Japanese Architecture Research Articles

Kengo Kuma’s renovation of Gaudí’s Casa Batlló: A non-western designerly approach to addressing built heritage

This paper emerges from a wider doctoral thesis on the influence and relationships between Antoni Gaudí’s buildings and current Chinese architecture. In light of understanding the connections between Eastern and Western designerly approaches to built heritage, we studied the specific case of the renovation of Casa Batlló in Barcelona by the Japanese architect Kengo Kuma. Starting from the general framework of built heritage renovation and transformation techniques and styles, we analysed the approach of this case as a replicable mindset and toolkit for addressing urban and architectural renewal. Kengo Kuma’s dissolution of materiality is key to his design approach This methodological case study delves into the potential of a complementary vision of the world where Eastern and Western design approaches retrofit each other. The research results are related to current global urban renewal, historic building protection, and renewal needs from a global design perspective.

Roofs and Grids in Postwar Japanese Architecture: Excision, Sublation, and Layering of the Symbolic

The role and significance of tradition in modern architectural practices was the subject of much public debate in Japan during the post–World War II period. An analysis of built work of the 1950s and 60s reveals, however, a much more complex set of responses than what these discussions might suggest. This paper uses the conceptual categories of roof and grid to uncover the radical divergences in attitude towards tradition in the works of Kenzō Tange, Seiichi Shirai, and Tōgo Murano as these architects negotiated a transition away from earlier mimetic modes of representation towards design methodologies less hampered by formal exigencies. Through the study of several buildings I show how roof and grid figure in distinct ways at the various levels of iconicity, symbolism, and ornamentation depending on the disciplinary vision of each of the three architects. The analysis reveals fundamental differences in the conception of architectural experience while at the same time underscoring a shared acknowledgment of the historical nature of culture and a shared desire to transcend the duality between modernity and tradition itself.

Examining the Ex(Im)plicit Qualities in Japanese Spatial Atmosphere through Haiku 俳句 and Haiga 俳画 Examples: The Layer of Narration

Abstract: In any focus on an aesthetic experience one may find both sensational and cognitive qualities, referred to as the scene and scenario, respectively. Hence, an experiencer tries to decipher the scenario— a narration—by sensing the scene— space—through the spatial atmosphere. Thus, space starts to transform into a poetic experience. Japanese architecture, on account of a number of inherent qualities, has the capability to convey such narrations in spaces. In Japanese examples, an experiencer tries to derive the narration that emanates from explicit qualities—sensational, such as textual, visual, audial, or tactile phenomena—with his/her implicit qualities—cognitive/intellectual abilities. The article examines the layer of narration of Japanese architectural structure through haiku 俳句 and haiga 俳画 examples, and in doing so, utilizes the layers proposed on behalf of the explicit and implicit qualities: nature-based and feeling-based .

Advancing architectural heritage: precision decoding of East Asian timber structures from Tang dynasty to traditional Japan

The convergence of cultural and aesthetic elements in timber structures from China’s Tang Dynasty (618–907 AD) and traditional Japanese architecture provides a rich tapestry of architectural evolution and cross-cultural exchanges. Addressing the challenge of distinguishing and understanding the intricate styles of these structures is significant for both historical comprehension and preservation efforts. This research introduces an innovative approach by integrating the Multi-Head Attention (MHA) mechanism into the YOLOv8 model, enhancing the detection of architectural features with improved precision and recall. Our novel YOLOv8-MHA model not only demonstrates a notable improvement in recognizing intricate architectural details but also significantly advances the state of the art in object detection within complex settings. Quantitative results underscore the model’s effectiveness, achieving a precision of 95.6%, a recall of 85.6%, and a mean Average Precision (mAP@50) of 94% across various Intersection over Union (IoU) thresholds. These metrics highlight the model’s superior capability to accurately identify and classify architectural elements, especially within environments rich with nuanced details, utilizing the enhanced YOLOv8-MHA algorithm. The application of our model extends beyond mere architectural analysis; it offers new insights into the intricate interplay of cultural identity and adaptability inherent in East Asian architectural heritage. The study establishes a solid foundation for the meticulous classification and analysis of architectural styles in timber structures within an expansive cultural and historical context, thereby enriching our understanding and preservation of these traditions.

