Asian Architecture

SCHOOL OF ARCHITECTURE, BUILDING & DESIGN Research Unit for Modern Architecture Studies in Southeast Asia Bachelor of Science (Honours) (Architecture)

ASIAN ARCHITECTURE (ARC60403/ARC2234)

THE INFLUENCES OF TRADITIONAL JAPANESE CULTURE AND VERNACULAR

JAPANESE

ARCHITECTURE

ON

THE

CONTEMPORARY ARCHITECTURE OF NISHINOYAMA HOUSE.

Tutor: Mr. Nicholas Ng

Group Members: Too Mun Fai 0318214 Lai Yik Xin 0323388 Ng Ke Ning 0323015 Ng Zheng Si 0322585 Tan Sheau Hui 0319235 Tang Ze Zheng 0318967

Asian Asian Architecture-Nishinoyama Architecture-Nishinoyama House House

Table of Contents

Page

Abstract………………………………………………………………………………iii

1.0

Introduction………………………………………………………………….. 1

2.0

An Overview of Japanese Vernacular Architecture – Kyomachiya………… 3

3.0

Essence of Japanese Culture…………………………………………………. 6

4.0

Features of Nishinoyama House adapting Japanese Culture and Vernacular Architecture 4.1

Material……………………………………………………………….. 10

4.2

Spatial Organization…………………………………………………... 15

4.3

Circulation…………………………………………………………….. 20

4.4

Structure……………………………………………………………….. 28

5.0

Conclusion………………………………………………………………………37

6.0

References………………………………………………………………………..38

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Abstract The purpose of this paper is to investigate the influences of Japanese culture and vernacular Japanese architecture (Kyomachiya) on contemporary architecture, Nishinoyama House.

The selected building, Nishinoyama House is a modern housing unit situated in Kyoto, the cultural heart of Japan which has a relatively long history from Heian Period to Meiji Period. Throughout the years, the Japanese community is heavily influenced by its rich culture and architectural values. Hence, this paper is to discover how Japanese culture and vernacular architecture influence the design of Nishinoyama House.

In assisting the validation of research, literature reviews based on various sources regarding Japanese culture and Kyomachiya were conducted to enhance the process. This paper is written with evidences from reliable internet sources, institutional thesis, and book source.

Certain features are studied specifically from some traditional Kyomachiya examples.

For starters, this paper will study thoroughly on Japanese vernacular architecture in Kyoto, which is Kyomachiya, followed by the essence of Japanese culture. The research continues with the influence that Japanese culture and Kyomachiya has on the Nishinoyama House. The four main features, material, spatial organization, circulation and structure are the reflection of the influence.

Nishinoyama House utilizes modern materials which has similar properties with traditional material used in Kyomachiya, yet they are able to meet modern day requirements.

The transparency of doors and windows reflects the close relationship between people and nature which is one of the most important elements in Japanese culture. In terms of spatial organization, internal courtyards are designed similarly to the tsuboniwa in machiya, creating an interactive space for the users. The circulation of Nishinoyama House provides different levels of privacy

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which is similar to Kyomachiya. Lastly, the structure of Nishinoyama House remains exposed, similar to Kyomachiya, yet the units share internal walls to reflect the Japanese cultural concept of harmony.

Hence, it has come to a conclusion that Nishinoyama House has been greatly influenced by the Japanese culture and the Kyomachiya, be it intentionally or unintentionally.

To preserve a city’s character and remain its architectural and cultural values are integral in developing a contextual contemporary design.

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1.0 Introduction Nishinoyama House, a modern approach which simultaneously echoes traditional vernacular typology, is a ten-unit housing complex in Omiya Nishinoyama, Kyoto. The Kyoto city government has started to protect and preserve the city’s character by implementing rule that requires new buildings to have pitched roof. The 21 individually pitched roofs and the housing units are positioned out of alignments which creating a various type of small gardens and also alleyway. Internal spaces are fluidly connected and linked by external circulation routes. The interconnecting spatial layout encourages a positive and harmony relationship between the neighbourhood and also with the nature.

The influences of the traditional culture and vernacular architecture Kyomachiya reflect in the four main features, which include materials, spatial organization, circulation and structure. The similar features like simple layout, material and exposed building structure can be both found between Kyomachiya and also in Nishinoyama House. Besides, the Japanese culture which emphasize on the harmony between human and nature is also reflected in the interconnecting spatial organization, circulation and also material used in Nishinoyama House.

This paper will investigate on the influences of traditional Japanese culture and vernacular architecture on the contemporary architecture of Nishinoyama House by responding to the following research questions.

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Title: The influences of traditional Japanese culture and vernacular Japanese architecture on the contemporary architecture of Nishinoyama House.

