
FORMAL
VARIATION
Square Pavilion Floating : a1
Under Passing Entrance : a2
Go-around Passageway : a3
Imaginary Extension of Wall : b1
Direction toward Garden : b2
Tapered Structural Section : b3
Bank along Site line : b4
Overall Rectangular Closure : c1
Floating Exhibition Room : c2
Trees Enclosed in Composition : c3
Masonry Wall around Site : d1
Strong Division from Outside : d2
Tree Penetration thru Roof : d3
Stone Pavement in Garden : d4
— 1794 —
Å14._‘i•qaUƁ'5Kɡʆ'N6˳ȴ'.K<6
ƿTRQɞ ε

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ɉʖɟ˨ͧʲC6ʱPŗT141.
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e1: Spinning Out Direction e2: Lower Risk to Disturb Roots [Study 3]
V Shape Approach Zigzag Approach
SEQUENTIAL FORMAL CHANGE
Formal Synthesis and Establishment of Basic Form
[Study 5]
L Shape Approach Sickle Shaped
Landing
SEQUENTIAL FORMAL CHANGE
[Details]
[Study 4]
Fig. 12 Transformability observed after [Study 2]
 
F™`†ƒr1Ž{5z0dORu”Ž entity / Takamasa Yoshizaka + Atelier U, pp. 16-83, Maruzen publishing,
ɞ ε 1998 (in Japanese)

ȠÆij<ŮljƲĨΆ=ŸͣˢÄ˟›<ʆ̯UÈŧJQ 
DISCONT ¨ăƄπW“`sau˧: DISCONT Ÿͣˢ˟›ÄιĨΆΎɋ
,<% ðȝ<̶Ǿ
ŸͣˢÄ˟›<ʃ̶9NQΗĽüÆ924 ηU ʧʷŴ, ¤ĺ, pp. 16-83, 1998
19) =ͳƒ̢ʋU¥Σ6'.Ŭʅ 200 ī<ΗĽüÆ<˛ˬ̶5 5) Saito Y ed. and Kitada E, photographer: Takamasa Yosizaka: Japan
Pavilion La Biennale di Venezia, Kenchiku-Shiryo-Kenkyusha, 2017
QÂƅďÀOͣħΗ̇δŇȃ8'ŁŶε9˻QȿljɏΏò<
γ̋ʭũδȿljεćʇ̄əδèʟε: ĨΆΎɋηU ʧʷŴσ—ZypW˜~
üÆp™Š<¢ïų̜ʖǗ̿ĆU¾ǃŏ¬Ǭ9žƳ)Qɾʻ' [–w™”ȆȠΨ, Ƥˋ̈́ǿʧʷʬ, 2017
.d‰Žxc™g–˜b“™‚<̥˭=ȠÆij5˜ά'.ƪ< 6) Yoshizaka T: Project of Japanese Pavilion in Venice, Geijyutu-Shincho,
pp. 200-202, 1956.1 (in Japanese)
ħljU̢̥˛ˬ̶6'4˛Hʻ4ʜ'.K<<N9̙Q)
ĨΆΎɋ: —ZxiȆȠΨ<ȿDŽ, ̃̎Ȃɲ, pp. 200-202, 1956.1
8T0Ýάʖ˟õUǤΊ'ª9ʐͅ8̢̥ȴ<ʅljUʶȽʖ 7) Yoshizaka T: Project for Japanese Pavilion in Venice Biennale, Waseda-
9Î'ʹ˭O˘ͱ9T.QĦȿljɏΏ<Ó<ƪLJʖɼƷUǗ Gaku-Ho (Waseda University News Letter), pp. 16-18, 1956.1
(in Japanese)
ë',ROUħlj˜˟ħ)Q6̢̥ȃɝ6<ɷƼ5Q
ĨΆΎɋ: —Zxi˜~[–w™”ȆȠΨC<ȿDŽ, ȈʴʇŬŏ, pp. 16-18,

K0SVȠÆij<̢̥ͧʲ9"Qƪ<ħlj=ď͑Yn’W9 1956.1
͈.ĨΆďɾ5Ų̍'.K<5Q/$<Æij9"Q͢ 8) Yoshizaka T: Japanese Pavilion in Venice, Geijyutu-Shincho, pp. 69-71,
1956.10 (in Japanese)
ƪʖʅlj6˟ħ=Ɓ8 6KĨΆÓ®<Ų͎ʖ˜ά6'4
Ÿͣ
ĨΆΎɋ: —Zxi<ȆȠΨ, ̃̎Ȃɲ, pp. 69-71, 1956.10
ˢÄ˟›Ⱦƾ<ljʻ?4=ΗĽüÆ<ȃɝ̶<ƈ΂C6 9) Yoshizaka T and Otake J: Japanese Pavilion in Biennale, Venice, Shin-
ͥV5 Ͷ̘8ŠɆ681.ġ˸ǀή6˳ORQ Kenchiku, pp. 52-57, 1956.12 (in Japanese)
ĨΆΎɋ, śʿĊ›: ~[–w™”˜ȆȠΨ, —Zxi, ȂƤˋ, pp. 52-57,


