Architecture in Japan

6th Century A.D to Present Day

 INFLUENCES
GEOGRAPHICAL
Japan, with its principal
island, Honshiu, and attendant
island to north and south, lies off
the eastern coast of Asia, from
which it is separated by the sea of
Japan. The eastern shores of Japan
are bounded by the Pacific Ocean.
 INFLUENCES
GEOLOGICAL
The prevalence of earthquakes in Japan has had a profound effect building
development practically the whole of Japan is rugged hill country and some four
fifths of the entire area is occupied by forest and wild vegetation. The land however,
is one of vey great natural beauty. There is probably a greater diversity of trees than
in any other country. Bamboo is plentiful, and extensively used in building. Stone is
mainly of volcanic origin and unstråtified. Granites and porphyries are well
represented, but there is dearth of lime and sandstone. Stone is used for foundation
work, or in polygonal form for the lower portions of walling, upon which would be
erected an upper timber structure.
 INFLUENCES
CLIMATIC
Japan is influenced by a cold airstream from Asia in winter, and by the
incursion of warm moist air from the pacific in the summer. The mountainous
nature of the country, in con- junction with the prevailing airstreams, conduces to
exceptionally heavy rainfall, particularly in the summer. Houses wherever possible,
face south and deeply projecting eaves ae pro- vided to give protection against the
sun, while high courtyard walls screen the northern aspect from the cold winds of
winter.
HISTORICAL, SOCIAL AND RELIGIOUS
During the Suiko period (A.D. 552-645) Buddhism became firmly established and the nation
tended to become a bureaucratic state with chinese laws and ceremonials. Feudalism, at the height in
the 13th c., recognized three groups, the emperor and nobles, the Shoguns with the military caste, and
the people. Under the Tokugawa dynasty (1603-1868) the divine des- cent of the Emperor was
emphasized and actively promulgated after continual strife, which at times resulted in civil war, the
last of the Shoguns resigned in 1867. A constitution was formed in 1890 which eventually recognized
the rights of the people. The representative go- vernment which emerged laid the foundations of the
subsequent progressive position of Japan. The Japanese have in the past tended towards a self-imposed
isolationism, with exclusion of all foreign intercourse. Christianity was introduced in 1549 by St.
Francis Xavier. In 1614, all foreign priests were expelled. The Spaniards driven out in 1624, and
Portuguese in 1638. For a period of almost 200 years, Japan was closed to the outside world.
Commercial treaties with America and European countries were, however, entered into in 1854, when
Japan felt the effect of American enterprise and English institutions. Following these con- tacts came
wars with China and Russia, while in 1914, Japan joined the alliance against Germany; but in 1941 she
sided the Axis powers.
 ARCHITECTURAL CHARACTER
The architecture of Japan was largely derived from China, but at all times
maintained its own special characteristic of lightness and delicacy. Refinement in
Japanese architecture, com- bined with minutes in carving and decoration are
particularly noticeable in timber construc- tion. Notable are the dominant roofs,
which form a striking contrast with practice in the Middle east and India, where
flat terrace roofs predominate. Characterized by their exquisite cur- vature, they
are supported upon a succession of simple or compound brackets. The upper part
of the roof is terminated by a gable placed vertically above the end walls, known as
an 'Irimoya gable, while the lower part of the main roof is carried round the ends of
the building in a hipped form.
Roof coverings can be thatch, shingles or tiles. Thatched roofs often have a promi-
nent ridge of tiles with an exaggerated cresting, or the ridge may be of stout
bamboos, tied with blackened rope and terminated with finials. Tiled roofs have
flattish and roll tiles alter- nately, while cover tiles, often of decorative form are
used to mask joints at the eaves. Ridges and hips are made up of layers of tiles set
in mortar, finished with large moulded tile capping and crestings. A lower roof
known as "HISASHI" is sometimes projected the eaves of the main roof. Hollowed
bamboos, are used to form roof gutters and pipes. Gables ends often have cusped
barge-boards with pendants below
Curved brackets (Kumo-Hijiki) adorn the underside of the overhanging eaves. Columns, which followed the
Chinese form, are conspicuous in Japanese temples and in facades to places and gateways. Intercolumniation is
regulated by the standard of measure- ment known as the 'KEN' which is divided into twenty parts, termed
minutes, and each minute being again divided into a further twenty two parts or seconds of space. Columns
when square, are panelled and when round or octagonal are reeded and often richly lac- quered. Even when
plain, columns are objects of beauty as timber was split by wedges and werksmoothed with a spear-shaped
plane known as 'Yariganna' which left a beautiful finish. Most houses are constructed of wood-framing with
wood or stout paper infilling, which in an earthquake shock is much safer than stone or brick construction.
Temple walling is a strictly trabeated arrangement of timber posts and rails dividing surfaces into regular
oblong spaces, filled in with plaster, boarding, or carved and painted panels.
"Trabeated - the beam forms the constructive feature.
NATIVE JAPANESE ARCHITECTURE
One of the most primitive and holy of the Shinto designs, the Izumo shrine shares
with the Yayoi house model the beetling gables, gable-end entrance (contrasting with
the Chinese main-facade entry) and the peculiar round timbers balanced on the ridge.
The crossing and projection of the gable rafters is a feature no less primitive,
consecrated in the design. The shrines as they exist today are poems of carpentry. The
subsequent of Shinto temple design combined these initial forms with style adopted
from the Chinese.
Yayoi dwellings:
(A) post with footboard, on top a board wall
(B) varieties of post foot- boards
(C) buildings on a 3rd or 4th century mirror; (top to bottom, left to right) storehouse,
priest's house, farmhouse, ruler's house.
Light is introduced principally through doorways. A system of cornice-
bracketing in both simple and complex forms is a very characteristic
feature of Japanese buildings.
Standardized arrangements of this bracketing constitute various