1. What is Kyomachiya?

2. What is the essence of Japanese culture related to Nishinoyama House?

3. How is the adaptation of vernacular architecture, Kyomachiya into Nishinoyama house?

4. How

does

Nishinoyama

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House

reflect

Japanese

culture?

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2.0 An overview of Japanese Vernacular Architecture - Kyomachiya Machiya is one of the two categories of Japanese vernacular houses according to Japanese Architecture and Art Net Users System (JAANUS,2011). This vernacular architecture has undergone three important epoch which accords to the change of political status of Japan.Machiya originated in the Heian period (794 -1185) and continued to develop through the Muromachi era (1392-1573) and Meiji period. Under the Chinese influence, the function of Machiya acted as urban dwellings for the townspeople, which are mostly

merchants and craftsmen.

Figure 2.0(i): Significant epochs of Machiya in Japan timeline The standard defining form of machiya throughout Japan is represented by the Kyomachiya, machiya located in Kyoto, which significantly defined the neighbourhood atmosphere of downtown Kyoto. Kyomachiya is recognized as long and narrow wooden houses which stretch deep into the city block. Typical Kyomachiya often has a small private courtyard garden called “tsuboniwa�, which addresses the climate change to the user, also aid in air circulation in the house.

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Figure 2.0(ii): Typical courtyard garden in Machiya -“ Tsuboniwa�

(Image source:Tsuboniwa - Courtyard japanese gardens. Retrieved November 10, 2016, from

https://www.pinterest.com/frederiquedumas/tsuboniwa-courtyard-japanese-gardens/) Figure 2.0(iii): Typical floor plan of Kyomachiya

The front of the building traditionally served as shop spaces while the remainder of the townhouse serves as dwelling. The merge of commercial and residential functions has created a multifunctional townhouse which reflects the economic development of Japan as well as the importance of community linking.

The front appearance of Kyomachiya are often wooden lattices (koshi) which indicates the type of shops through different style of latticework. Earthen walls and baked tile roofs are incorporated in two stories high Machiya.

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Figure 2.0(iv): Appearance of Machiya (Image source:Machiya Townhouses. (n.d.). Retrieved November 10, 2016, from https://www.wmf.org/project/machiya-townhouses) Spatial arrangement of Machiya has addressed the importance of spatial fluidity while respecting residents’ privacy. Sliding doors are used to provide the versatility of a space, either opened or enclosed.

Figure 2.0(v): Narrow alley walkways between Machiya.

(Image Source: Kyoto Machiya Inn. (n.d.). Retrieved November 10, 2016, from http://www.kyotomachiyainn.com/)

Kyomachiya sited next to each other with narrow alley walkways in between has given a strong sense of community, showing the downtown neighbourhood atmosphere.

Machiya in a neighbourhood or an area in Kyoto will merchandise the same type of product and thus each area are traditionally defined by a product. Through the sharing of mechanization, the linking among the community is enhanced, eventually creating a stronger bond among the community.

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3.0 Essence of Japanese Culture The focus point of Nishinoyama House is the bonding of a community within an enclosed neighborhood with compliments from the natural elements around the houses. The house does this via a series of seemingly random spatial arrangements that promotes healthy interaction between neighbors and families living in each unit and also with nature. To fully understand how Japanese culture has influenced the design of the Nishinoyama House, we need to dwell into the everyday lives of a typical Japanese.

For starters, Japanese mythological beings and gods display human emotions such as kindness and anger, in these mythologies, positive traits such as kindness and empathy that results with positive relations with others are praised and rewarded, on the other hand, negative traits like rage and selfishness that damages relations are condemned and punished, for example, Omoikane (deity of wisdom and intelligence) who is always called upon to give good counsel to other heavenly deities. These early literature pieces show how the Japanese people has always emphasized on intrapersonal relationships between each other (Varley, 2000).

Figure 3.0(i): Students cleaning their classroom together.

(Image source:Koh Mui Fong (n.d.),Retrived November 11, 2016 from http://cdn-media2.lifehack.org/wp-content/files/2016/08/23124801/japan-children-clean-room.jpg)

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The children in Japan are taught early in their schooling lives that a fulfilled life is one that has close relations with others. Children quickly learn that they are a part of a big and interdependent society that starts with the family, and slowly extending to larger groups such a neighborhood, school, district and ultimately a country that runs as a monolithic organism.

Schools also teach that dependence on others is a natural human condition and should be adhered. By doing so, the education system is able to plant the seed of teamwork and cooperation into the minds of the younger generations. Hence, producing effective team players to run organizations efficiently in the future.

