The interrelated Seibu and Saison enterprise groups have shaped Japanese consumer culture and made the Tsutsumi family fabulously rich. Beginning with the colorful founder, Yasujiro Tsutsumi, Thomas Havens traces the family's fortunes through the rise of its various companies. He examines the strategic thinking, management styles, and marketing techniques of Yasujiro and his sons; explains how the companies have prospered outside Japan's zaibatsu and keiretsu business establishments; and demonstrates how the Seibu enterprises have shifted Japanese culture from a frugal, hardworking society to a New Breed that takes affluence for granted.
The interrelated Seibu and Saison enterprise groups have shaped Japanese consumer culture and made the Tsutsumi family fabulously rich. Beginning with the colorful founder, Yasujiro Tsutsumi, Thomas Havens traces the family's fortunes through the rise of its various companies. He examines the strategic thinking, management styles, and marketing techniques of Yasujiro and his sons; explains how the companies have prospered outside Japan's zaibatsu and keiretsu business establishments; and demonstrates how the Seibu enterprises have shifted Japanese culture from a frugal, hardworking society to a New Breed that takes affluence for granted.
The new edition of an essential text offers an informative, engaging view of the architectural profession from education through practice. Since 1985, Architect? has been an essential text for aspiring architects, offering the best basic guide to the profession available. This third edition has been substantially revised and rewritten, with new material covering the latest developments in architectural and construction technologies, digital methodologies, new areas of focus in teaching and practice, evolving aesthetic philosophies, sustainability and green architecture, and alternatives to traditional practice. Architect? tells the inside story of architectural education and practice; it is realistic, unvarnished, and insightful. Chapter 1 asks “Why Be an Architect?” and chapter 2 offers reasons “Why Not to Be an Architect.” After this provocative beginning, Architect? goes on to explain and critique architectural education, covering admission, degree and curriculum types, and workload as well as such post-degree options as internship, teaching, and work in related fields. It offers a detailed discussion of professors and practitioners and the “-isms” and “-ologies” most prevalent in teaching and practicing architecture. It explains how an architect works and gets work, and describes architectural services from initial client contact to construction oversight. The new edition also includes a generous selection of drawings and cartoons from the author's Washington Post column, “Shaping the City,” offering teachable moments wittily in graphic form. The author, Roger Lewis, has taught, practiced, and written extensively about architecture for many years. In Architect? he explains—for students, professors, practitioners, and even prospective clients—how architects think and work and what they care about as they strive to make the built environment more commodious, more beautiful, and more sustainable.
Architect? addresses issues and concerns of relevance to students choosing among different types of programme, schools, firms and architectural career paths, and explores both the up-side and the down-side to the profession.
Introduction -- Formulas, free plans, and a Piranesian city -- Third generation -- Junk, bunk, and tomorrow -- The cube and the pile-up -- The uses of nostalgia -- The mechanical hobgoblin -- Aftermath.
This English edition on the architecture of Akrotiri provides an overall picture of the architecture of Akrotiri, including an outline of its town plan, a description of the individual houses, and a discussion of its relationship with Crete and its neighbors in the Eastern Mediterranean. The work is based on the author's personal observations and experience from 15 years of work (1977-1992) at the site as the architect of the Akrotiri excavation. This book is confined to the last phase of habitation and the uniquely preserved houses that are seen today.
From an essential text for the aspiring architect, this BIT offers realistic, unvarnished advice. A practicing architect and planner, professor of architecture, and architecture columnist offers reasons for becoming an architect (including “creative and intellectual fulfillment,” “love of drawing—without a computer,” and “immortality”) as well as reasons for not becoming an architect (including “lack of work,” “competition,” and “ego vulnerability”).