SYNTHESIS OF NATIONAL AND WESTERN TRADITION IN EARLY EXAMPLES OF JAPANESE MODERNISM (THE CASE OF WORLD PEACE MEMORIAL CATHEDRAL IN HIROSHIMA)

The paper is devoted to the analysis of the existing influences of traditional Japanese architecture in the modernist World Peace Memorial Cathedral in Hiroshima built after the atomic bombing in Hiroshima on the site of the Noboricho Catholic Church destroyed by the explosion, designed by the architect Togo Murano (using some of the competition ideas of the Kenzo Tange project). According to the results of the study, it was found that the architecture of the World Peace Memorial Cathedral in Hiroshima in Hiroshima represents a synthesis of the traditions of European Romanesque, the Japanese tradition of temple building, and the actual style of modernism, transformed through the prism of the creative manner of the talented architect of Japan of his time, Togo Murano, who had a huge experience in creating architecture with reminiscences of various , both Japanese and European styles of the past and present. In particular, it was established that the general planning and composition of the cathedral is close to the style of basilica churches of European Romanesque, taking into account the simplified global forms of modernism. At the same time, the appearance on the facade of the cathedral of its frame structure and a number of decoration elements refers to the tradition of ancient Japanese architecture, which is especially noticeable in the decoration of the main facade in the form of Japanese carved partitions, which, however, in accordance with the ideas of modernism, are made of concrete. From the results of the work, it is generally clear that Japanese modernism, from the very beginning of its spread in Japan, fundamentally differed from Europe, as it did not accept the idea manifested by European modernism of a complete rejection of traditional form-making. On the contrary, modernism in Japan actively used the national tradition as a basis for ideas.

The Way of the Detail in Japanese Design

When considering the growing interest in the ideas of internationalisation and globalisation, the phrase ‘Japanese Design’ has always captured the inspirational pulse of designers. This paradoxical world of Japan provides the impetus for vast and varied design outcomes. These outcomes range from the traditional design of tearooms, to the youth fashion phenomena in Harajuku. Design in Japan demonstrates a controlled approach to the subtle nuances that express the design spectrum between excess and austerity. This paper explores the idea of the intricacy of Japanese design as not only being a clear expression of their masterful handling of material and form, but also a demonstration of the amalgamation of cultural paradigms displayed in these various design outcomes. This is no more clearly expressed than in the examination of details used within Japanese design, in particular, the details in traditional Japanese architecture. The methodology involved with this research is mainly focussed on literature reviews of text and journal articles, as well as, review of appropriate exhibitions. But the original journey began years ago with my own education and exposure to the ideas of Japanese design and architecture. Numerous travel tours and design tours to Japan helped to reinforce the connection and unfold their paradoxical world.

A Modern Retrospective of Tradition: A Brief Introduction to Kengo Kuma’s Works and Architectural Ideas

Kengo Kuma is an internationally recognized Japanese architect today. His works and architectural thoughts are influenced by Japanese geography and cultural traditions, forming a school of its own in Japanese modern architecture. This paper takes Kengo Kuma as the research subject, combining the development trajectory of Japanese modern architecture for more than 100 years to analyze his architectural ideas and design thinking. Kengo Kuma integrates his understanding of traditional Japanese culture and art into modern architecture, by Kengo Kuma’s architectural thoughts and practices bring inspiration and enlightenment for Chinese architects as a path to explore connecting modern trends with traditional designs.

READING TRADITIONAL JAPANESE ARCHITECTURE THROUGH HAYAO MIYAZAKI CINEMA

Houses, which are the best-known examples of traditional architecture, are cultural heritage products and objects of representation. Traditional Japanese houses have continued their existence as living examples of space organization, materials and building-construction system/technique, preserving their originality and qualities. This study aims to interpret this architecture through the traditional Japanese architecture in Hayao Miyazaki's animated films. The main problem of the study is to obtain information about the cultures of societies through television and cinema products, to keep traditional architecture alive and to ensure its sustainability. By examining Miyazaki's animated films, the sample of the study was limited to 12 feature films or short films. In these films, those determined to be about traditional Japanese architecture are grouped as building elements, spaces, interior elements and accessories. In some of the films examined within the scope of the study, there are elements of traditional Japanese architecture in a single building, some in two or three buildings, and in some of the silhouettes of the settlement. It has been seen that the wall (kaaba) and roof (koyagumi) of the elements that make up the structure are more used than the ceiling (tenjo), and it is common in the board to use a floor (yuka) material. Life (doma), living room (ima), room (heya) and veranda (engawa) in traditional Japanese houses are more prominent than the kitchen (floor) and bathroom (furo) in the houses in the movies. Sliding wall (fusuma), sliding paper door/window (shoji) and shoe removal board/stone (kutsungi) from interior elements in homes and public spaces; tables (chabudai), cushions (zabuton) and wicker ground cover (tatami) are the most used items.