1956.12

y‡ 10) Saito Y et al. ed.: DISCONTINUOUS UNITY - Architecture of

¶Łʻ̈́ǿΨ9Ǎ̊&R4Q~[–w™”ȆȠΨ<̢̥i YOSIZAKA Takamasa + Atelier U), National Archives of Modern
Architecture, Agency for Cultural Affairs, 2015
cqp˜ĿΞ924,<̤ßȆ´N@ƪLJʖɼƷ<ΥĪ΄Í
γ̋ʭũEδ˧ε: H852 Qȃɝ  ĨΆΎɋη ʧʷŴ<Ƥˋ
Ǿ
N@΄ͣ̈́ǿ6<ǼħǀUȻ̣'4,RO<ΟïUȊO9' ĆƚŁʻ͜ʂµƤˋ̈́ǿΨ, 2015
ĦintX5ƈ΂&R.ŗƪ˸ŲË'ɄȞ»ǥ9΄)QĖ' 11) Okada T and Ishikawa T: On Leopoldville Cultural Center Proposed
Plan by Takamasa Yoshizaka, Summaries of Technical Papers of Annual
õΈUa’W)Q.JƗΞ̢ʋ˜ȿ̢͢ʋ˜ȿɝ̢ʋ9΄)Qƪ
Meeting, Architectural Institute of Japan, History and Theory of
LJDzÆʹ˭̢ʋ6Źǧ9΄ͣ'8OɏΏʖ˜NJʎʖ9̍TR4 Architecture, pp. 247-248, 2014 (in Japanese)
.$6UȊO9'.G.ȅưǾʀ5̱Ȋ&R.̢̥<¨Ų΄
Ɗʇ ę ś, ʦ ƌ ǂ Ş: Ĩ Ά Ύ ɋ< ” ] ‡ “v ~ “ Ǿ Ćk – n™ ̢ ʋ ȴ
δ1959ε924, ȆȠƤˋŬ¼ś¼Ŭ̹̎ɰȷȾΗ, Ƥˋɍģ˜DžĈ,
ÍàÄ6'4TJ4ɋʨ8̧̠51.$6U̬˘9Ȼ̧'
pp. 247-248, 2014
$RG5ŸȊʢ/1.Ħʳ͢ƪǔɝ<ʅlj6ōȠƪƥC<ħlj8 12) Aridome M, Ajisaka T and Masudome M: A research on Kaiseigakuenn
7<ƤˋŶ<ƪLJDzÆ<åŷUȊO9'.T+4ȠÆij<̥ Chuoukan designed by Takamasa Yosizaka, Summaries of Technical
Papers of Annual Meeting, Architectural Institute of Japan, History and
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Theory of Architecture, pp. 677-678, 2016 (in Japanese)

țʍα̏, ίňƸ, œʍαˑũ: ĨΆΎɋ̢̥<ɥȌŬŃ£şΨ9΄)Q
ˆ‹
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2016
ʧʷ̈́ǿ<΅̛˜óʆU̦ġ /&Pʧʷ<ÌűUĿ14 /
13) Susa H, Motohashi J, Hirose S, Kimura M and Nakatani N: Takamasa
&1.ǾĆƚŁʻ͜ʂµƤˋ̈́ǿΨ8O@9ĪΨ<Χʇ03Qɀ Yosizaka Architect seen in design process of Gotsu City Hall, Summaries
̽Ğęʃɀʇ́ƋĶɀE<ʗɀ9dž̺ʉ'#G)$RO< of Technical Papers of Annual Meeting, Architectural Institute of Japan,
History and Theory of Architecture, pp. 961-962, 2016 (in Japanese)
icqp˜ĿΞ<ËÖU̮J΀Ƙ9T.PɞDžɨÐà˜ǼʃÆ
̵Ãͪ¦, ȠɅ¯, Ƣɳ˲ŝͰ, ȞȣʟǙ, £̽ʫ¯: ɖɠƒƚ˿<̢̥ͧ
ȼ9ǰTOR.)D4<ʗɀ9ɨǺDž6ƹO<dž̺U½ ʲ9HQƤˋŶĨΆΎɋ, ȆȠƤˋŬ¼ś¼Ŭ̹̎ɰȷȾΗ, Ƥˋɍģ˜Dž
'G)Ƞʧʷ= JSPS ʮŬʧʷ̓ōʚ(C)18K04532 9NQʧʷlj Ĉ, pp. 961-962, 2016
14) Ko S and Taji T: Japanese Architects' Activities in Post-war Taiwan -
ȫ<›ͱ5)
Focusing on Takamasa Yoshizaka's Tunghai University Project,

