أراتا إيسوزاكي
이소자키 아라타
矶崎新
Арата Исодзаки

Mito Art Tower

source: frcyclopaedia

Art Tower Mito (水戸芸術館 Mito Geijutsukan?) is an arts complex in Mito, Ibaraki Prefecture, Japan. It opened in 1990 as part of the centennial celebrations of the municipality of Mito.[1] There is a concert hall that seats 680, a theater for up to 636, a contemporary art gallery, and a landmark tower. Arata Isozaki was the architect, with acoustical design by Nagata Acoustics.
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source: enzyklo

Der Art Tower Mito (kurz: ATM) ist Teil und Spitzname des städtischen Kunstmuseums von Mito (水戸芸術館, Mito Geijutsu-kan) in Japan. Der Komplex besteht aus mehreren Gebäuden, die um einen Platz gruppiert stehen und Ausstellungsflächen sowie Veranstaltungsräume und ein Kino enthalten. Eines der Gebäude ist der 100 Meter hoher Turm, der vom japanischen Architekten Arata Isozaki ab Dezember 1986 entworfen wurde. Die Fertigstellung und Eröffnung war im Februar 1990. Die Fassade besteht aus stählernen Dreiecken, die sich in Form einer Helix zur Spitze drehen. In dem Turm befinden sich vier nutzbare Geschosse. Zugänglich ist der Turm über eine Eingangshalle in einem zweigeschossigen Sockelbau, der ebenfalls für Ausstellungen genutzt wird.
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source: blogphotographies

L’Art Tower Mito (水戸芸術館, Mito Geijutsukan?) est un complexe d’art situé dans la ville de Mito, préfecture d’Ibaraki au Japon. Il est inauguré au mois de mars 1990 dans le cadre des célébrations du centenaire de la municipalité de Mito1. D’une superficie de 22 432 m², le bâtiment d’un coût à la construction de 9 711 million de ¥, comprend une salle de concert de 680 places, un théâtre de 636 sièges, une galerie d’art contemporain et une tour emblématique. Arata Isozaki en est l’architecte et la société Nagata Acoustics est responsable de l’environnement acoustique.
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source: ibaraki-kodomo

水戸芸術館（みとげいじゅつかん、英称：Art Tower Mito）は、1990年（平成2年）3月22日に開館した茨城県水戸市にある美術館・コンサートホール・劇場からなる現代芸術の複合施設である。設計は建築家の磯崎新。運営は公益財団法人水戸市芸術振興財団。初代館長は音楽評論家の吉田秀和。吉田の後任として2013年4月1日に同館専属の水戸室内管弦楽団の音楽顧問である指揮者の小澤征爾が二代目館長に就任した

水戸市中心部に建つこの施設は、中心市街地活性化の意味も込めて、敷地狭隘のため移転した水戸市立五軒小学校の跡地に市制100周年記念施設として建設された。発案者である当時の佐川一信市長が文化によるまちおこしを意図し力を入れたため、市の年間予算の1%（約9億円）を活動資金にする制度[3]を日本で初めて導入した。建設費は103億5,584万円。
また美術・音楽・演劇の各部門には開館前から「芸術監督」が任命され、彼らが施設に必要・不必要な機能などを設計者と協議し、設計に反映させている。これら1%予算や芸術監督制度は、市長が変わったあとも引き続き続けられ、館の活動を支えている。
日本各地から観客を集めている。自主企画によって演奏や展示などの事業を行い、専属の劇団や楽団をもつソフト重視の運営形態が特色である。
2011年（平成23年）3月11日の東北地方太平洋沖地震（東日本大震災）では天井の一部やパイプオルガンなどが破損し、タワーの展望室にいた観客は取り残され非常階段で避難した。地震後は点検などのため5月末までの休館を余儀なくされていた.
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source: kmpfurniture

Japanese architect Arata Isozaki has made his mark on the profession—both in the physical landscape and in the minds, theories, and ideas of his colleagues. In the 1960s and 1970s, hewas a leading member of the Japanese new-wave movement, an avant-garde conceptual approach to architecture—though he aims to defy characterization within any single school of architectural thought. He approaches each project on its own merits, its place, its purpose, and its time. The architect recently completed a national convention center in Qatar (the QNCC). Opened in 2011, it has been called “one of the greenest convention centers in the world,” no small feat for one of the world’s leading emission-emitting countries. The complex was the first of its kind to receive LEED Gold certification. Its green roof, with 3,600 square meters of solar panels supplies 12.5 percent of the building’s projected energy needs; inside, LED lights and fixtures and zone-based air control systems reduce energy consumption.