Основные направления архитектуры Японии периода Мэйдзи и Тайшо (конец XIX – начало XX вв.)

The article examines the main directions of Japanese architecture during the Meiji and Taisho periods. It was during these periods that the formation of the architectural communities of the empire took place, influencing the architecture of the entire Asia-Pacific region in the 20th and 21st centuries. The prerequisites for the formation of the Japanese giyefu style, based on a combination of Western and traditional architecture, and the invitation of a large number of foreign advisers to the country are shown. The text describes the four most important advisor personalities and their major achievements. The next step is the 4 most important Japanese architects of the Taisho period, they absorbed Western education and completely mastered the craft of an architect, in the European sense. In addition to landmark buildings for Japan, they transmitted to society their vision of architecture, which coincided with the line of the government and the emperor. The last part of the article outlines other directions of Japanese architecture, which developed from the Giyefu style to the Imperial Crown style, or which opposed themselves to Europeanized architecture – the modernists. It concludes by describing the three identified architectural trends with their antecedents and implications within the Asia-Pacific region The article examines the main directions of Japanese architecture during the Meiji and Taisho periods. It was during these periods that the formation of the architectural communities of the empire took place, influencing the architecture of the entire Asia-Pacific region in the 20th and 21st centuries. The prerequisites for the formation of the Japanese giyefu style, based on a combination of Western and traditional architecture, and the invitation of a large number of foreign advisers to the country are shown. The text describes the four most important advisor personalities and their major achievements. The next step is the 4 most important Japanese architects of the Taisho period, they absorbed Western education and completely mastered the craft of an architect, in the European sense. In addition to landmark buildings for Japan, they transmitted to society their vision of architecture, which coincided with the line of the government and the emperor. The last part of the article outlines other directions of Japanese architecture, which developed from the Giyefu style to the Imperial Crown style, or which opposed themselves to Europeanized architecture – the modernists. It concludes by describing the three identified architectural trends with their antecedents and implications within the Asia-Pacific region.

The architecture of railway stations in Shenyang in the first half of the 20th century

The work is dedicated to identifying and defining the figurative and spatial characteristics of railway stations constructed in Shenyang during the first half of the 20th century. In the course of the study, the main architectural and compositional techniques employed by architects for the construction of railway stations in Russia, the South, the North, and the East are examined in detail. The stylistic traits that are associated with Western European, Chinese, and Japanese architectural traditions are identified. The brief history of the construction of these stations is reviewed, as well as the objects that served as models for the planned structures. The author examines how each station influenced the formation of the urban composition and development. As part of the research, three approaches to station design were identified based on national characteristics. Russian designers considered these stations to be secondary, which is reflected in the use of standardized design techniques and lack of elaboration in urban planning. Japanese architects designed the station based on the typology of similar facilities in the city. An integrated approach was taken, with the station originally planned as the center of a residential development project. Chinese builders sought to demonstrate the independence of their national architecture from foreign influences, resulting in the creation of a creative solution that is typical of Sino-Western architecture during this period, characterized by the breakdown of proportions and tectonic elements from European architecture. Additionally, the stations designed by Chinese architects were characterized by a lack of integration with the existing urban planning, which was partly addressed during the Manchukuo period.

Materiality of architecture expressed through onomatopoeic words in text description of buildings

AbstractText descriptions of buildings using onomatopoeic words are a form of communication frequently used by Japanese architects to express their design intent. The onomatopoeic word describes a building vividly and sensually as if it has life and expresses connotative architectural meanings imbued through building posture and gestures, as depicted by the architect. This paper investigates the materiality of architecture through a text analysis of onomatopoeic expressions used to describe architectural works in the Japanese architecture magazine Shinkenchiku (新建築), identifies 24 aspects of architectural materiality reflected in the onomatopoeia used by architects, and typifies their views of architecture as a physical object.

Representation of the surface in architecture: from the Western solutions to the Eastern case studies of solid development

Architecture is usually represented in two dimensions through codified representation methods, such as plan, elevation, and section. An elevation and its represented façade refer solely to the framed side of the building, preventing an overall understanding of it if decontextualized from the other elevations. To cope with this problem, various architects have developed methods of representation that would allow a total development of the architecture's exterior (or interior) surface to be depicted. The focus is on drawings that, with different assumptions and references, succeeded in the same intent: a total representation, developed in the plan, of all the interior or exterior façades of a given architecture. The Western examples resulting from Robin Evans' studies, which he called Developed Surface, introduce us to a kind of representation that would later be employed, with similar or lesser intentions, by numerous Japanese architects of the 1970s and 1980s. Each architect depicted architecture's interior or exterior surface for different reasons, but the starting reference was often a traditional Japanese paper model called Okoshi-ezu. The paper aims to expand the knowledge of the Developed Surface drawings through the analysis of case studies of geometrical applications and by investigating the implications of a type of representation that allows for a novel perspective on the façades that make up architecture.

