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Unformatted text preview: n architectural competitions during the war and later was for a
time associated with Maekawa. Tange’s triumphs include the Hall Dedicated to Peace (Heiwa-ki Kaikan) at Hiroshima and the main Sports
Arena for the 1964 Tokyo Olympics (figs. 71–72). In the same way that
the 1964 Olympics symbolized for many Japanese the true end of the
postwar period and Japan’s resumption of international status and dignity, the Sports Arena represents an important milestone in the country’s
modern architectural history. Far from requiring further tutelage and
inspiration from the West, the Japanese now stand among the leaders in
international architecture, and architecture has become an aspect of Japanese culture that has exerted great influence on the world outside Japan.
It is often said that postwar Japan evolved into a one-and-a-half-party
system. This means that for decades national power was held uninterruptedly by the conservative camp of politicians, who in 1955 merged to
form the Liberal-Democratic Party (LDP), and whose opponents in the Fig. 71 Hiroshima Peace Park (Japan National Tourist Organization) Fig. 72 Swimming Arena for the 1964 Tokyo Olympics, designed by Tange
Kenzò (Consulate General of Japan, New York) Culture in the Present Age 333 left-wing, or progressive, camp (led by the Sot Party) were during
the same period consistently held to a minority—and thus a permanently
out-of-power—status with no more than one-third of the seats in the
As the seemingly permanent rulers of the country, the Liberal-Democratic Party pursued policies of economic development and intimate
alignment with the United States based on a Mutual Security Pact that
made the former conqueror responsible for Japan’s national defense. The
pact, originally signed in 1950, was a great boon to Japan in enabling it,
unlike other major countries, to limit military spending to a small fraction of its national income. At the same time, the pact at times aroused
intense hostility among some Japanese and even symbolized the lovehate...
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- Spring '13