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MULTIPLE IDENTITIES VIA SPIRITUALITY, HISTORIES AND CULTURAL RE-PRESENTATIONS 153In the early 70s, Arata Isozaki, the new generationarchitect of that time, became widely recognizedthrough many of his important architectural creationssuch as The Kitakyushu City Museum of Art,Fukuoka and The Museum of Modern Art, Gunma(finished in 1974). Kisho Kurokawa, anotherimportant architect from the same generation,designed the Saitama Prefectural Museum of ModernArt (finished in 1982).The works produced during this period took the firststep into the realm of late Modernism where geometricforms were not distinctively visible. Instead, thearchitecture played with the diversity of form andspace, which seemed to allow the Japanese architects toconceptualize and crystallize their own architecturalnotion and identity.The Third Generation Art Museum (1980-1990)This decade marked the time when art museums grewsubstantially both in terms of size and function.Theaters, concert halls, and workshop areas were thepopular add-ons that allowed viewers to have a morecollective experience in museums. Since the venueswere getting bigger physically, areas such as a café and arestaurant were put in, mainly to accommodate theviewers so that they could spend more time in themuseums.This period can, more or less, be considered as theRenaissance of art museum construction due to themassive financial injection art museums enjoyed fromthe country’s bubble economy. Japan entered therealm of architectural transformation, stepping intothe third generation with the rise of influentialarchitects of the era, particularly the renownedprotégés of Kenzo Tange: Kisho Kurokawa, FumihikoMaki, Arata Isozaki, Yoshio Taniguchi, etc. Thesearchitects had had the chance to work on several artmuseum projects, both in and outside Japan, since theearly days of their profession back in the 70s. But it wasthe 80s that was considered the true golden era of thisgroup of architects.In an interview, Professor Hiroyuki Suzuki (2010 ), 3 aprominent architectural historian of JapaneseArchitecture, notably the Modern era, explained thenature of the social movements that were influencingJapanese architecture at the time. In 1969, universitystudents in Japan were actively participating in thepolitical movement that called for several changes inJapanese society then. Professor Suzuki was a studentat Tokyo University where the architecturalmovement emphasized the search for the manner bywhich to initiate massive residential projects, inresponse to the expansion of the urban fabric and theincreasing population. Nonetheless, when Japandeveloped into a country of better-quality living,which was the result of its post-war economic revivaland advanced technology, Japanese architecture veeredtoward a more individual direction. Such change canbe seen in the abundant births of architectureconceived in the 80s and the early 90s—the timeswhen Japan’s bubble economy reached its highestcapacity prior to the explosion that led the country toeconomic recession.Kyoto National Museum of Modern Art, Kyoto, Architect Fumihiko Maki (1986). Photos by Aroon Puritat.The Work of the 2010/2011 API Fellows
154 Panel 4Hiroshima City Museum of Contemporary Art, Hiroshima, Architect Kisho Kurokawa (1989). Photos by Aroon PuritatIt comes as no surprise to see renowned architects ofthe 80s create their own architectural theories and usethese to conceptualize their own designs. It was alsoduring this period when the Post-Modern Movementstarted to emerge, and many art museums were createdwithout sufficient supporting factors that couldenhance future sustainable operation, and address themuseum’s lack of a suitable architectural program andadministration strategy. Given that many art museum<strong>org</strong>anizations had to face massive maintenance costs,the art museum buildings were unable to function asproperly as expected. While the architects from thethird generation were swamped with large-scale publicbuilding projects, the fourth generation ones who hadnever studied under the Japanese or Westerneducation system, among them Tadao Ando and theTokyo University educated Toyo Ito, playedincreasingly significant parts. This group of architectswould later assume an important role in the localarchitectural scene, specifically from the post-90s untilthe present.One of the interesting art museums built during thisperiod was the Marugame Genichiro-InokumaMuseum of Contemporary Art (1991) designed byYoshio Taniguchi, the modernist architect whoseworks were known for their rather simple, humble,and serene architectural expression. Interviews withseveral curators showed how most of them admiredand agreed that Yoshio Taniguchi’s design exemplifiesthe architectural program of a museum that is highlyflexible, making it very convenient to facilitatedifferent forms of installations and presentations.The Marugame Genichiro-Inokuma Museum ofContemporary Art (MIMOCA) is located in a smalltown of Magurame. The functionality of the buildingis designed to interestingly connect itself to the cityfabric. The huge staircase is at the side of the building,allowing viewers to access different areas of thebuilding, such as the restaurant and the library,without having to buy a ticket to enter the exhibitionarea of the museum. The distinctive development ofMIMOCA as an art museum is its ability toincorporate extra functionality, such as the publiclibrary, into the building. The large ground in front ofthe museum is mostly used for exhibiting sculpturepieces; however, the area also has opened public access.In 1991, wrote:The main point of Taniguchi’s design is hiscreative intention to create a building thatenhances the viewer’s desire to go to themuseum, but in the meantime, the architecturemust not disturb or distract the viewer’s interestsfrom the artworks exhibiting inside of themuseum. This explains the simplicity of hisarchitecture, which is a simple looking box thatdoesn’t have any gaudy decorative architecturalcomposition or flashy building’s surface. 4Architecturally speaking, Taniguchi’s design can beclassified as belonging to the Second Generation artmuseums, which basically have a white-cube spacesuitable for artworks from the Modern art era. Theaccessibility the architect creates for the general publicto use certain spaces in the museum without having tosee the exhibitions was developed from this generationof art museums. However, when considering theadministration system and time of construction,MIMOCA can be classified as a Third Generation artmuseum.The Work of the 2010/2011 API Fellows
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CULTURE, POWER AND PRACTICES:THE GL
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viABOUT THE BOOKCULTURE, POWER AND
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viiiACKNOWLEDGEMENTSThe API Coordin
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x(co-authored with Gunawan Wiradi,
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xiiSri Wahyuni is the director of t
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xivThe gap between rich and poor is
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xviand development mainly: Economy,
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xviiiIn closing, I would like to qu
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xxmovements to defend their rights,
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xxiicomplex relationships between f
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xxivIndonesian Academy of Social Sc
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MULTIPLE MODERNITIES: GLOBALIZATION
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POTENTIAL OF LOCAL KNOWLEDGE AND PR
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58 Panel 2(Left) Kurazukuri are anc
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FLUX AND FLOWS OF PEOPLE, POWER AND
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OPENING REMARKS AND OVERVIEWDr. Rat
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247There is also a massive movement
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249need to be looked at, as globali
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251Appendix IWorkshop ScheduleThe T
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25313:00 - 15:00 Concluding PanelCh
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255THAILANDAroon Puritat, Artist an
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257RAPPORTEURSGarry MorrisonMarian
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Communication, Education and Public
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261have used tourism as a mechanism
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263Panel 4: Multiple Modernities vi
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265out how Asian women politicians
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267CONTACT DETAILS (as of March 201
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