RHET 201 by Amira Abdel Rahman

Amira Abdel-Rahman Rhet 201 ID: 900093604 Research paper Third Draft The Japanese Influence on Modern Architecture Professor R. Byford

Outline I.

Modern Architecture ……………………………...………………………3

II.

Japanese Architecture ………………………………………….………….5

III.

The Ise Shrine ………………………….…………………………..……...7

IV.

The Katsura Imperial Villa …………………………………….…………9

Frank Lloyd Wright………………………………………………………11

VI.

Modern Buildings…………………..…………………………………….13

VII.

Conclusion………………………………………………………………..15

VIII.

Work cited……………………………………………………….……….16

Modern Architecture: As many of the 19th century and avant-garde movements, modern architecture originated with a revolutionary purpose to rebel against traditional designs. The modern architecture movement began in the United States and Europe around 1900. As simple as it may seem, the Modernists' main theme was simplicity by emphasizing the buildings' functions rather than the traditional architecture's ornaments. It is based on the rejection of the conventional style and ornament, emphasis of buildings' functions, and the use of new materials such as steel, glass and reinforced concrete. The architects wanted to stop considering the buildings to be independent pieces of art, but started to connect the architectural designs with human daily activity. In other words, the buildings were regarded to be spaces rather than masses. Some of the key modern architects were Le Corbusier, Walter Gropius and Frank Lloyd Wright. With the help of modern technology, this style developed through time and began to be accepted worldwide. However, looking back in history, one can find an architectural style that shares many of the Modernism concepts. A style that began hundreds and thousands of years ago that invented those principles, had pure examples of what modern architecture then expounded. This style is traditional Japanese architecture. In other words, the concept that modern architects created was not really original, but it was actually already implemented in early buildings in Japan such as the Ise Shrine and the Katsura Imperial Villa. The latter style shares many concepts with the modern style, such as clarity, simplicity, cheerfulness and faithfulness to the material (Taut 9). As a matter of fact, many of the prominent modern architects such as Frank Lloyd Wright, Bruno Taut and Antonin Raymond admitted to have been influenced by the Japanese architecture. If the Japanese influence on modern structural designs is true,

this will surely question the modernists' main objective of being set free from the conventional. That's why, in this research paper, I will further analyze this influence by understanding the Japanese architecture principles and investigate how these principles appear in modern architecture, whether by exploring the direct influence on architects or the indirect influence on modern buildings.

Japanese Architecture: In order to study the influence of the Japanese architecture on modern architecture, one must first analyze the traditional Japanese architecture searching for its main features. This subject was dealt with in various scholarly articles and books, especially in Arata Isozaki's book Japan-ness in Architecture. Isozaki, one of the world's leading architects, was trying in this book to identify what is essentially Japanese in architecture from the seventh century to the twentieth century. As difficult as it is to find specific features, the principles that Japanese architecture is based on are quite simple: "horizontality", "connection with nature", "functionality" and "simplicity" (Leneweaver 2). The Japanese architecture was described as "horizontal" because of the Japanese tendency to build single-storey rooms, as if they want to expand the building; they would expand horizontally instead of vertically. To stress the low profile and horizontal designs, high imposing roofs â&#x20AC;&#x201C; teikan style -- are built upon the rooms to be the only indicator of the building's presence in the middle of Japan's forests. To allow the penetration of light, the interior is most often cleverly connected to the garden and trees which, along with the choice of wood as a base material for their construction, emphasizes the Japanese principle of the "connection with nature". The buildings' interiors are mostly undivided. The presence of fusuma -sliding doors -- enables people to form public and private spaces based on their need, emphasizing the concept of "functionalism". The Japanese architecture is also known for its use of clear straight lines and its lack of use of the curvilinear ones except in the roofs. The "simplicity" can be seen in the whole buildings' proportions, method of construction and the prevalence of space instead of mass. Bruno Taut, the famous German architect who went to Japan in the 1930s was the one who discovered the modern character in Japanese architecture. Rejecting the previous ideology that the

Nikko structures (see fig. 1) and their style were the most valuable example of the Japanese architecture; he announced that the Ise Shrine and the Katsura Imperial Villa were better representatives of it. As Professor Ito Chito, one of the most famous Japanese authorities on Oriental architecture reported: "Fifty years ago Europeans came and told us, 'Nikko is the most valuable', and

Fig. 1. Nikko Structure.

we thought so, too; now Bruno Taut has come and told us, 'It is Ise and Katsura which are the most valuable', and again we believe" (qtd in Taut 6). That's why, before discussing how the four principles of the Japanese architecture appear in Modern architecture, it would be useful to analyze the Ise Shrines and the Katsura Imperial Villa as direct applications of traditional Japanese architecture.

