Japanese architecture is a source of great inspiration to architects around the world. It has undoubtedly gained a reputation through Pritzker Prize recognition with icons such as Tadao Ando, Toyo Ito, and Shigeru Ban. Japanese vernacular architecture is foundational to the architectural sensibilities that developed on this small island.
Vernacular architecture is defined by its dependence on local building materials, local construction knowledge, and customs. They are unique to their location and time they were built. Vernacular buildings traditionally rely on the talent and knowledge of local builders rather than professional architects. Japanese vernacular architecture in particular is deeply rooted in traditional construction practices, cultural spatial concepts, and response to local climactic conditions with strong ideals of connection with nature. There are a few key vernacular buildings that present themes that imbue inspiration for Japanese architects and architects abroad.
Historic Villages of Shirakawa-go and Gokayama
Japan remained relatively isolated from the West and the rest of the world for most of its early historical eras, which gave rise to the development of its own unique culture and heritage. Starting with one of the oldest examples of vernacular architecture in Japan, Shirakawa-go and Gokayama Villages are UNESCO World Heritage Sites. These villages have one the oldest types of Japanese folk houses, also known as Minka. These Minka are predominately built in the Gassho style and were built around the 11th century and are more than 250 years old.
The overall form is very purposeful and practical, with a “prayer-hands construction” sharp sloped roofs of about 60 degrees. This roof form not only provides a durable, strong wood frame construction, but it also allows heavy snow to slide off during winter months. The houses are therefore a direct adaption to nature and reflect the village peoples’ lifestyle. Most Japanese vernacular architecture is wood structures, given the nature of available materials for Japan’s early historical beginnings. These farmhouses are some of the earliest examples of post and beam construction. This would later evolve into a structural unit and create the architectural language of space within this wood structural frame. In the 1950s, Kenzo Tange drew parallels between the traditional timber construction and the modern contemporary frame.
The Gassho houses are also symbolic of another major theme throughout the works of Japanese architects, which is a great reverence for nature. As these houses are located deeply within the remote mountainous regions of Gifu and Toyama Prefectures, they are reminders of humankind’s relatively small presence within the greater natural ecosystem. Itsuko Hasegawa says in her work, that she aspires to create “architecture as another nature.” She believes our human existence is encompassed by nature, therefore architecture must be responsive to our natural ecosystem. Sou Fujimoto and Akihisa Hirata have similar themes throughout their projects as well, by trying to incorporate nature into architecture with Shiroya Hotel and Tree-ness House respectively.
Kyoto’s Machiya
Another important Japanese vernacular building type is Machiya in Kyoto. Machiya are traditional, wooden townhouses. During the Heian period (794 – 1185), Machiya began as homes for commoners but were developed in the Edo period (1603 – 1868) into buildings owned by artisans and merchants, who used it for commerce and everyday living. Machiya are mostly prevalent in Kyoto and are a defining feature within the traditional streets of downtown Kyoto.
Machiya houses are typically long dwellings, about 5-6 meters wide and 20 meters deep. The short length is typically along the street front and extends deep into the block. There are roughly three types of Machiya houses. Although Machiya come in different variations, they most typically have working and living programs, with a shop or business on the street’s front side and living functions towards the back. Therefore, the division of interior space manages the balance between work and life. Public functions such as shops or businesses face the street, with more private spaces such as the living room, kitchen, and lastly bathroom are placed deeper inside, usually in this order.
As Kyoto has relatively cold winters and hot, humid summers, the Machiya design accommodates interior courtyards, with several layers of sliding doors to control temperature and airflow. These open-air gardens also bring daylight into the interior. The intricate relationship of managing climate control and balancing public and private spaces highly relies on the flexible nature of interior partitions, such as shoji screens. The idea of flexibility can be divided into two spatial concepts still used by Japanese architects today. First, “Ma” is used to describe “in-between space” or intermediate space between objects. This concept first developed by Arata Isozaki defines “Ma” as in-between space between the structural interior wood posts. The emptiness between columns allows for appreciation of the change of activities within Machiya, with a momentary gathering of people and objects. Second, “engawa” involves the space between the outside and inside. Engawa is usually portrayed in Machiya houses as walkways with covered eaves around the inner courtyards of the property, creating a realm that is not strictly outside nor inside but is somewhere in between. The concepts of “Ma” and “Engawa” are prevalent in the work of Japanese architects today and are re-interpreted into something new.