Isozaki graduated from the University of Tokyo in 1954, and then worked for Kenzo Tange & Urtec until 1963, when he established his own practice as a designer and theorist. For more than half a century, he has been thinking, writing, building, and influencing. Isozaki has taught at many universities around the world, his work has been exhibited widely, and it is clear his ability to mentor young architects has reached into the walls of his office. His past employees include award-winning international architects Shigeru Ban and Jun Aoki. He has also served as an architectural critic and as a jury member for major public and private architecture competitions. His website profile states, simply and confidently: “he has contributed significantly to making the visions of the world’s most radical architects a reality.” Others have recognized his role as well: his numerous awards include the prestigious RIBA Gold Medal, which he was awarded in 1986. Isozaki has been no stranger to significant cultural projects in major cities. Some of his most renowned projects include Gumma Prefectural Museum of Modern Art in Japan (1971–74), Museum of Contemporary Art in Los Angeles (1981–86), Team Disney Building in Orlando, Florida (1989–90), Olympic Stadium’s Sports Hall in Barcelona (1992), Kyoto Concert Hall in Japan (1995), and Shenzhen Cultural Center in China (2005). Such works are known for their bold forms, unique details, and a combination of local and international influences. For instance, his Team Disney Building, which received an AIA National Honor Award, uses a Japanese yin-yang theory of positive and negative space. He incorporated a looped gateway that resembles Mickey Mouse’s ears, a hint of his often-ironic approach to architecture, and he built an ornamental sundial into the central cylinder—a reference to the time-conscious businesspeople who would use the space. In addition to more than half a century of architectural work, Isozaki has designed exhibitions and stages, and has curated numerous international exhibitions, including three architectural exhibitions at the Venice Biennales. And in the 1980s, he experimented with product design, including a scarf for Louis Vuitton, jewelry for Cleto Munali, and other works. As Isozaki continues to resist following specific style guidelines, we can continue to expect award-winning works that relate to social and cultural needs, place, and time.
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source: ninavidya

Arata Isozaki ini adalah seorang yang begitu hebat di budang arsitektur. pekerjaan beliau juga tidak hanya sebagai arsitek, namun juga sebagai guru sekaligus penemu beberapa teori baru.

Tahun 1960 karya Isozaki menggambarkan bentuk dramatis melalui penggunaan baja dan beton, namun estetikanya tidak terbatas oleh material tersebut.
1966, Oita Branch Bank, karya Isozaki yang menggambarkan karakteristik metabolist style dengan cantilevernya yang kuat
Tahun 1970an, arsitektur Isozaki menjadi lebih berorientasi sejarah, manampilkan hubungan gerakan post modern Eropa dan Amerika
Sumbernya termasuk arsitek2 klasik barat (Andrea Pallaido, Etienne-Louis Boulle, Claude Nicolas Ledoux) Contoh: Fujimi Country Club, Oita City (1973) yang menggambarkan bentuk kasih murni yang juga merupakan karakteristik abad ke-18, neoklasik Prancis

Beliau seorang arsitek yang dikenal sebagai arsitek dengan aliran Metabolist. Metabolist = metabolisme : pembentukan dan pembongkaran
Metabolist Style: gaya dalam arsitektur yang diawali dari bentuk sederhana kemudian dibongkar dan dibentuk kembali menjadi bentukan yang lebih kompleks. Desainnya sangat dipengaruhi oleh perkembangan teknologi, dan terdiri dari megastructure (struktur bangunan yang besar dan canggih) Karya Isozaki yang diidentifikasi sebagai pengguna metabolist style mempunyai bentuk geometri sederhana yang disusun secara chaotic sehingga memiliki bentuk struktur yang kompleks. Struktur yang kompleks tersebut dinamakannya megastructure. Megastructure akan mudah direpresentasikan lewat model dijital.