In intrapersonal relationships, Japanese people lives strongly by the notion of Wa (ĺ’Œ), where there must always be harmony within a group. This notion calls for an attitude for cooperation and recognition of each other’s social roles. If each individual in a group understands and carries out their obligations, the whole group will benefit from it. Then there is also the more-relaxed-culture of after-work-bar-hopping provides not only instrumental opportunities for the exchange of information and release of social tensions but also opportunities to express a nonverbal desire for continued affiliation. In Japan, the art of communication is so important that the people not only listen to what you have to say, they also focus on your facial expressions to pick up indicators of what you truly mean while you say those words, that is why Japanese people speak with a non-expressive look to avoid giving off any false messages (Varley, 2000).

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Figure 3.0(ii): Japanese workers enjoying ramen for dinner together in front of the chef.

(Image

Source:Justin

C.

(2016)

Retrieved

November

11,

2016

from

http://3c9bl93o71m619w9kn2rfwinkdh.wpengine.netdna-cdn.com/wpcontent/uploads/2014/05/Ramen-Night.jpg) Even the street side economy ramen stalls which are normally set up in traditional Machiya shophouses, where the customers, who are normally workers who have just left work, dine together right in front of the chefs as they prepare their meals on the spot, this not only helps the co-workers relax after a long day of work, it also strengthens the bond between customers and also the shop owners, which further emphasizes the importance of intrapersonal relationships to the Japanese society (Cwiertka, 2006). These are just a few of many customs and traditions that affects the way architecture is designed in Japan, Nishinoyama House is a fine example of this.

In this culture where they practice strong and healthy intrapersonal relationship between the people, prompted Kazuyo Sejima to create an enclosed neighbourhood (Nishinoyama House) where the people within it can bond even further with each other, via a spatial layout that places each unit in relation to the adjacent units. This intersection between semi-public units and open Japanese courtyards encourages strong community linking within an enclosed environment.

The Japanese mythology also pays close attention to nature as a material for inspiration. The mythology describes the origin of nature as we know it to be created by two divinities, one male (Izanagi) and one female (Izanami), as they withdrew a spear from the ocean, the brine dripped on the surface of the ocean and coagulated to form the 8 islands of Japan. The female deity then gave birth to the natural elements, such as the seas, the rivers,

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the mountains and the trees, water and the fire. She also gave birth to agriculture and sericulture.

Japanese culture is also often said to be a close relationship between man and nature.

The Japanese attitude towards nature is sometimes described as “man in harmony with nature” or “man in nature”. This culture is evidently shown through their utmost respect and appreciation for the nature around them. They celebrate important seasonal festivals that celebrate the beauty of nature, such as Cherry-blossom viewing, moon-viewing and snowviewing festival. The Japanese people often try to bring nature as close to home as possible, by incorporating floral and wave patterns on the fabric of kimono dresses, and design small gardens in tight confined spaces or in an alcove. The architectural style of Japan is designed to compliment nature rather than dominate over it.

Even in cooking culture of Japan, the way food is normally cooked in Japan is rarely meant to overpower the taste, colour, quality and shape of the natural food ingredient used.

This ultimately shows the respect the Japanese have for the materials and ingredients provided by Mother Nature, and the effort they go to preserve the quality of it in fields like art, literature, food, social and ultimately architecture (Cwiertka, 2006).

Therefore, the Nishinoyama House has incorporated nature into the open spaces between roofs to in the form of rock gardens. Their respect for nature is translated to the Nishinoyama House via many of the Japanese styled courtyards and gardens, where the principle of wabi-sabi is clearly visible in the layout of the plants and pebbles in the rock gardens, There is not more than a few bare trees in each garden, with plain and soft colours of the walls and pebbles to compliment the minimalistic atmosphere of the gardens. Kazuyo

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Sejima chose to stick to the original properties of the materials in the garden to maintain the subtle quality of the spaces.

4.0 Features of Nishinoyama House adapting Japanese Culture and Vernacular Architecture

4.1

Material Kyomachiya is traditional wooden townhouse which is built before World War II in

Kyoto. Wood is the fundamental material of Japanese architecture as it is found abundantly in the rich forests of this country. However, the economical growth in the 1960s introduced the mainstream use of reinforced concrete in the construction of buildings in Japan. Therefore, the materials used in the construction of Japanese houses transitioned from wood to concrete, iron

and

steel.

4.4.1 Kyomachiya material type

Figure 4.4.1(i):Exterior of a typical Kyomachiya house.

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(Image

Source:

TravelJapanBlog(n.d.)Retrieved

November

11,

2016

from

http://traveljapanblog.com/wordpress/2013/10/Kyomachiya-guest-house-makuyainexpensive-lodgings-in-kyoto/)

Figure 4.4.1(i): Interior of a typical Kyomachiya house, courtyard view (right).