The Ise Grand Shrine: A typical example of traditional Japanese architecture is the Ise Grand Shrine - known as Ise Jungi -- located in the city of Ise in Japan. Ise Jungi is a complex of Shinto -- the second official

religion

Japan

after

Buddhism -- centered on two main shrines: Naiku and Geku. The most

Fig. 2. View of the Ise Shrines.

fascinating fact about Ise Jungi is that every 20 years, the shrines are demolished and new ones are built adjacent to the old ones so the shrines always stay new and original. The Ise Grand Shrine is considered by Taut to be "Japan's greatest and most completely

original

creation

terms

world

architecture" and "it is an architecture before which one naturally bows down" (qtd in Isozaki 129). It is also

Fig. 3. Ise Shrine Elevations.

considered by Kenzo Tange, a famous Japanese

architect who was once considered to be a spokesman for Modernism in Japan, to be "the fountainhead of Japanese tradition" (qtd in Isozaki 128). The Japanese principles are surely all present in the shrines, especially the "connection with nature" as we can see such a harmony between the intense cedar forest and the shrines made of the same trees. Moreover the one-storey shrines expand on a large piece of land which emphasizes the "horizontality" principle. As

Fig. 4. Roof of the Grand Shrine, Naiku (Jpatokal).

complex as it may seem, the design concept of the shrines is quite simple, including crossed beams at the top of the roof and a central column in the middle of the faรงade (see fig. 3-4), which revives the concept of "simplicity". Last but not least, the "functionality" can be seen in the efficient use of space in all the shrines.

The Katsura Imperial Villa: The building and the garden of the Katsura Imperial Villa were constructed in three main stages in the seventeenth century. The building, first revealed by Bruno Taut, impressed many modern architects such as Le Corbusier and especially Walter Gropius. As an attempt to describe the Katsura architecture, Taut considered its style to be an "architecture of function" (qtd in Isozaki 258), proving that Japanese architecture followed the same principles of modern architecture, yet three hundred years earlier. The palace follows all the concepts of Japanese architecture. As the palace overviews a pond,

Fig. 5. 1:100 Model of the Katsura Imperial Villa.

one can see a clear harmony between the palace and nature. As shown in figure 6, the pond, the landscape and the building are on three different horizontal levels and the house expands on a very large piece of land (see fig. 5) which emphasizes the "horizontality" concept. In addition, as seen in figure 6, the design is quite "simple":

the

second floor and the

roof

are

projected

and

supported

columns of wood. Yet what is more fascinating is the interior design of the palace where one can

Fig. 6. Exterior Views of the Katsura.

find the traditional interior design of Japanese dwellings, emphasizing the idea of "functionalism". The interior is divided by colored fusuma and no walls, which is an efficient use of space (see fig. 7). Moreover, the open balconies with the garden and lake view stress "the connection with nature" (see fig. 7). It is really, as Taut described, of an "eternal beauty" (qtd in Isozaki 258).

Fig. 7. Katsura's Interior (Ber).

Frank Lloyd Wright: As previously mentioned, traditional Japanese architecture had a great influence on modern architects. One of the modern architects that must be referred to when talking about both modern architecture and Japanese architecture is Frank Lloyd Wright, a famous American architect who is considered to be one of the founders of modern architecture as well as organic architecture. Wright was even considered by the "American Institute of Architects" to be "the greatest American architect of

all time" (Brewster). Yet, Wright had

Fig. 8. Ward Willits House.

indeed been greatly influenced by Japanese culture. This influence was discussed in Leneweaver's article "The Influence of Japanese Art and Architecture on Frank Lloyd Wright's Designs". Wright's first contact with the Japanese culture was through his first visit to Japan in 1905 where he was taken by the Japanese woodblock prints, known as ukiyo-e, which are small Japanese drawings that reveal much about the Japanese culture. His passion for these woodblocks and Japanese architecture surely influenced him, and that was obvious in many of his

designs.

Searching

for

the

Japanese

architectural principles in his masterpieces, "the connection with nature" was apparent in his establishment of organic architecture. As a choice of the material, Wright primarily used wood in Fig. 9. Fallingwater by Frank Lloyd Wright.

the beginning of his career as well as cement,

stone, and canvas (Leneweaver 9). His buildings surely had a great emphasis on the

harmony between the building and its surroundings. For example, the cantilevered floors of "Fallingwater" (see fig. 9) -- recognized as "the best all-time work of American architecture" by "the American Institute of Architects" (Brewster) -- are an imitation of the waterfall on which the building stands (Leneweaver 9). In addition, the Ward Willits House (see fig. 8) as well as the D. W. Martin house (see fig. 10) are very good examples of Wright's preference to use clear "horizontal" lines. Thus, if one were to categorize these houses,

they

considered

could

traditional

Japanese architecture rather

Fig. 10. D. W. Martin House.

than modern architecture because of the "simple" design of horizontal expansion with the tilted roof. The concept of "horizontally" also appears in Frank Lloyd Wright's Prairie houses. Moreover, Wright's interior design has the same flexibility of space ("functionalism") as traditional Japanese houses, and he emphasized that principle in his design of the Usonian homes for middle income families to make the units more spacious and functionalist. Nevertheless, even though the Japanese influence seems quite obvious in the majority of Wright's work, the world still considers his style to be purely invented. Frank Lloyd Wright was considered to be a role-model for many architects over the years, resulting in the expansion of the Japanese influence worldwide.

