ABSTRACT
There are three distinct overlapping waves, or layers of architects practicing simultaneously within the short period of time between the run up to World War II, and the economic funk of the early part of the twenty-first century in post-bubble era Japan, who have made a discernible impression on the latest generation of architects today. The Spiral, Kyoto National Museum of Modern Art, Tepia, and TV Asahi, as well as Hillside Terrace, Daikanyama, each interrogate a different issue that Fumihiko Maki has with Modernism. The Shrine includes a replica of the Imperial Palace, and an extensive garden, as well as a large Torii gate, which announces the complex. Fredric Jameson has made clear that Postmodernism was just another Americanized phase of the European ideology Isozaki sought to demolish, not a rejection of it, but it may have been too soon to see that.