Analyze of Japanese Culture in Contemporary Architectural Practice

How to deconstruct traditional culture and use it in contemporary practices has become one of the key problems in modern architecture, as modernism proved its failure in including human lifestyle in the building, and lack of consideration of how local culture portrays people and whether it should be included in design. regions with rich traditional cultures face modern urban development and architectural revolution. This paper focuses on how local Japanese architect has deconstructed traditional culture and used it in their contemporary architectural practice, by analyzing works and interviews from Ando Tadao and Kuma Kengo with their different approach in their architectural practice through philosophical and visual deconstruction of Japanese culture. This paper has concluded some key aspect in the field of using traditional Japanese element in modern architecture reviewed how their approaches has been viewed and commented on, and provided some paths that could be used in future architects when comes to projects that include some aspect of traditional local culture.

Society Structures from Anime-Cyberpunk to Postcyberpunk.

This paper analyzes the imagery of cities as depicted in the cyberpunk anime Ghost in the Shell (1995) and the post-cyberpunk anime series Psycho-Pass (2012). In these works, the filmic city is employed as a signifier for societal structures, and changes in these visual signifiers thus depict the shift from cyberpunk, which focuses the autonomous subject, to post-cyberpunk, which focuses on technologicalsocieties. Different depictions of society and the role of the individual subject within it are made apparent. The predominant bottom-up direction of view in Ghost in the Shell suggests a technological dystopia that the protagonist seeks to elude, while an upper-lower dichotomy in Psycho-Pass offers subjects a means of remaining within society. Certain concepts of Japanese architecture, urbanity, and postmodernity are employed to conceptualize and visualize these key differences. This project concludes that Ghost in the Shell depicts a dystopian society whose postmodern superficiality prohibits the protagonist from becoming autonomous, while Psycho-Pass acknowledges that postmodern signification does not equal material existence. Postmodern globality is evident in Ghost in the Shell, while Psycho-Pass takes a more nationalist and autocratic approach to society.

Transformation of tradition in Kenzo Tange’s projects as a way of shaping contemporary Japanese architecture

This study explored the transformation of tradition in contemporary Japanese architecture, with a focus on Kenzo Tange’s works as a potential solution to the lack of national identity in modern urban spaces, particularly prevalent in post-socialist countries. Such homogenisation, as established by previous research, has negative implications for human psychology. The purpose of this study was to identify K. Tange’s creative approach to the use of tradition in the context of modernity. Ukrainian, Japanese, English, American, and other sources on the history of traditional and modern architecture in Japan, including the theoretical achievements of K. Tange himself and several sources on the architect’s works, were used in the study. A considerable amount of photographic material was also collected for the study. The paper described certain types of traditional religious architecture in Japan. The architecture of Shinto and Buddhism were considered as prototypes. Accordingly, the following objects of K. Tange were analysed: The Peace Memorial Museum in Hiroshima, in comparison with the Ise Shrine Complex; Kurashiki Town Hall in comparison with the main pavilion of the Buddhist temple complex; the Kagawa Prefecture Government Office Building in Takamatsu in comparison with the Buddhist wooden pagoda. As a result, it was found that the transformation of tradition in K. Tange’s works can occur at four levels: the organisation of the master plan, the formation of the interior space of the building, the formation of its overall structure, and at the level of semantics. For each example of transformation, appropriate references were made to certain features of Japanese architecture or traditional Japanese worldview that were discovered during the study. In addition, an algorithm for introducing traditional features into modern architecture was presented, which, given the need to rebuild Ukrainian cities destroyed as of 2023, could help revive them while avoiding the architectural shortcomings of the past

Beauty to the Modernist Eyes: Katsura Imperial Villa as an Experience of Modernism and Modernity

