[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"detail-sidebar-cat-0-en-105":3,"doc-seo-664989-105":59,"doc-detail-664989-en":130},{"code":4,"msg":5,"data":6},0,"success",[7,13,18,23,28,33,38,43,48,51,55],{"id":8,"doc_module":4,"doc_module_name":9,"category_name":10,"show_sort_weight":11,"slug":12},1,"Document","Story & Novel",90,"story-novel",{"id":14,"doc_module":4,"doc_module_name":9,"category_name":15,"show_sort_weight":16,"slug":17},2,"Literature",80,"literature",{"id":19,"doc_module":4,"doc_module_name":9,"category_name":20,"show_sort_weight":21,"slug":22},4,"Exam",70,"exam",{"id":24,"doc_module":4,"doc_module_name":9,"category_name":25,"show_sort_weight":26,"slug":27},5,"Comic",60,"comic",{"id":29,"doc_module":4,"doc_module_name":9,"category_name":30,"show_sort_weight":31,"slug":32},6,"Technology",50,"technology",{"id":34,"doc_module":4,"doc_module_name":9,"category_name":35,"show_sort_weight":36,"slug":37},7,"Healthcare",40,"healthcare",{"id":39,"doc_module":4,"doc_module_name":9,"category_name":40,"show_sort_weight":41,"slug":42},8,"Research & Report",30,"research-report",{"id":44,"doc_module":4,"doc_module_name":9,"category_name":45,"show_sort_weight":46,"slug":47},9,"Religion & Spirituality",20,"religion-spirituality",{"id":46,"doc_module":4,"doc_module_name":9,"category_name":49,"show_sort_weight":46,"slug":50},"World Cup","world-cup",{"id":52,"doc_module":4,"doc_module_name":9,"category_name":53,"show_sort_weight":52,"slug":54},10,"Lifestyle","lifestyle",{"id":56,"doc_module":4,"doc_module_name":9,"category_name":57,"show_sort_weight":24,"slug":58},19,"General","general",{"code":4,"msg":60,"data":61},"ok",{"site_id":62,"language":63,"slug":64,"title":65,"keywords":66,"description":67,"schema_data":68,"social_meta":123,"head_meta":125,"extra_data":127,"updated_unix":129},105,"en","tadao-andos-architecture-in-the-light-of-japanese-aesthetics","TADAO ANDO’S ARCHITECTURE IN THE LIGHT OF JAPANESE AESTHETICS","","A scholarly discussion of Japanese aesthetics as a framework for understanding Tadao Ando’s architecture. The text argues that Japanese culture preserves distinctive qualities of relationships and perceptions, shaped by interactive bonds between object and subject rather than passive observation. It contrasts approaches that manipulate the “other” with an equal-power relationship that generates creativity through experience, context, and procedural rhythm. Space and time emerge as spiral or labyrinth-like searches, linked to Zen garden traces and participatory artistic perception.",{"@graph":69,"@context":122},[70,84,105],{"@type":71,"itemListElement":72},"BreadcrumbList",[73,77,79,82],{"item":74,"name":75,"@type":76,"position":8},"https://docshare.wps.com","Home","ListItem",{"item":78,"name":9,"@type":76,"position":14},"https://docshare.wps.com/document/",{"item":80,"name":40,"@type":76,"position":81},"https://docshare.wps.com/document/research-report/",3,{"item":83,"name":65,"@type":76,"position":19},"https://docshare.wps.com/document/tadao-andos-architecture-in-the-light-of-japanese-aesthetics/664989/",{"url":83,"name":65,"@type":85,"image":86,"author":91,"headline":65,"publisher":94,"fileFormat":97,"inLanguage":63,"description":67,"dateModified":98,"datePublished":99,"encodingFormat":97,"isAccessibleForFree":100,"interactionStatistic":101},"DigitalDocument",{"url":87,"@type":88,"width":89,"height":90},"https://docshare.wps.com/thumbnails/tadao-andos-architecture-in-the-light-of-japanese-aesthetics/664989.png","ImageObject",300,407,{"name":92,"@type":93},"kopisore","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-10-30","2026-10-29",true,{"@type":102,"interactionType":103,"userInteractionCount":24},"InteractionCounter",{"@type":104},"ViewAction",{"@type":106,"mainEntity":107},"FAQPage",[108,114,118],{"name":109,"@type":110,"acceptedAnswer":111},"What does the article claim is central to Japanese aesthetics?","Question",{"text":112,"@type":113},"It emphasizes relationships and perceptions, where artistic meaning arises through interactions between object and subject with equal power.","Answer",{"name":115,"@type":110,"acceptedAnswer":116},"How does the text contrast different ways of perceiving the “other” or an object?",{"text":117,"@type":113},"It distinguishes passive-object perceptions that impose external cognition from an approach that treats the object as active, personal, and productive of effects.",{"name":119,"@type":110,"acceptedAnswer":120},"How are space and time portrayed in the article’s account of Japanese art and architecture?",{"text":121,"@type":113},"Space and time are organized through movement and experiential rhythm, described symbolically as spiral or labyrinth-like searches rather than immediate arrival at a goal.","https://schema.org",{"og:url":83,"og:type":124,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":126,"canonical":83},"index,follow",{"doc_id":128,"site_id":62},664989,1793284406,{"code":4,"msg":5,"data":131},{"doc_id":128,"user_id":132,"nickname":92,"user_avatar":133,"doc_module":4,"category_id":39,"category_name":40,"doc_title":65,"doc_description":67,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":24,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":139,"language":140,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":141,"faqs":142,"seo_title":143,"seo_description":67,"update_tm":129,"read_time":144},962090880963,"https://ap-avatar.wpscdn.com/davatar_6f874abed73319feea01a86fa6f0fab8","METU JFA 2004/ 1-2 (21) 67-80  \nReceived: 18. 