(Image

Source:Retrieved

November

11,

2016

from

http://lik.kcif.or.jp/archives/0409/09_2004.htm)

Kyomachiya houses are built with natural materials like wood, paper and straw and the gardens are filled with trees, water, stones, and moss. The natural elements outside serves to compliment the subtle interior, while the interior frames the garden outside. Ultimately the Kyomachiya house co-exists with the garden outside to form a harmonious relationship. The earth and straw walls control the humidity during unfavorable weathers. The concept of the house revolves around the natural environment in the exterior, hence promoting a natureorientated

lifestyle.

In Kyomachiya, Koshi which is a wooden lattice constructed with wood, bamboo, or metal strips to serves a security measure and to improve the privacy of each unit. The occupants can view outside easily during the day, yet passers-by cannot easily intrude on the occupants’ privacy.

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4.4.2 Kyomachiya influences to Nishinoyama House

Figure 4.4.2(i):Wooden Joists raised up on white-painted frames.

(Image Source: Work-architects (n.d.), Retrieved November 11, 2016 from http://www.world-

architects.com/architecture-news/submitted-works/Nishinoyama_House_830)

The structure of each unit uses a mix of wood, concrete and steel for its construction.

Blond wood is used for indoor flooring, while outdoor area is covered with concrete. The roof is supported by wooden joists which sits on the white steel framework. Ceilings are also made of wood which makes its users feel welcomed (ArchEyes, 2016). By utilizing modern materials, the overall strength of the structure is improved and the house becomes more sustainable and immune to termite attack.

Figure 4.4.2(ii): Sliding door of Nishinoyama House (Left) and Kyomachiya house (Right).

(Image Source: Architectural Record (n.d.), Booking.com (n.d.)Retrieved November 11, 2016 fromhttp://www.architecturalrecord.com/articles/7325-nishinoyama-

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househttp://www.booking.com/hotel/jp/kyoto-guest-house-makuya.engb.html?aid=356980;label=gog235jc-hotel-XX-jp-kyotoNguestNhouseNmakuya-unspec-mycom-L%3Aen-O%3AwindowsSnt-B%3Achrome-N%3AXX-S%3AboU%3AXX;sid=024568437fbf71089d7464be288b0502;dist=0&sb_price_type=total&type=tot al&) Sliding glass doors allow the indoor and outdoor to merge seamlessly while still separating the rooms from the garden. It maintains the nature-orientated concept in Kyomachiya house. Besides, the sliding door also preserves the Kyomachiya architecture style

which

is

Hikido.

The sheer curtains filter the light and also add further ambiguity to the interior space (ArchEyes, 2016). It imitates the translucent shoji paper sliding door which is for light infiltration.

Figure 4.4.2(iii): Vertical element of the wall of Nishinoyama House.

(Image

Source:

Booking.com

(n.d.)Retrieved

November

11,

2016

from

https://get.google.com/albumarchive/106160468754518703312/album/AF1QipNUvpNf5jsgK lDH3Juo1-dm2INv-Vwnh1KPKzE_)

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Vertical element of the wall imitates the wooden lattices on the exterior of Kyoto traditional machiya houses. These wooden lattices are simplified into vertical lines, so that the exterior facade keeps its minimalistic look.

Thus, the most important aspect of traditional Japanese architecture design is “comfort”. Japanese architects are striving to incorporate traditional methods without losing the essential quality of comfort, both emotionally and physically. They crave aesthetics that allows the residents to feel comfortable in the space. Japanese architects have found ways to create spaces that are both modern in materials and traditional in the feeling they instill (Angen, 2012-2013).

Sliding glass doors also represent a more contemporary version of shoji sliding door which is found in traditional Japanese design. It improves the insulation without losing the feeling of traditional design. L shaped layout of each room helps to maintain the interior courtyard which is similar to ‘tsuboniwa’ (courtyard or gardens found in the machiya of Japan). The courtyards play a significant role in the connection to the outdoors from indoors. The wise use of material for the sliding glass door helps to maintain the connection between building and nature which happens in Kyomachiya house (Angen, 2012-2013).

In Nishinoyama House, there are different modern material (steel, concrete and aluminum) to replace the traditional material (timber) in a combination of past and modern material to improve sustainability.

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4.2 Spatial Organization 4.2.1 Spatial Organization of Kyomachiya

Figure 4.2.1(i):Typical floor plan of Kyomachiya.