This revised edition of the best basic guide to the architectural profession includes new information pertinent to current education and practice and addresses issues and concerns of great interest to students choosing among different types of programs, schools, firms, and architectural career paths. The first edition of Architect?, published in 1985, quickly became known as the best basic guide to the architectural profession. More than a decade later, it is a standard text for introductory courses on architecture and recommended reading on the application forms of many schools of architecture. This revised edition includes new information pertinent to current education and practice and addresses issues and concerns of great interest to students choosing among different types of programs, schools, firms, and architectural career paths. Roger K. Lewis, a practicing architect and educator, takes a hard look at the education of the architect as he covers such topics as curriculum content, pedagogical theories and methods, program and faculty types, the admission process, internship, compensation, computer-aided design, and the culture of small and large firms. He tells how an architect works and gets work, and explains all aspects of architectural services, from initial client contact to construction oversight. The author describes the benefits of becoming an architect, including the opportunity to express oneself creatively, to improve the environment, and to achieve notoriety. But he doesn't hesitate to show the other side—the lack of steady work and appropriate compensation, the intensity of competition, the restrictions imposed by clients, and the high degree of anxiety and disillusionment among young architects. Written in a clear, accessible style, the book is accompanied by the authors often-humorous illustrations and a valuable appendix.
Allegories of Time and Space explores efforts by leading photographers, artists, architects, and commercial designers to re-envision Japanese cultural identity during the turbulent years between the Asia Pacific War and the bursting of the economic bubble in the 1990s. This search for a cultural home was a matter of broad public concern, and each of the artists under consideration engaged a wide audience through mass media. The artists under study had in common the necessity to establish distance from their immediate surroundings temporally or geographically in order to gain some perspective on Japan's rapidly changing society. They shared what Jonathan Reynolds calls an allegorical vision, a capacity to make time and space malleable, to see the present in the past and to find an irreducible cultural center at Japan's geographical periphery. The book commences with an examination of the work of Hamaya Hiroshi. A Tokyo native, Hamaya began to photograph the isolated "snow country" of northeastern Japan in the midst of the war. His empathetic images of village life expressed an aching nostalgia for the rural past widely shared by urban Japanese. Following a similar strategy in his search for authentic Japan was the photographer Tōmatsu Shōmei. Although Tōmatsu originally traveled to Okinawa Prefecture in 1969 to document the destructive impact of U.S. military bases in the region in his characteristically edgy style, he came to believe that Okinawa was still in some sense more truly Japanese than the Japanese main islands. The self-styled iconoclast artist Okamoto Tarō emphatically rejected the delicacy and refinement conventionally associated with Japanese art in favor of the hyper-modern qualities of the dynamic and brutal aesthetics that he saw expressed on the ceramics of the prehistoric Jōmon period. One who quickly recognized the potential in Okamoto's embrace of Japan's ancient past was the architect Tange Kenzō. As a point of comparison, Reynolds looks at the portrayal of the ancient Shintō shrine complex at Ise in a volume produced in collaboration with the photographer Watanabe Yoshio. Reynolds shows how this landmark book contributed significantly to a transformation in the meaning of Ise Shrine by suppressing the shrine's status as an ultranationalist symbol and re-presenting the shrine architecture as design consistent with rigorous modernist aesthetics. In the 1970s and 1980s, there circulated widely through advertising posters of the designer Ishioka Eiko, the ephemeral "nomadic" architecture of Itō Toyo'o, TV documentaries, and other media, a fantasy that imagined Tokyo's young female office workers as urban nomads. These cosmopolitan dreams may seem untethered from their Japanese cultural context, but Reynolds reveals that there were threads linking the urban nomad with earlier efforts to situate contemporary Japanese cultural identity in time and space. In its fresh and nuanced re-reading of the multiplicities of Japanese tradition during a tumultuous and transformative period, Allegories of Time and Space offers a compelling argument that the work of these artists enhanced efforts to redefine tradition in contemporary terms and, by doing so, promoted a future that would be both modern and uniquely Japanese.
A surprising and revealing look at how today’s elite view their wealth and place in society From TV’s “real housewives” to The Wolf of Wall Street, our popular culture portrays the wealthy as materialistic and entitled. But what do we really know about those who live on “easy street”? In this penetrating book, Rachel Sherman draws on rare in-depth interviews that she conducted with fifty affluent New Yorkers—from hedge fund financiers and artists to stay-at-home mothers—to examine their lifestyle choices and understanding of privilege. Sherman upends images of wealthy people as invested only in accruing social advantages for themselves and their children. Instead, these liberal elites, who believe in diversity and meritocracy, feel conflicted about their position in a highly unequal society. As the distance between rich and poor widens, Uneasy Street not only explores the lives of those at the top but also sheds light on how extreme inequality comes to seem ordinary and acceptable to the rest of us.
