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Josiah Conder was one of the most influential architects of the [[Meiji architecture|Meiji period]], though fairly unknown in Britain,<ref>Watanabe, 241.</ref> designing the [[Rokumeikan]] ([[1883]]) and the original main hall of the [[Tokyo National Museum]], as well as instructing or training many of the most prominent Japanese architects of the period.

Josiah Conder was one of the most influential architects of the [[Meiji architecture|Meiji period]], though fairly unknown in Britain,<ref>Watanabe, 241.</ref> designing the [[Rokumeikan]] ([[1883]]) and the original main hall of the [[Tokyo National Museum]], as well as instructing or training many of the most prominent Japanese architects of the period.

Conder was trained at the South Kensington School of Art, and worked or studied under architects Thomas Roger Smith (a distant uncle of his) and William Burges, before joining the Royal Institute of British Architecture. As indicated on his tombstone, he held the honorary distinction of "Fellow of the Royal Institute of British Architects" (F.R.I.B.A.).

Born in London, Conder was trained at the South Kensington School of Art, and worked or studied under architects Thomas Roger Smith (a distant uncle of his) and William Burges, before joining the Royal Institute of British Architecture. As indicated on his tombstone, he held the honorary distinction of "Fellow of the Royal Institute of British Architects" (F.R.I.B.A.).

He was invited by the [[Meiji government]] to come to Japan to teach architecture, and did so, arriving in [[1877]] at the age of 24. From that time until his contract ran out in [[1884]], he taught architectural theory, history, and practice at the newly-founded architecture division of the Imperial College of Engineering (''[[Kobu gakko|Kôbu gakkô]]''). His approach, teaching that architecture was not just a set of technical skills, but also a creative art, had a particular influence, with some of his students, including [[Katayama Tokuma|Katayama Tôkuma]], [[Tatsuno Kingo]], and [[Tsumaki Yorinaka]], going on to design some of Tokyo's most famous buildings, and to become some of the most famous architects in Japanese history, in their own rights. Conder returned to the college as a lecturer in [[1886]]-[[1888]], where Tatsuno had succeeded him as chair of architecture, but for the most part, from [[1887]] onwards, Conder focused on private commissions.

He was invited by the [[Meiji government]] to come to Japan to teach architecture, and did so, arriving in [[1877]] at the age of 24. From that time until his contract ran out in [[1884]], he taught architectural theory, history, and practice at the newly-founded architecture division of the Imperial College of Engineering (''[[Kobu gakko|Kôbu gakkô]]''). His approach, teaching that architecture was not just a set of technical skills, but also a creative art, had a particular influence, with some of his students, including [[Katayama Tokuma|Katayama Tôkuma]], [[Tatsuno Kingo]], and [[Tsumaki Yorinaka]], going on to design some of Tokyo's most famous buildings, and to become some of the most famous architects in Japanese history, in their own rights. Conder returned to the college as a lecturer in [[1886]]-[[1888]], where Tatsuno had succeeded him as chair of architecture, but for the most part, from [[1887]] onwards, Conder focused on private commissions.

He completed the original two-story brick main hall of the Tokyo National Museum in [[1881]], along with a [[Hokkaido Products Hall|Hokkaidô Products Hall]] on the banks of the [[Sumidagawa]] in the same year. His final commission from the Japanese government - and the final commission by the [[Meiji government]] for any foreign architect - was the [[Ministry of the Navy]] building at Kasumigaseki, completed in [[1895]]. Two years later, however, he did oversee repairs on the Rokumeikan following an earthquake, installing electric lights, and renovating it otherwise. In 1917, just three years before his death, Conder designed a residence for the [[Shimazu clan]] at Sodegasaki in Tokyo; it survives today on the campus of Seisen University.<ref>Gallery labels, permanent exhibits gallery, [[Shokoshuseikan|Shôkoshûseikan]], Kagoshima, Sept 2014.; "[http://www.seisen-u.ac.jp/shimadzu/index.php Kyû Shimazu kôshaku tei]," Seisen University official website.</ref>

He completed the original two-story brick main hall of the Tokyo National Museum in [[1881]], along with a [[Hokkaido Products Hall|Hokkaidô Products Hall]] on the banks of the [[Sumidagawa]] in the same year. From [[1884]] until [[1891]], he oversaw the construction of the [[Holy Resurrection Cathedral]], the chief cathedral of the Russian Orthodox Church in Japan. Conder also designed mansions for the [[Kyu-Iwasaki-tei|Iwasaki]] and [[Kyu-Furukawa Gardens|Furukawa families]].

 

His final commission from the Japanese government - and the final commission by the [[Meiji government]] for any foreign architect - was the [[Ministry of the Navy]] building at Kasumigaseki, completed in [[1895]]. Two years later, however, he oversaw repairs on the Rokumeikan following an earthquake, installing electric lights, and renovating it otherwise. In 1917, just three years before his death, Conder designed a residence for the [[Shimazu clan]] at Sodegasaki in Tokyo; it survives today on the campus of Seisen University.<ref>Gallery labels, permanent exhibits gallery, [[Shokoshuseikan|Shôkoshûseikan]], Kagoshima, Sept 2014.; "[http://www.seisen-u.ac.jp/shimadzu/index.php Kyû Shimazu kôshaku tei]," Seisen University official website.</ref>

 

After his death in 1920, Conder was buried at [[Gokoku-ji]] in [[Tokyo]], alongside his wife, Kume Conder ([[1854]]-1920), who died just 11 days earlier. The tombstone indicates that it was erected by their daughter.

After his death in 1920, Conder was buried at [[Gokoku-ji]] in [[Tokyo]], alongside his wife, Kume Conder ([[1854]]-1920), who died just 11 days earlier. The tombstone indicates that it was erected by their daughter.

*Dallas Finn, "Reassessing the Rokumeikan," in Ellen Conant (ed.), ''Challenging Past and Present: The Metamorphosis of Nineteenth-Century Japanese Art'', University of Hawaii Press (2006), 227-239.

*Dallas Finn, "Reassessing the Rokumeikan," in Ellen Conant (ed.), ''Challenging Past and Present: The Metamorphosis of Nineteenth-Century Japanese Art'', University of Hawaii Press (2006), 227-239.

*Toshio Watanabe, "Japanese Imperial Architecture: From Thomas Roger Smith to Ito Chuta," in Conant, op. cit., 240-253.

*Toshio Watanabe, "Japanese Imperial Architecture: From Thomas Roger Smith to Ito Chuta," in Conant, op. cit., 240-253.

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