(Image Source: Outside the glass case. (2009). Retrieved November 12, 2016, from http://lepo.it.da.ut.ee/~cect/teoreetilisedseminarid_2010/etnoloogia_uurimisrühma_seminar/ Brumann_2009_Outside_the_Glass_Case.pdf )

The frontmost space of Kyomachiya is called a ‘mise’, which is used as a space for business and meeting purposes. The street in front usually turns into the public space for community gatherings. ‘Omoya’, the space located behind ‘mise’ serves as a living space or multipurpose space where most of the furnitures can be moved to be converted into another space (Suwa, 2006).

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Figure 4.2.1(ii):Enclosed garden of Kyomachiya.

(Image Source: Yamanaka Aburaten machiya Guest House (n.d.), Retrived November 11, 2016 from http://www.yoil.co.jp/mghouse/en/room/j-h/)

Kyomachiya houses has several types of gardens (niwa), such as the enclosed gardens and the open gardens. Tataki, the enclosed garden, is located within the centre of Kyomachiya. It functions as an outside space although it is placed inside the house (Suwa, 2006).

4.2.2 Nishinoyama House Influenced by the Spatial Organization of Kyomachiya

Figure 4.2.2(i): Public garden and covered garden in Nishinoyama House.

(Image Source: Nishinoyama House. (n.d.). Retrieved November 12, 2016, from http://www.projectalog.com/board/2014/11/nishinoyama-house )

Same as Kyomachiya, the Nishinoyama House has various types of gardens, which include gardens along the streets that are open for the public use, covered gardens surrounded by a single housing unit that can be described as semi-outdoor, and bright gardens with the

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opens sky overhead that can be accessed through narrow paths between units (Roberto & Ignacio, 2016).

The rooms and gardens that are connected under the same roof enables the residents to enjoy both indoor and outdoor activities. The residents can have a positive relationship with the neighbours by sharing the same front garden, while the covered garden within each

individual unit retains the privacy of the occupants (Bernstein, 2014).

Figure 4.2.2(ii): Floor plan of Room 1 in Nishinoyama House.

Simple bathroom and kitchen is included in each unit, the rest are used as living spaces for the residents, (Monocle, n.d.). Similar to the room layout of Kyomachiya, each room has a simple design so that it can be used for various purposes depending what the situation calls for. The furniture in the room is detachable and it is brought in when necessary and taken out after use (Intercultural Understanding, 2012).

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Figure 4.2.2(iii): Working space in one of the units (left) and meeting area(right).

(Image Source: Monocle, (n.d.). Retrieved November 28, 2016, from https://vimeo.com/109578280)

The tenants of Nishinoyama House mostly consists of creative craftmans working in the field of art and fashion (Monocle, n.d.). Aside from using living spaces, most of them also use the units as studios to work and meet their clients, which is made possible by the spatial planning of Kyomachiya that specializes in creating multifunctional spaces.

4.2.3 Influence of Japanese Culture in the Spatial Organization The Japanese cultural concept Wa (ĺ’Œ) which literally means harmony has influenced the spatial organization of Nishinoyama House. The 10 housing units are positioned close to each other under 21 pitched roof to create a sense that neighbours are close at hand and encourage the traditional spirit of Wa between the neighbourhood. The interconnected walkway, alley and public courtyard link the neighbours together and create a harmonious atmosphere within it. The openness of this architectural style naturally leads to the healthy and positive human interaction (Bernstein, 2014).

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The culture of Japanese appreciation of nature also plays a significant role in the spatial organization of Nishinoyama House. Japanese appreciate the aesthetic of nature and love of nature.

Figure 4.2.3(i): Bathroom is connected to the garden.

(Image Source: Bernstein, F. (2014, September 17). Nishinoyama House. Retrieved November 12, 2016, fromhttp://www.world-architects.com/architecture-news/submittedworks/Nishinoyama_House_830 )

The arrangement of the 10 housing units in Nishinoyama House are out of alignment to create different small gardens between it. Most of the spaces in Nishinoyama House are visually or physically connected to garden, to encourage the close and harmonious relationship between the residents and nature (Senda, 2013).

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4.3 Circulation 4.3.1 Chō-nai Layout

Figure 4.3.1(i): Chō-nai Layout (Image

Source:

http://www.wachagashi.jp/kosendo/media/the_preservation_of_Kyomachiya.pdf) Most of the Machiya House community in Kyoto are arranged in a traditional layout called Chō-nai. It is a new urban unit for citizen in Kyoto to become responsible for their own defense during the chaos of Murimachi Era.This layout also known as lozenge shaped cho nai (Suwa, 2006).

4.3.2 Internal courtyard in Kyomachiya House

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Figure 4.3.2(i): Examples of internal courtyards in Kyomachiya House (Image Source: @. (n.d.). Tsuboniwa - Courtyard japanese gardens. Retrieved November 10, 2016,

from

https://www.pinterest.com/frederiquedumas/tsuboniwa-courtyard-japanese-

gardens/ )

Internal courtyards are used in most of the Kyomachiya House. The courtyard functions as a transition space from the front part of the house to the back part of the house.