'orders'. Immediately above the pillars or columns is a highly

decorated frieze, and above this, the bracketing con- sists of a series

of projecting wooden corbels supporting horizontal members and

rafters with decorated faces, thus allowing the roof to overhang the

wall, often by as much as 2.4 meters (8 ft.). The disposition of

columns, posts, brackets, and rafters forming the cornice is in

accordance with well-recognized modules of measurement, while

intercolumniation is governed by the Ken. Buildings are stilted upon

stone piles to a height which would ensure timber being above ground

water during the rainy season. The undersides of beams are

frequently cambered to avoid any impression of sagging, while piers

and columns are given a refined entasis and frequently an inward

inclination to mitigate the effects of earthquake shocks.

Camber - slight rise or upward
curve of an other- wise
horizontal structure.
*Entasis - a swelling or
curving outwards along the
outline of a column shaft
designed to counteract the
optical illusion which give a
shaft bounded by street lines
the ap- pearance of curving
inside.
EXAMPLES Temples
a. Shinto temples can be distinguished from buddhist by the
characteristic "TORII" or gateways formed by upright posts
supporting two or more horizontal beams, under which, it was
considered, worshippers must pass for prayers to be effectual.
EXAMPLES Temples
b. Buddhism foundations are entered through an elaborate
two-storeyed gateway, sur- mounted by a muniment room
under and ornate roof. Temples usually have a columned
loggia, either round three sided or forming a facade to the
main building. Frequently there is a portico over the
approach steps which rest upon timber columns, held
together at the top by horizontal tie beams. In large temples
and halls, the interior columns are provided with elaborate
compound bracketing to support the roof.

*Loggia - an arcaded or roofed gallery built

into or projecting from the side of a building
particularly one over looking an open court.
PAGODAS
Square plan, mostly five-storeyed and about 45 meters (150
feet) in height. In construction they are virtually suspended
around a central timber, thus providing a measure of
stability againts earthquake shocks. The ground storey
contains images and shrines, while the upper storeys serve
as 'belvederes' there are wide projecting roofs to each storey
and the subtle curvature distinguishes them from chinese
examples.