Summaries of Technical Papers of Annual Meeting, Architectural
;Xj

Institute of Japan, History and Theory of Architecture, pp. 943-944, 2018
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Kenchikugaku-Taikei, Shokoku-sha Publishing, 1959: (1a), Renewed ed.,
Ͳ˵Ø, ʇ͌͂ɣ: NJƲĢɮ9"QȆȠ®ƤˋŶ<ɡĂ - ĨΆΎɋ<Ȧ
1970: (1b) (in Japanese) ɥśŬ̢̥ȴ924, ȆȠƤˋŬ¼ś¼Ŭ̹̎ɰȷȾΗ, Ƥˋɍģ˜DžĈ,
ĨΆΎɋE˧̈: ƤˋŬśː 39
ͻ˄d–a’™u̢̥͢É, ƬŁʬ
pp. 943-944, 2018
1959: (1a), ǴŰœ̕ɺ 1970: (1b) 15) Tomioka Y: A Morphological Analysis on the Design Process of Louis I.
2) Takamasa Yoshizaka & Atelier U: Japanese Pavilion, Biennial of Venice,
Kahn's Kimbell Art Museum: Form and vocabulary in architectural
SPACE DRAWINGS, Modern Architecture in Drawings 9, Dohosha design, Journal of Architecture, Planning and Environmental
publishing, 1984 (in Japanese)
Engineering (Transactions of AIJ), Vol.59, No. 462, pp. 205-213, 1994.8
ĨΆΎɋηU ʧʷŴ —ZypW˜~[–w™”ȆȠΨ, ʌƤˋ̢̥ĿΗ (in Japanese), DOI https://doi.org/10.3130/aija.59.205_2
ο, ĪȜ˿ëɺ, 1984
źƊ˰®: “Yi˜^™–<`–„“ˮ̎Ψ<̢̥ìȨ : Ƥˋ̢̥9"
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4) ARUKITECTO (Higuchi H et al.) ed.: DISCONT discontinued unified

— 1795 —
 Kahn's Phillips Exeter Academy Library, Journal of Architecture, ˁ 20 Ƒ, ˁ 45 ĥ, pp. 767-772, 2014 Q̢̥ͧʲ9̟R48
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https://doi.org/10.3130/aija.60.229 İ<ͩN@Ƥˋ̶̢̥9"QƲ˴9΄)Qʧʷ<ȠͅʖͶ̘ǀ9

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Public Hall by T. Murano–Mori Architect Office: A reconstruction of =̐ΣɇĒ9O(J÷GR.Ēƭ,<GG5PĪ(̐ΣɇĒUó
formal manipulations through morphological analysis of design sketches ʆ'.³<ĿΞ5=ͼ˂5ɋ'ƘĥȘ&R4Q$<$6
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źƊ˰®, ğʇÇɌ, ʇʾċŘũ: ȣͷ˜ȹƤˋ¨ăǍ<ˍũƒá¼Ŏ<̥ ɞ 14) 154-035 <ɄȞʹ˭Ŀ9=5. 26: 59<̤͗PʽƎƲ< 1959
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18) Kohyama H: Formal Structure in Architecture; Henry H. Richardson =,<žǽ681.ĕĿδ1954 Ƙ 8 Ț%SO 1955 Ƙ 6 Ț%SG5
and American Modern Architecture, University of Tokyo Press, 1988 (in 9ɯÙ&R.6˳ORQε<ūņUʪķ'4Qδ$<Ŀ˺ÄÒɋĿ
Japanese) K'R8εȠʵ5=,<ĕĿUǞ'4154-035’<oqgŽ´<
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Ƥˋ, Ȧ­śŬëɺ¼, 1988 ʡƎʜù9»ǥ&R.ͨ͌×<śȞɈ"4Q
19) Yosizaka T, Tonuma K and Suzuki M: An Application of the Theory of ɞ 15) 1984 Ƙ 12 ȚG59ǪR.ĕ̢̥ʽƎȐ<ĿΞ9̤̐&RŁʻ̈́
“Discontinuous Unity” on Mass-Creation (Report of an Experience made ǿΨ<d”ag–9ƩȐ<ĿΞɎū'48åŷ˜ͱÀŚ<5
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of Science and Engineering Research laboratory, No.12, pp. 62-66, ɞ 16) Fig. 5 =˕ƕ<õΈå5Ś <icqp<ʝªɐ͖5QN
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— 1796 —
 DESIGN PROCESS OF JAPANESE PAVILION IN VENICE BIENNALE (1956)
BY TAKAMASA YOSHIZAKA
DESIGNof PROCESS
Reconstruction OF JAPANESE
formal manipulations PAVILION IN
through morphological VENICE
analysis BIENNALE
on design sketches (1956)
and drawings