07. 2003  \nKeywords: Japanese aesthetics; Tadao Ando; experience and architecture; Zen garden.  \n1. I would like to express my thanks to Prof. Haruhiko Fujita for helping me in pursuing my research in Japan; to Tadao Ando’s Architectural Office for making some visual material available, and to Chikako Matsutomo from Aesthetics Department of Osaka University for assisting me in my visits of Tadao Ando’s buildings.  \nTADAO ANDO’S ARCHITECTURE  \nIN THE LIGHT OF JAPANESE AESTHETICS  \nJale Nejdet ERZEN  \nIn Japan, aesthetics is sovereign in every realm, quotidian or exceptional. Every expression of Japanese culture seems to be unique and no matter how much one gets to know Japan, this sense of uniqueness does not fade (1) . All that is historically and culturally Japanese is kept alive and revitalized. Some of these cultural aspects like Japanese food continue naturally in the everyday, some, like the Bunraku theatre or Noh or Kabuki are still enjoyed with the awareness that they belong to a distant aesthetic. Japan is a country of museums, and no matter how huge the museum, it is always bound to be full of visitors, of every walk of life. There are also other aesthetic realities, like the mediatic, the kitsch , the banal; but there is ever a very confrontational contemporary artistic expression which is influential on the young art scene as well as on the international art market.  \nHow would it be possible to understand Japanese culture, and sense its continuities in the present? How can it be possible to join the common memory of its social realm and not feel excluded? What is the key to its difference? I feel that many foreigners gave too easy answers to these, and were simply content to accept the difference as something almost racial.  \nIn this distinction my tendency has been rather to find something that is common to all humanity. One could say that this difference comes from a quality that Japan has preferred to preserve. It is a quality of relationships and perceptions, or rather of apprehensions. Tadao Ando’s architecture which is extremely modern and in that sense transcultural, is also deeply rooted in Japanese sensitivities. It was one of the keys to my understanding Japanese aesthetics.  \nBefore embarking on Tadao Ando’s architecture, it would not be misplaced to start with a simple comparison. We can generalize that there are cultures or people who treat the ‘other’ or the object of perception as passive. They impose upon it their own cognition which is usually formed by pre-suppositions. Once they define or label the ‘object’ as being  \n68 METUJFA 2004/1-2 JALE N EJDET ERZEN  \n‘this’ or ‘that’, they leave it; the object of perception is something that is tobe manipulated. There are also perceptions which look upon the object or upon the ‘other’ as infinitely unknowable and full of powers; whatever they see is the effect of the object; the object is alive and has personality. For perception and artistic expression which sees reality as the relationship between object and subject, it is this relationship which is the valuable reality, where both have equal power and effect upon each other. This creates an endless process of interaction becoming the creative source of life.  \nMost explicitly Chinese and Japanese art have shown such a goal. In Japanese art, it is the relationship of the artist to what he is looking at or what he is writing about, that is to be conveyed. Landscapes, haiku and architecture are immediate examples of this. The art work, the perception, and intuition of the object and its expression depend also on the context where and when perception and the interaction between the object and the subject take place. The relationship to the context or the environment has an active effect. The process of perception, or creativity is the result of ongoing interactions and plays amongst the active elements of an event or experience. In such an approach it would be ","cbCaivkqzpMc2WTU","https://ap.wps.com/l/cbCaivkqzpMc2WTU","pdf",1382876,14,"English","# Tadao Ando’s Architecture in the Light of Japanese Aesthetics\n## Japanese aesthetics as distinctive preservation\n## Object-subject perception and creative interaction\n## Context, space-time, and experiential movement","[{\"question\":\"What does the article claim is central to Japanese aesthetics?\",\"answer\":\"It emphasizes relationships and perceptions, where artistic meaning arises through interactions between object and subject with equal power.\"},{\"question\":\"How does the text contrast different ways of perceiving the “other” or an object?\",\"answer\":\"It distinguishes passive-object perceptions that impose external cognition from an approach that treats the object as active, personal, and productive of effects.\"},{\"question\":\"How are space and time portrayed in the article’s account of Japanese art and architecture?\",\"answer\":\"Space and time are organized through movement and experiential rhythm, described symbolically as spiral or labyrinth-like searches rather than immediate arrival at a goal.\"}]","TADAO ANDO’S ARCHITECTURE IN THE LIGHT OF JAPANESE AESTHETICS | PDF",35]