*Belvederes - an open roofed gallery in an

upper beanie storey built for giving a view of
the dinenix scenery
PALACES
The imperial palaces were of a simple type, consisting of a principal hall, joined by
corridors to three separate pavilions for the family of the Emperor. From the sixteenth
century, palaces were protected by walls of masonry, often formed with a batter, concave on
the ex- ternal face, and with tilted quoin stones, to resist earthquake shocks a moat invariably
en- circled the walls.
TRADITIONAL JAPANESE HOUSE

"A response to nature" The Japanese love of nature is the single force that influences life in

Japan. The Japanese respect nature, and to respect nature is to live nature's way. Not only

does the Japanese na- tion have a close rapport with nature, but these people experience

beauty in nature beyond nature's outward appearance. Such is the influence of Zen

Buddhism. So different from the Western concept, Japanese architecture is largely

considered a realistic response to the natural environment. Thus the extensive use of

unpainted wood without any surface treatment. And in Japan's use of wood, no other

architecture reveals so convincingly its structural and aesthetic qualities. HOUSES Japanese

houses are entered through a vestibule and have a verandah, "(engawa"), living, dining and

guest rooms, with a recess for flowers and art treasures. There are rooms for hosts and

hostess, but not bedrooms in the usual sense, no distinction being made between living and

sleeping apartments because all bedding, the threefold mattress and thick quilt called futon-

are stored in closets during the day. Rooms are regulated in size by floor mats or 'Tatami'

used as floor coverings, and measuring one 'ken' about 1.8 m (6 ft.) by a half ken. A typical

middle-class dwelling, except where a central court is introduced, is planned as a simple

rectangle.
*BONSAI Plant or dwarf
tree is an almost perfect
reflection of Japanese
culture. Two to three
feet tall, and epitomizes
the beauty of nature. A
tree can easily be 100 or
200 years old.
Thatched roofs are employed in rural
areas steeply pitched to ward off heavy
rains. Tiled roofing is more common in
built-up areas, to give protection from
fire. Japanese houses owe much of their
bright and cheerful character to simplicity
of design, consummate skill in both
selection and working of materials, as well
as to well-chosen garden settings. Night
illumination by decorative Japanese
lanterns produces effects of exquisite
beauty.
TEA HOUSES Developed in the kamakura period as a result of the aesthetic doctrine of Zen Buddhism
which permeated Japanese thought and resulted in the 'tea-ceremony' (chanoyu) garden cultivation and
flower arrangement. The tea house represents a most exclusive Japanese social institution, and was the
resort of the most sophisticated and fashionable world. In no sense can it be identified with a normal
public restaurant. Tea houses are maintained solely for the cult of the tea-drinking ceremony, associated
with contemplation and appreciation of the arts. Typically and stylistically indigenous, they are normally
small in scale, the size re- gulated by mats, often down to single-mat room, barely 1.8 m x 1 m (6 ft. x 3
ft.) and always with the recess or Tokonoma. Architecturally, the greatest care is lavished on these tea
room proper (chasitsu), while no detail of lighting, ventilation or decoration is neglected.
BATH HOUSES

The typical Japanese inn closely resembles the large private house, but it is

invariably plann- ed round a central courtyard. In larger examples, upper floors are

provided with connecting galleries. Appreciation of the importance of personal

hygiene is strongly marked in the Japanese character. Since the daily bath is about the

most significant ritual for the japanese people, the bath (ofuro) plays a most important

part in their lives. In fact, where there is no ofuro, the members of the family go to the

nearest public bath house with bathing accessories in hand, whether in one's own

home or in a public bath, one first washes thoroughly outside the tub. Then one goes

into the tub, lowering himself into the very hot water for as long as he wants. In a

family, the same hot water is used by everyone, the oldest member going in first. Ut-

most consideration is always observed. In public bath, no water from your faucet

should spill over the next bather. At home, because everyone must be faultlessly clean

before going into the ofuro, the water after the last member's immersion is still clean.

In many resort areas, mineral water from hot springs and mountains continuously

flow.