This article explores a 1960 book project on the Japanese Imperial Palace and Garden complex Katsura, entitled Katsura: Tradition and Creation in Japanese Architecture (1960), in collaboration with Walter Gropius, Kenzo Tange, Yasuhiro Ishimoto, and Herbert Bayer, as an experience of modernism and modernity. Through photography and written records, this article traces the rediscovery of the villa by modern architects since the 1930s, from Bruno Taut to Walter Gropius to appreciate the beauty of Katsura and, finally, Yasuhiro Ishimoto’s photographic rendering in 1983, to understand the visual interpretation of authenticity and objectivity through developing perspectives of observation. The 1960 book project was a modernist reinvention on the traditional architectural and garden landscape of Katsura. Through Ishimoto’s lens, a series of observations and impressions were projected in the modernist eyes that were distinct from traditional experiences of the villa. The meticulous capture of spatial dynamics and layered material presented in this visual tour have provided a new perspective of interpreting the Katsura Palace, which is fundamentally different from traditional ways of documentation and continues in Ishimoto’s visual reinterpretation in 1983, mirroring a developing conversation of cultural exchange between Japanese tradition and the West.

Examining the Ex(Im)plicit Qualities in Japanese Spatial Atmosphere Through Haiku 俳句 and Haiga 俳画 Examples: The Layer of Narration

In any focus on an aesthetic experience one may find both sensational and cognitive qualities, referred to as the scene and scenario respectively. Hence, an experiencer tries to decipher the scenario —a narration—by sensing the scene —space—through the spatial atmosphere. Thus, space starts to transform into a poetic experience. Japanese architecture, on account of a number of inherent qualities, has the capability to convey such narrations in spaces. In Japanese examples, an experiencer tries to derive the narration that emanates from explicit qualities—sensational, such as textual, visual, audial, or tactile phenomena—with his/her implicit qualities—cognitive/intellectual abilities. The article examines the layer of narration of Japanese architectural structure through haiku 俳句 and haiga 俳画 examples, in doing so, utilizes the layers proposed on behalf of the explicit and implicit qualities: nature-based and feeling-based.

Examining the Ex(Im)plicit Qualities in Japanese Spatial Atmosphere Through Haiku 俳句 and Haiga 俳画 Examples: The Layer of Narration

In any focus on an aesthetic experience one may find both sensational and cognitive qualities, referred to as the scene and scenario respectively. Hence, an experiencer tries to decipher the scenario —a narration—by sensing the scene —space—through the spatial atmosphere. Thus, space starts to transform into a poetic experience. Japanese architecture, on account of a number of inherent qualities, has the capability to convey such narrations in spaces. In Japanese examples, an experiencer tries to derive the narration that emanates from explicit qualities—sensational, such as textual, visual, audial, or tactile phenomena—with his/her implicit qualities—cognitive/intellectual abilities. The article examines the layer of narration of Japanese architectural structure through haiku 俳句 and haiga 俳画 examples, in doing so, utilizes the layers proposed on behalf of the explicit and implicit qualities: nature-based and feeling-based .

Changes in the use of color in Japanese cities

AbstractThis study examines how the use of color in the Japanese urban landscape has changed over time and what the future holds. The colors of contemporary Japanese cities are not beautiful, but it is said that they were harmonious and beautiful in the Edo period (1603–1868). In the 1850s, as the country opened up to the outside world, Western‐style architecture was introduced and emerged side by side with Japanese architecture. As economic growth took precedence in the 20th century, there was a lack of awareness of the city's public ownership and the appearance of buildings. The attempt to achieve industrial standards and rapid urbanization were also cited as reasons for the absence of harmony in the built environment. Additionally, many outdoor advertisements appeared. The lack of effective regulations on outdoor advertising is one factor that has heavily affected the contemporary Japanese cityscape. The “Landscape Act,” which went into effect in 2004, aims to regulate landscape color use in present‐day Japan. This law allows local governments to enact regulations for urban landscape color use primarily by setting the upper limit for color saturation in terms of Munsell Chroma. It is questionable whether this will really lead to the creation of more unique cityscapes. Training in color in architecture, urban objects, and infrastructure should be compulsory as part of civic education, and more time should be devoted to the subject of color in architects' educational programs to create beautiful cities in the future. Students of architecture need time to think about the idea that the exterior of a building is part of the urban landscape, to consider the importance of color, and to study color harmony.

戦後日本建築の評価に関する資料調査 その２：丹下健三と米雑誌編集者との応答書簡

The influence of American magazines is one of the factors behind the global rise of Japanese architecture’s reputation after World War II. In this report, we examine various letters exchanged between American magazine editors and architect Kenzo Tange, from the 1950s through to the early 1960s. This analysis examines the process by which Tange’s works were published in magazines, along with how his interactions with American magazine editors affected his overseas activities and broader international reputation. Time, Architectural Forum, and Architectural Record are the magazines covered in this report.