Yuzo MIKAMI (1931-2020) is chosen as a subject of the analysis to clarify MIKAMI’s design thought in the context of “new reinforced concrete construction technology” as it appeared in contemporary architecture. This paper focuses on the early stages of his career and works in London, where he lived from 1962 to 1968. He worked in the agency of Ove Arup and Partners for six years and developed good relationships with the engineers. He was in charge of more than 20 works, including Sydney Opera House. These works have three distinct characteristics: civil engineering buildings, projects in Africa, and precast concrete.

Yuzo Mikami (1931–2020) was a Japanese architect who participated in the design project of the Sydney Opera House. Despite being a key member, he has not been sufficiently appreciated. This paper aims to clarify Mikami’s design activities using newly discovered primary sources: drawings, notes and letters. Mikami joined this project thrice, which we named the Utzon (1958–61), Arup (1962–64), and Hall period (1967). Then we analyzed four architectural elements: the concourse beams, shell roofs, warped surface, and glass walls. This research will demonstrate that Mikami’s archives are crucial sources when conducting historical and technological analyses of the Sydney Opera House.

When considering the conservation of a building, the condition at completion is often the best. However, we should allow more changes when preservation as treated as living heritage. The purpose of this study is to obtain new knowledge about the maintenance method which allows changes after completion. In this paper, we investigate the fostering process of the architectural value of Suntory Hall, which is updated by preservation management activities.

The Getty Foundation ran the “Keeping It Modern” project from 2014 to 2020. Keeping It Modern publicly solicited and sponsored projects that advanced conservation activities of important 20th century modern architecture from all over the world. The first half of this study typologically categorized the 77 grant projects supported by Keeping It Modern by location, building type, and year of completion. The second half compared the seven large-space architectures by origin and history, structural features, and conservation plan.

This study compared the design processes of St. Mary’s Cathedral and the Kawauchi Catholic Church. The results revealed three common points between the two churches. First, the gable roof was accounted for before considering the hyperbolic paraboloidal shell (HP shell). Second, although the sites were small, the orientation of the altar was highlighted. Third, precast concrete was not used to emphasize the skylight. Furthermore, two differences between the churches were identified. First, the thickness and exterior of the HP shell were different, owing to differences in the scale of the churches. Second, the emphasis on the skylight differed.

THIS STUDY REPORTS ON THE ANALYSIS OF CHARACTERISTIC FEATURE OF CITY FACADE (LONG DISTANT VIEW OF CITY) BY THE METHOD OF FORM DIVISION. FIFTEEN CITIES ARE SELECTED OUT OF MANY PHOTOGRAPHS OF CITY FACADES. THOSE FACADES ARE ANALYZED INTO SEVEN STAGES FROM MACRO-FEATURE(SKYLINE) TO MICRO-FEATURE(DETAILES OF ARCHITECTURE). IT IS EXAMINATED THAT THE MOST CHARACTERISTIC FEATURE OF CITY FACADE APPEARS ON WHICH OF THE SEVEN STAGES. A FRACTAL DIMENSION OF CITY FACADE IS CALCULATED,ALSO. THE CORRELATION BETWEEN FRACTAL DIMENSION AND COMPLEXITY OF CITY FACADE IS EXAMINATED.

This study analyzes the process by which architect Masachika Murata collaborated with structural designer Fugaku Yokoyama to design Komazawa Olympic Park Stadium by examining the materials held by Kanazawa Institute of Technology and Tokyo Metropolitan Archives. The results show that 1) Komazawa Olympic Park Stadium was designed based on the Olympiastadion in Berlin, 2) although Murata proposed a large organic roof for the stands, it was changed to a more feasible design following discussions with Yokoyama, and 3) Komazawa Olympic Park Stadium was designed while keeping its post-Olympic use in mind.