Besides, the courtyard encourage natural ventilation. The residence are able to have a sense of outdoor nature while staying inside the building. The nature brightness gradually change from dark to light from the inside outward strongly emphasize directionality toward the inside depth (Otani, 2012).

4.3.3 Fusuma and Shouji Figure 4.3.3(i): Example of fusuma (Image Source: Fusuma: Tigers and Dragon. (n.d.). Retrieved November 10, 2016, from http://art.thewalters.org/detail/77479/fusuma-tigers-and-dragon/ )

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Figure 4.3.3(i): Example of shouji (Image Source:3 ft. Tall Window Pane Shoji Screen. (n.d.). Retrieved November 10, 2016, from http://www.orientalfurniture.com/oriental-furniture/WP36.html )

The rooms of Kyomachiya House are separated or joined by sliding frames. The sliding frames are called fusuma and shouji. The sliding frames invoke a latent awareness that they can be easily opened and exhibit a faint sense of closure and ambiguity since they are half isolated and half open (Otani, 2012).

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4.3.4 Street Frontage Figure 4.3.4(i): Example of Kyomachiya House shop (Image Source:Billy Handmade Dollhouse Kit Kyoto Series Kyomachiya Kit Ii Pottery Shop 8504 (. (n.d.). Retrieved November 10, 2016, from http://www.terapeak.com/worth/billyhandmade-dollhouse-kit-kyoto-series-kyomachiya-kit-ii-pottery-shop-8504/301773156591/ )

The front of the building traditionally served as shops for Japanese merchants to sell their goods. The building normally have slide or fold shutters that able to open to display the goods and product the merchants selling (Suwa, 2006).

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4.3.5 Access hierarchy and sharing of internal walls, roofs and courtyards in Nishinoyama House

Figure 4.3.5(i): Different access for each apartments

The apartment units are arranged near together but separated as an independent unit to each other. Certain units are sharing the internal walls, roofs and courtyards with other units.

Every unit has its own access directly from different place within the site perimeter. For example, the unit no. 4 are access from the underground garage and sharing courtyard with unit no. 2, unit no. 8 and unit no. 6. Courtyard with numbers indicating the area owned the respective unit. Only the owner can access their own courtyard (Bernstein, 2014).

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Figure 4.3.5(ii):Stairs to underground garage (Image Source:Kuu world » NISHINOYAMA HOUSE. (n.d.). Retrieved November 10, 2016, from http://www.kuuworld.com/2014/07/nishinoyama-house/ )

Figure 4.3.5(ii):Sharing of internal courtyard (Image Source:Kuu world » NISHINOYAMA HOUSE. (n.d.). Retrieved November 10, 2016, from http://www.kuuworld.com/2014/07/nishinoyama-house/ )

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Courtyard without numbers are the public entryway to the private units. Stairway that access to the underground garage also located in this public courtyard.

The purpose of various access is to blurring out the entrance from the public in order to protect the privacy for the residence. Sharing of internal walls, courtyards and roof is to blurr away the boundaries between each unit to create a united community. This concept is similar to the fusuma and shouji from Kyomachiya House (Bernstein, 2014).

4.3.6 Nishinoyama House adapt the layout of Kyomachiya House

Figure 4.3.6(i)A sketch of typical Kyomachiya Plan (Image Source:The Japanese Machiya. (2016). Retrieved November 10, 2016, from https://misfitsarchitecture.com/2015/06/25/the-japanese-machiya/ )

Figure 4.3.6(ii)Examples of the apartment layout, the empty space within the plans are the internal courtyard (Image Source: http://nishinoyamahouse.com/rooms/)

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Each apartment is a single-story free flowing multipurpose spaces that connect room to rectilinear room as in a traditional Japanese house (Kyomachiya) (Graham,2015). The layout of Nishinoyama House and Kyomachiya House is similar, both have living area, tatami, bathrooms, dining, kitchen and internal courtyards. Each unit have its own internal courtyards for the purpose of ventilation and natural light penetration. The plan of both Kyomachiya and Noshinoyama House are form with rigid square and rectangle without any curves involved. Some units consist of a series of interconnected room that surround a courtyard. Some have detached rooms located across a courtyard.

4.3.7 The front walkway of Nishinoyama House

Figure 4.3.7(i): Walkway of Nishinoyama House (Image Source:Kuu world Âť NISHINOYAMA HOUSE. (n.d.). Retrieved November 10, 2016, from http://www.kuuworld.com/2014/07/nishinoyama-house/ )

There are walkways in front of all units in Nishinoyama House. The purpose of the walkway is to encourage interaction within the residences. With the help of transparent glass walls, residences are able to have a glimpse into their neighbor’s unit. Some artist residence

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chose to display their artworks there. This concept is similar to the street frontage of Kyomachiya where the merchants displayed their goods.