Katsura Imperial Villa
The Katsura Imperial Villa was originally designed for Prince Toshihito, the younger brother of the emperor at the time. As the most prestigious example of wood post and beam construction, the Katsura Imperial Villa has become a historical icon for Japanese and foreign architects alike. It has been documented by many well-known individuals such as Bruno Taut and Arata Isozaki about the importance of this building in the modern discourse of architecture. Isozaki writes in his work “Katura: Imperial Villa” about how this building is the “quintessence of Japanese taste”. Isozaki also describes its quality as having “multivalent interpretations”.
Modernists such as Le Corbusier and Walter Gropius were attracted to the qualities of the Katsura Villa which are similar to the modernist establishment, such as its general lack of ornamentation, modularity, and orthogonal geometry. While this building has clear parallels to “modernity”, its basic design principles are continued inspiration for Japanese architects and international designers throughout.
Katsura Imperial Villa contains much complexity which cannot be explained in length at this time. In summary, it incorporates themes stated earlier such as spatial concepts of “Ma,” and “Engawa,” and beautifully integrates surrounding nature within this provocative work. In particular, the tea houses within the estate are designed to frame specific views of the garden, and built using the simplest materials of the time, celebrating the “Ma” empty space between wood post beams.
In conclusion, these three key Japanese vernacular architectural examples – Minka homes in Shirakawa-go and Gokayama, Machiya in Kyoto, and Katsura Imperial Villa all feature wood posts and beam construction. The open plan flexibility and relevant spatial concepts around these key vernacular styles create a conceptual framework for Japanese architects to operate within. A general admiration of nature and its importance in our surrounding natural environment also serves as inspiration for Japanese and non-Japanese architects alike, as the importance of sustainable architecture becomes evermore present in the dialogue of architecture.
References:
Books:
– Papadakis, A.C. (1991). Architectural Design, Profile 90. London: c Academy Group Ltd.
– Isozaki, A. (1996). The Island Nation Aesthetic. Academh Editions. London: c Academy Group Ltd.
– Isozaki, A. and Ponciroli, V. (2005) Katsura Imperial Villa. Milan: Electa Architecture.
Articles:
- Singh, Rana. (2017). The World Heritage Villages of Shirakawa-Gō and Gokayama, Japan: Continuing Culture and Meeting Modernity.
- Curtis, William J. R. “Towards an Authentic Regionalism.” In Mimar 19: Architecture in Development, edited by Hasan-Uddin Khan. Singapore: Concept Media Ltd., 1986.
Online sources:
- artincontext (2023). Vernacular Architecture – Region-Specific Building Styles. [online] artincontext.org. Available at: https://artincontext.org/vernacular-architecture/.
- Organization, J.N.T. (n.d.). The Historic Villages of Shirakawa-go & Gokayama (UNESCO) | Travel Japan | JNTO. [online] Japan Travel. Available at: https://www.japan.travel/en/world-heritage/the-historic-villages-of-shirakawa-go-and-gokayama/.
- Machiya Kyoto. (n.d.). What is a Machiya? All about traditional houses in Kyoto. [online] Available at: https://www.machiya-kyoto.net/.
- The Japanese Home Design That Strikes a Work-Life Balance. (2022). Bloomberg.com. [online] 11 May. Available at: https://www.bloomberg.com/news/features/2022-05-11/the-design-and-history-of-kyoto-s-machiya-homes.
- The Kyoto Project | Enjoy Learning About Kyoto. (2016). Kyoto Machiya and their Renovation | The Kyoto Project. [online] Available at: https://thekyotoproject.org/english/kyoto-machiya/ [Accessed 14 Jan. 2024]