Modern buildings: Not only did the Japanese concepts influence modern architects, but the Japanese genuine principles and features can be notable in many modern buildings. That's because the Japanese principles had become so embedded in modernists' thinking. Even though there is no direct influence of the Japanese architecture on the following designers, the fact that the principles are present gives credit to the Japanese as their designers preceded the modernists in implementing these principles. For instance, one can take Bauhaus University by Walter Gropius (see fig. 11), as an example of Modern architecture. It has most of the traditional

Japanese

principles:

the

Fig. 11. Bauhaus University.

"simplicity" of the form; the transparent glass emphasizing the principle of linking the spacious ("functionalism") interior with the exterior ("connection with nature"). Even though the building expands on the vertical axis, the clear "horizontal" axis is still dominant because of the parallel straight horizontal

lines

and

the

absence

curvilinear ones. Furthermore, one can also take buildings by Le Corbusier, who

although not directly influenced by the

Fig. 12. Centre Le Corbusier (Corner).

Japanese architecture, was definitely influenced by Japanese principles as seen in the "Centre Le Corbusier" (see fig. 12).

That is shown by the tilted roof and the

supporting columns as well as the horizontal, straight lines and the translucent glass that links the indoors and outdoors. Moreover, there are hundreds of examples of modern houses that follow the typical principles of the Japanese architecture. It all

began in 1945 at "the Case Study Houses Program" by the Arts & Architecture magazine, whose purpose was to design an inexpensive and efficient model of a modern house for Americans because of the residential crisis after the return of millions of soldiers from World War II. Having more than 35,000 visitors, these models influenced many architects over time. The houses' main characteristics, exactly like traditional Japanese houses, were the "easygoing relationship" between the interior and the exterior, as well as the "connection with nature" (Kolleeny 190). Another feature is that the indoor rooms are usually all connected with minimum partitions to be used according to their "function". Nowadays, the Fig. 13. The Bailey House.

majority of modern houses follow these models. We can take a random example of two of these modern houses. One is the Bailey house (see fig. 13); case study house number 21, by Pierre Koenig built in 1948, and the other is the Montauk Compound (see fig. 14) by Jim Bibber built in 2006. The Bailey house and the Montauk Compound are one-storey houses ("horizontality") with glass instead of exterior walls ("connection with nature") and "simple" designs. The interior of both buildings is spacious with no inner walls ("functionalism"), and one can also notice fusuma like partitions in the Montauk Compound (see fig. 14).

Fig. 14. Montauk Compound.

Conclusion: Finally, the fact that modern architecture had Japanese influence doesn't lower the importance of modern architecture; it only gives a small indication of the greatness of the mysterious traditional Japanese architects and encourages us to know more about that marvelous culture. Influence is an essential component in architecture; the designer is always driven by his surroundings, whether the needs of the client and society, culture, personal experience and travels, role-model(s), education or the architect's taste and preferences. Human beings are always attracted to the unknown and Japan, as an Eastern country that excluded itself for many years, surely attracted designers and architects hungry for new ideas. Modern architecture's purpose wasn't to rebel against the traditional but in fact to rebel against the traditional American and European designs present at that time. And according to the modern architects' experiences and surroundings, the great Japanese architecture wasn't considered to be "traditional". Modern architects began to realize that influence is vital in architecture, and it makes no sense that architects must ignore the beauty of the past just to rebel against the conventional. That's why they quickly moved to another style, a style that exploits modern concepts but still respects the traditional: Post-Modern architecture.

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Architectural

Images.

Ward

Willits

House.

Digital

image.

GreatBuildings.com. Web. 13 July 2010. Jpatokal. Roof of the Grand Shrine, Naiku. Digital image. Japanese Lifestyle. 2 Mar. 2010. Web. 13 July 2010.

Kolleeny, Jane F. "Case Study Houses Inspire Montauk Compound." Architectural Record 195.10 (2007): 190-193. Academic Search Complete. EBSCO. Web. 12 July 2010. Leneweaver, Carrie. "The Influence of Japanese Art and Architecture on Frank Lloyd Wright's Designs." Web. 20 June 2010. Nikko Yomeimon M3135. Digital image. Wikimedia. 22 May 2006. Web. 13 July 2010. Taut, Bruno. Fundamentals of Japanese Architecture. Tokyo: Kokusai Bunka Shinkokai, 1937. Print. View of the Ise shrines. Digital image. Tokyo Japan Times. Web. 13 July 2010.