1 El Croquis, Sean Godsell 1997-2013 (El Croquis, 2013) Sean Godsell confesses that Japanese culture has had a decisive influence on his thinking.
2 Koren, Leonard, Wabi-sabi: for artists, designers, poets & philosophers (California: Imperfect Publishing, 1994) The term “aesthetic” refers to a set of informing principles for making artistic discriminations.
3 Isozaki, Arata, Japan-ness in Architecture (Cambridge, MA: MIT Press, 2006) Japan-ness, a term used by Isozaki to describe the Japanese style.
4 A term used by the West to maintain a sense of dominance over the East.
5 Fletcher, Bannister, A History of Architecture on the Comparative Method (London, B.T. Balsford Ltd, 1896) Fletcher relegates Japanese architecture to the peripherary, describing it as a place where no real concept of architecture existed.
6 Tanizaki, Jun’ichirō, In Praise Of Shadows (Sedgwick, Leete’s Island Books, 1977) pg 36
7 Phaidon, Katsura Imperial Villa, ed. Virgina Ponciroli (London: Phaidon, 2011) pg 352
8 Koren, L. (1994) pg 7
9 Koren, L. (1994) pg 15
10 Phaidon (2011) pg 353
11 Koren, L. (1994) pg 33
12 Lethaby, W. R, Architecture, Mysticism and Myth (New York, Macmillan & Co, 1896) pg 2
13 Phaidon (2011) pg 354
14 Phaidon (2011) pg 355, These conventions can be found in Chinese Buddhist temples.
15 Shōji is a room divide consisting of translucent paper over a frame of wood which holds together a lattice of wood.
16 Tanizaki, J. (1977) pg 17
17 Phaidon (2011) pg 319, Bruno Taut is considered the ‘discoverer’ of the Katsura Imperial Villa, the first to understand the universal significance of the 17th-century complex.
18 Lie, Zhongjie, Kenzo Tange and The Metabolist Movement: urban utopias of modern japan (New York: Routledge, 2010) pg 1
19 Idenburg, Florian, Relations, in The SANAA Studios 2006-2008. Learning From Japan: Single Story Urbanism (Baden, Lars
Muller Publishers, 2010) Idenburg writes of the mutual respect that the master and apprentice share for one another.
20 Lin, Z. (2010) pg 25, Kikutake involved himself in a number of speculative projects, including Ocean City, as well as his experiments with Group Form
21 Idenburg, F. (2010)
22 Curtis, W. (2010) This statement appeared in a critique of SANAA for the Architectural Review, just after the announcement of the Pritzker Prize.
23 Idenburg, F. (2010) Sejima uses the plan as more than an organizational tool.
24 Idenburg, F. (2010)
25 Idenburg, F. (2010) Idenburg states that the goal is less about social interaction than a deliberate activation of the social.
26 Idenburg, F. (2010) Idenburg writes of a more restraint approach, leaving behind any megalomaniac tendencies.
27 Idenburg, F. (2010)