possessed byBY TAKAMASA

National Archives ofYOSHIZAKA
Modern Architecture, Tokyo
Reconstruction of formal manipulations through morphological analysis on design sketches and drawings
possessed by National Archives of Modern Architecture, Tokyo
Yoshito TOMIOKA*1, Chikako TABATA*2 and Tomoya OJIKA*3

Yoshito TOMIOKA ＊1, Chikako TABATA ＊2 and Tomoya OJIKA ＊3

*1 Professor, Division of Architecture, Graduate School of Engineering, Mie University, Dr. Eng.

*2 Associate professor,＊ Division

1
of Architecture,
Prof., Div. Archi., GraduateGraduate
School School
of Eng.,ofMie
Engineering, Mie University, Dr. Eng.
Univ., Dr.Eng.
＊2
Assoc. Prof., Div. Archi., Graduate School of Eng., Mie Univ., Dr.Eng.
*3 Graduate student, Master
＊3
Course,
Graduate Division
Student, Div.ofArchi.,
Architecture, Graduate
Graduate School ofSchool of Engineering,
Eng., Mie Univ., B.Eng.Mie University, B. Eng.

1. T he purpose of this paper: is to reconstruct the design process of Japanese pavilion of Venice Biennnale (1956) and to reveal

architect’s formal manipulations which must imply his strategic design thinking.
2. Study materials: were the total 114 of original design sketches and drawings and relevant reliable documents prepared among

and just after the design practice by the architect himself and other attendants.
3. Methodology: was focused on the morphological tool used to solve the design tasks. Based on chronological order of sketches and

drawings, evolution and transition of building form were to analyzed and explained.
4. Chronological order of design sketches and drawings: was established by date inscriptions and formal matchings as Fig. 3 and

Fig. 4. Partial problem-solving processes called "study" were identified.

5. Morphological analysis on transformability: was discussed as follows:

[Study 1] Wandering 3 different sites: Fig. 5 shows preliminary considerations to confirm approximately 300m2 building could be

built in each situation. The final site was offered under the condition to preserve all big trees existing in the site.
[Study 2] Scanning building forms and site arrangements: shows effloresce of different forms and arrangements as well as various

formal techniques as shown in Fig. 6.

[Study 3] Integration of formal techniques and establishment of basic form: shows formal integration of wide ranged techniques

developed in the previous study. Here, basic form of <Square pavilion floating over pilotis supported by bearing walls in windmill
arrangement> had been established. After subsequent simplifications in section and structure as shown in Fig. 7, working

drawings includes Fig. 8 were prepared in Japan.

[Study 4] Wall section considerations: were revisited just after Yashizaka's arrival at Venice under close collaboration with Italian

structural engineer. Here, further simplification had achieved as shown in Fig. 9.

[Study 5] Garden design: was revisited just after Yashizaka's arrival to decide precise building position among wood. Based on

actual situation of the site, and along with construction progress, geometric architectural elements had been replaced by gardening

elements such as bank and planting treatments as shown in Fig. 10.

[Details] Design sketches on metal, mason, and wood works: were prepared along with construction progress. Geometric patterns

cited from Japanese tradition were utilized and realized by Italian craftsmanship as seen in Fig. 11.
Total formal manipulations conducted by the architect: was charted as Fig. 12 and relevant notices were pointed as follows:

1εBasic form of the existing building was integrated from various formal techniques developed in [Study 2].

2εAfter the establishment of basic form, design became stable and went into subsequent simplification and sophistication efforts.
3εBasic form facilitated maximum preservation of wood, preparation of extra space for sculpture exhibition, synergistic effects

from building and garden designs, realization of natural and Japanese traditional design sources, and comfortable passageway

going around the site.

（2021 年 10 月 7 日原稿受理，2022 年 3 月 17 日採用決定）

— 1797 —

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