![]() ![]() TheĬase of colonial Manchuria, therefore, illustrates the tension between architectureĪnd its visual representation and their fluid boundaries and interchangeability. Into flat surface and reducing the role of architecture into icons and symbols. Included as part of the tourist experience by compressing three-dimensional space In theīeginning, they contributed to the construction and consolidation of the daily spaceįor the newly arriving upper-middle Japanese in the region. In conclusion, photographs, plans, and drawings or residential houses in Manchuriaĭuring the first half of the twentieth century underwent a changing function. They have turned the buildings into products for the consumption Tourist postcards include exteriors of residential houses as symbolic icons of Residential houses or interior of them were no longer Views, public buildings, and construction sites: which functioned as visual allegories In particular, there were significant numbers of photographs of panoramic ![]() Souvenirs for Japanese group tours in Manchuria that reached the peak aroundġ941. Manchuria were included in the tourist postcards, one of the most popular Japanese settlers, and to promote the housing reform in Japan.Īfter the establishment of Manchukuo in 1932, photographs of buildings in Were used to construct the daily space for a rising upper-middle class different from early Photos of houses in Manchuria published in the 1920s Home and houses, published in architectural journals and displayed in architecturalĮxhibitions throughout the 1920s. Photographs, drawings, and plans of residential houses displayed at the 1921 architecturalĮxhibition in Dalian as a case study, I examine Japanese architects’ designs for private Residential area in urban Manchuria during the first half of the twentieth century. This presentation explores the role of visual representation in defining and shaping the ![]() Relationship between visual representation and space. Visual propagandas, but to focus on their visual power and function within theĮxchange of people, objects, and ideas between Japan and Manchuria, and the These photographs from a different perspective, not merely considering them as Houses-and left a tremendous collection of visual records. They haveīuilt all over Manchuria-government offices, commercial buildings, and residential Yu YANG, Shadows of Bright Houses: Photographs of Architecture in Colonial Manchuria (1900-1945), The 35th Committee International d’Historie de l’Art, 2019.09, During the first half of the twentieth century, Japan’s colonial expansion in East Asiaīrought many Japanese architects to Manchuria, present-day northeast China. YANG YU, Embracing Climate and Culture: Depicting Others at Japanese Art Exhibitions 1908-1944, 2022 35th Committee International d’Historie de L’Art- Migration, São Paulo, 2022.01. YANG YU, The Land of Aida: Urban Space of Manchuria (1905-1945), Hybrid Workshop between Kyudai and Glasgow University: Space Between/Aidagara: Landscape, Mindscape, Architecture, 2023.03. By situating the bus tours in Shinkyo within the historical context of colonial tourism and discourse of modern Japanese architecture, this paper characterizes the unique urban spatial experience of the colonial modernity. The visual abundance of photos and postcards of these buildings therefore reinforced the image of Manchuria for mass consumption as modern and exotic, and the actual spatial experiences were intentionally minimalized, if not ignored. Buildings in various modern styles construted by the Japanese architects in the new capital, shinkyo, not only served as symbols of Japanese authority, but also contained a picturesque quality to be looked at from tourist buses. Architecture played a significant role in the construction of Japanese tourists' experiences of Manchuria. The examination of postcards, photos, and travel-logs related to Japanese tours to Manchuria reveals that the Japanese tourists' perception of Manchuria has changed from an adventurous, remote land to a safe, idealist and entertaining theme park. YANG YU, Touring Buildings of Colonial Modernity: Architecture and Tourism in Manchuria (1905-1945), EAAC 2015 Gwangju Practical History: History in Practice and Practice in History during the 21st Century, 895-898, 2015.10, This paper examines the Japanese cultural construction of the image of Manchuria through the interaction of tourism and modern architecture in the early twentieth century. YANG YU, Kamisaka Sekka’s Later Works and Kyoto Kōgei, Journal of Social Aesthetics, 2, 1-10, 2014.11. YANG YU, Constructing a Manchurian Identity: Architect Endō Arata and Central Bank Club, Modern Art Asia, 73-93, 2012.05. YANG Yu, Shadows of Urban Utopia: Japanese Housing in Colonial Manchuria, Proceedings of the 35th World Congress of Art History – Motion: Transformation, 317-322, 2021.09. ![]()
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