awe of the fact that the did not merely indicate avenues of movement, but rather that "their placement is carefully thought out, in a sense [to accommodate] the angle for a certain way of walking, to psychologically guide people to other parts of the garden or the next building, to create an atmosphere." The photographer was approached by the publisher David-sha and editor Hideo Kobayashi in 1954, and initially planned to publish a straightforward photobook of his images of the site. Over the course of the editing process, however, Tange, who Ishimoto had invited to contribute an essay, eventually became the de facto editor and publicist of the book, taking on a prominent role in the selection, cropping, order, and arrangement of the images in ways that set forth his own ideas surrounding the dialectical forces of tradition and modernity inherent in the villa. Tange cropped and grouped images to emphasize the presence of modular units in both built and natural elements (at times against the wishes of Ishimoto), and coordinated them against a white background to accentuate rectilinearity and suffuse the publication with a sense of rhythmic order. After an extended, and at times fraught, editing process, which also involved the participation of Herbert Bayer as book designer, Katsura: Tradition and Creation in Japanese Architecture (sometimes shortened to Katsura) was published in 1960, featuring an introduction by Walter Gropius and an essay by Tange. The book had a resounding impact on architects in both Japan and abroad, fueling the ongoing ideological discourse and debates surrounding the characteristics of Japanese postwar architecture, and presenting a radical view of a previously tightly regulated traditional structure during a period of intense social and cultural upheaval in Japan. Katsura revisited (1981-82) From 1976 to 1982, the Imperial Household Ministry conducted a rigorous renovation of the Katsura complex's largest residential structure, the Goten. After receiving a commission from publisher Iwanami Shoten, Ishimoto revisited the site in November 1981 and February 1982, this time photographing the villa in both black-and-white and color using a Sinar camera with a variety of lenses. The color images were published as Katsura Villa: Space and Form in 1983 with Iwanami Shoten in Japan, and in 1987 with Rizzoli in the United States, and both the appearance of the villa and layout of the book differed significantly from the 1960 version edited by Tange. The second publication, for which Arata