4.4 Building Structure The vernacular Japanese architecture in Kyoto which is Kyomachiya is known for its lavish use of relatively elaborate and delicate materials and their light, supple construction (Muneta, 2016). Building framework is one of its most prominent features. Thus this section of the paper is to study on how Nishinoyama House has been influenced by the traditional machiya structural system and Japanese culture.

The frame of a traditional Japanese house is constructed out of wood and the load is supported by the three main elements, which are the vertical columns, horizontal beams and diagonal braces. It was the influence of western countries’ technology that diagonal braces came to be used in Japanese house.

4.4.1 Kyomachiya structural feature

4.4.1.1 Exposed framework

Figure4.4.1.1.1:The façade of Kyomachiya.

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(Image Source:World Monument Funds in Japan (2013). Retrieved November 11, 2016 from https://www.wmf.org/sites/default/files/styles/project_gallery_full_size/public/projects/gallery /main.jpg?itok=NiVdTHLT)

In normal houses, the pillars and timberwork are usually hidden behind the wall coverings (Kie &Azusa, 2004). However, in machiya system, the columns and timberwork are purposely made exposed to serve as a decorative enhancement to the building (Kie &Azusa, 2004). Timber roof trusses and columns are visible, with the ceiling of the ground floor passes through from the front to the back of the building, which further enhance its aesthetic value (Kie &Azusa, 2004).

4.4.1.2 Roof structure

Figure 4.4.1.2(i): Gabled roof or kirizuma (left) and hipped-gable roof or irimoya (right).

(Image Source: Japan National Tourism Organization (n.d.) Retrieved November 11, 2016 from http://www.jnto.go.jp/eng/indepth/cultural/experience/a.html)

In Japanese traditional architecture, various roof forms can be found as they evolved historically and changed based on different building types since as far as the Edo period until the Second World War. Addition of spaces and combination of the basic hipped and gable roof form are the main causes of this transformation.

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In Kyomachiya, gabled roof or kirizuma is often used, which were also used in shrines.

Hipped roof or yosemune is mostly found on farmer houses while hipped-gable roof or irimoya is applied in upper class houses (Higashino, 2000). In machiya system, roof structure

is carefully designed based on every detail on its spatial organization thus the types of spaces of a building is well expressed in its roof structural design.

Figure 4.4.1.2 (ii): Roof plan (left) and floor plan (right) of Fukokan, Hiroshima.

(Image

Source:

Retrieved

November

11,

2016

from

https://www.academia.edu/8291977/Roof_Typology_and_Composition_in_Traditional_Japa nese_Architecture.)

For the case of Fukokan Machiya in Hiroshima (built in 1859), due to the limited site given, separated roof to each functionally different space was not possibly made (Higashino, 2000). Solution done was expressing the different types of spaces by giving each of them an independent ridgepole in the roof form (Higashino, 2000).

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Figure 4.4.1.2 (iii):Roof plan (left) and floor plan (right) of Kokian, Kanagawa.

(Image

Source:Retrieved

November

11,

2016

from

https://www.academia.edu/8291977/Roof_Typology_and_Composition_in_Traditional_Japa nese_Architecture.)

Another case is Kokian in Kanagawa (1909) which its roof form results from the combination of the roofs of three defined type of spaces-formal, informal and service (Higashino, 2000).

4.4.2 Nishinoyama House Influenced by the Structural System of Kyomachiya In Nishinoyama house, a similar structural system to Kyomachiya is applied, with differences in materials to suit the modern context. It is characterized by its unifying steel structure which holistically connects the ten units, creating a series of internal gardens and alleyways.

4.4.2.1 Exposed Framework Following vernacular Kyomachiya aesthetic value, the building framework of Nishinoyama House remains visible from both the exterior and interior. Steel framing include the three main elements in Japanese houses, which are the vertical columns, horizontal beams and diagonal braces.

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Figure 4.4.2.1(i): Construction site of Nishinoyama House.

(Image Source:Haze Building Group (2016). Retrieved November 11, 2016 from http://www.designboom.com/wp-content/gallery/nishinoyama-house-by-kazuyo-sejima/g1.jpg)

Steel structural frames are partially exposed, with steel cross bracing hidden behind the building’s mortar walls (Pollock, 2014).

Figure 4.4.2.1(ii): Exposed structure of Nishinoyama House.

(Image

Source:Enzo

Garden

(2016).

