nishinoyama house architectural analysis

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

iiAsian Architecture-Nishinoyama House

Table of Contents Page

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

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

2.0 An Overview of Japanese Vernacular Architecture – Kyomachiya………… 2

3.0 Essence of Japanese Culture…………………………………………………. 5

4.0 Features of Nishinoyama House adapting Japanese Culture and Vernacular

Architecture

4.1 Material……………………………………………………………….. 8

4.2 Spatial Organization…………………………………………………... 12

4.3 Circulation…………………………………………………………….. 16

4.4 Structure……………………………………………………………….. 22

5.0 Conclusion………………………………………………………………………29

6.0 References………………………………………………………………………..29

iiiAsian Architecture-Nishinoyama House

AbstractThe 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

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.

1Asian Architecture-Nishinoyama House

1.0 IntrodcutionNishinoyama 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 Kyo-machiya

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 kyo-machiya 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.

Title: The influences of traditional Japanese culture and vernacular Japanese

architecture on the contemporary architecture of Nishinoyama House.

1. What is Kyo-machiya?

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

3. How is the adaptation of vernacular architecture, Kyo-machiya into Nishinoyama house?

4. How does nishinoyama house reflect Japanese culture?


2.0 An overview of Japanese Vernacular Architecture - KyomachiyaMachiya 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 Kyo

machiya, 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.


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 Kyo Machiya

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 Kyo machiya 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.

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.


3.0 Essence of Japanese CultureThe 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-media-

2.lifehack.org/wp-content/files/2016/08/23124801/japan-children-clean-room.jpg)

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 (和),

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)

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/wp-content/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,

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 snow-

viewing 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 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 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 MaterialKyo Machiya 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 Kyo-machiya house.


(Image Source:TravelJapanBlog.com(n.d.)Retrieved November 11, 2016 from

http://traveljapanblog.com/wordpress/2013/10/kyo-machiya-guest-house-makuya-

inexpensive-lodgings-in-kyoto/)

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

(Image Source:Retrieved November 11, 2016 from

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

Kyo-machiya 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

Kyo-Machiya 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 the natural environment in the exterior, hence promoting a nature-

orientated lifestyle.

In Kyo-machiya, 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.

4.4.2 Kyo-machiya 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 Kyo-machiya house (Right).

(Image Source: Architectural Record (n.d.), Booking.com (n.d.)Retrieved November 11, 2016

from http://www.architecturalrecord.com/articles/7325-nishinoyama-househttp://

www.booking.com/hotel/jp/kyoto-guest-house-makuya.en-gb.html?

aid=356980;label=gog235jc-hotel-XX-jp-kyotoNguestNhouseNmakuya-unspec-my-com-L

%3Aen-O%3AwindowsSnt-B%3Achrome-N%3AXX-S%3Abo-U

%3AXX;sid=024568437fbf71089d7464be288b0502;dist=0&sb_price_type=total&type=tota

l&)

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 Kyo-

machiya house. Besides, the sliding door also preserves the Kyo-machiya 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_)

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 kyo-machiya 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.

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 kyo-machiya 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).


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 kyo-

machiya. 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

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 furnitures in the room is detachable and it is brought in when

necessary and taken out after use, (Intercultural Understanding, 2012).

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 (和) 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).

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/submitted-

works/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).

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_kyo-

machiya.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 Kyo Machiya House

Figure 4.3.2(i):Examples of internal courtyards in Kyo Machiya 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 Kyo Machiya 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/ )

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 Kyo Machiya 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)

4.3.4 Street Frontage

Figure 4.3.4(i):Example of Kyo Machiya 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/billy-handmade-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)

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)


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


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


blurred away the boundaries between each unit to create a united community. This concept is

similar to the fusuma and shouji from Kyo Machiya House. (Bernstein,2014)

4.3.6 Nishinoyama House adapt the layout of Kyo Machiya House

Figure 4.3.6(i)A sketch of typical Kyo Machiya 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/)

Each apartment is a single-story free flowing multipurpose spaces that connect room

to rectilinear room as in a traditional Japanese house (Kyo Machiya), (Graham,2015). The

layout of Nishinoyama House and Kyo Machiya 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 Kyo

Machiya 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


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

chose to display their artworks there. This concept is similar to the street frontage of Kyo

Machiya where the merchants displayed their goods.

4.4 Building StructureThe 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.

(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.

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)


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.

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_nishinoyama-

house_designboom_006.jpg)

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.world-

architects.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.

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/

multi-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.

(Image Source:Enzo Garden (2016). Retrieved November 11, 2016 from

http://www.designboom.com/wp-content/uploads/2013/12/kazuyo-sejima_nishinoyama-

house_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.

(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

H-beams 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.

5.0 ConclusionThis 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 Kyo-Machiya 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 Kyo-Machiya 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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