Retrieved

November

11,

2016

from

http://www.designboom.com/wp-content/uploads/2013/12/kazuyo-sejima_nishinoyamahouse_designboom_006.jpg)

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The transparent glass doors imitate the traditional shoji screen door, which allows the exposed framework to be more vivid. Wood members securing the plywood roofs (Pollock, 2014) also remains visible, making the houses transparent with its naked structure in its original state, thus enhancing its aesthetic values.

4.4.2.2 Roof Structure

Figure 4.4.2.1(iii): Roof view of Nishinoyama House.

(Image Source: Iwan Baan (2014). Retrieved November 11, 2016 from http://cdn2.worldarchitects.com/images/CmsPage/23/43/56/5419a27e5ee043e29c02137e0ab5c3b7/5419a27e5 ee043e29c02137e0ab5c3b7.jpg)

By using a combination of the city’s three acceptable angles of roof sloping, the architect designed three roofs on each unit, with two of them sharing the adjacent apartments.

(Pollock, 2014) This idea is influenced by the thinking of traditional Japanese builders which had created various types of roof by combining basic roof forms.

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Similar to the concept of Kyomachiya roof, the roofs for each unit were developed according to its spatial organization. This includes the level count of each unit and types of spaces, which were carefully designed alongside with courtyard area, natural lighting and ventilation (Senda, 2013).

Figure 4.4.2.1(iv): Dining area in Nishinoyama House.

(Image

Source:Iwan

Baan

(2014).

Retrieved

November

11,

2016

from

http://www.architecturalrecord.com/ext/resources/archives/projects/building_types_study/mu lti-family-housing/2014/images/Nishinoyama-House-Kazuyo-Sejima-Architect-7.jpg)

For instance, one of the unit’s dining areas is covered by a high ceiling and roof to create openings for better ventilation and welcomes natural lights.

Figure 4.4.2.1(v): Open courtyard in Nishinoyama House.

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(Image

Source:Enzo

Garden

(2016).

Retrieved

November

11,

2016

from

http://www.designboom.com/wp-content/uploads/2013/12/kazuyo-sejima_nishinoyamahouse_designboom_004.jpg)

Some intermediate openings between roof planes are turned into open courtyards between private units. Besides, outdoor spaces and circulation areas are covered by the angled roof (Pollock, 2014).

4.4.3 Influence of Japanese Culture in The Structure 4.4.3.1 Japanese Cultural Concept, “Wa” As stated in the section of Japanese Culture, Wa which literally means harmony, is a Japanese cultural concept derived from traditional Japanese family values. Wa plays an integral role in Japanese society, which has consequentially reflected in their daily life, social attributes and even in the vernacular architectural value.

4.4.3.2 “Wa” reflected in Nishinoyama House Identical to many old community in Kyoto, the dwelling units in Nishinoyama House are constructed both close together and independent of each other.

Figure 4.4.3.2(i): Sharing of internal wall in Nishinoyama House.

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Asian Asian Architecture-Nishinoyama Architecture-Nishinoyama House House

(Image Source:Hase Building Group (2016) Retrieved November 11, 2016 from http://www.designboom.com/wp-content/gallery/nishinoyama-house-by-kazuyo-sejima/g2.jpg)

Instead of supporting the entire complex with a single structural frame, the architect has given each unit with its own localized framing and then linked them all together. (Pollock, 2014) Some apartment shares the internal walls and all units are then connected with a continuous set of pitched roofs. This result in a unifying structure consists of separated parts, each constructed out of 3 inch (75 millimeter-square), solid-section steel columns and Hbeams that support the wood joists which secured the plywood roofs. (Pollock, 2014). This unifying structural form portrays the cultural concept of “Wa�, a continuation of harmony in Japanese.

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5.0 Conclusion This assignment teaches us to focus on how asian architecture can relate and comply to the cultural and architectural context of its given site, and hence complementing and blending with the site. By applying newer and more efficient construction methods and using more modern and sustainable materials and technology to replace important parts of the traditional Kyomachiya houses, while maintaining the spatial layout and features of the houses such as the shoji screens and vertical latices of the facade, they were able to overcome the shortcomings and impracticality of the traditional Kyomachiya design without giving up its essence and main characteristics. The Nishinoyama House was able to infuse public and private space together in one area, hence maximizing the usage of the limited space that Japan has, while maintaining comfortable and spacious living conditions for its users.

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11. Intercultural Understanding. (2012, March 21). Retrieved November 12, 2016, from http://www.mukogawa-u.ac.jp/~itcs/publications/IU_vol2/pdf/IU_all.pdf 12. Bernstein, F. (2014, September 17). Nishinoyama House. Retrieved November 12, 2016,

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