SOLUTIONS TO HOMOLOGOUS TOWER TYPOLOGY USING STACKING

MACHIYA AS AN APPROACH IN RETRACING

VERNACULAR IDENTITY IN A JAPANESE METROPOLITAN CONTEXT IN ASAKUSA CULTURE TOURIST

INFORMATIONCENTER (ACTIC).

Introduction to Japanese Architecture History

After the WWII, the main Japanese cities were completely destroyed.

They then started from “ground zero”, and the real reconstruction began only after 1948

Since then, Japanese architecture has consistently produced some of the most influential and extraordinary modern and contemporary design.

Due to the lack of city master planning overpopulation occurred. Resulting in the widespread devastation of Tokyo and other cities in Japan which then brought an urgent need for new housing, and the single family house.

Traditional qualities of Japan such as the simplicity, lightness, openness and aesthetic values were rediscovered through Modernism after Japan’s defeat.

It relied on the use of ingenious construction and untreated natural materials to build a sort of refined extension of nature: a concentration of nature's own kind of beauty.

In the present day, Japanese architecture has been influenced by the second wave of modernisation in the postwar period.

Modern Japanese architecture evolved from Tokyo, which was rebuilt after World War II. Western concepts, invariably still hold sway, for they are now as much a part of Japan as its ancient traditions, but they are not a confinement

Japan’s first skyscraper opened its doors in 1968. Before that, strict regulations prohibited tall buildings due to the ever-present danger of earthquakes.

Back then, skyscrapers symbolised a new-found confidence that Japan had made it back to the world stage as a respected peer.

The Kasumigaseki Building represents the transformation of Japan’s post-WWII economic policy from an inward-looking model to the much-revered and copied export-led growth: the dawn of the Japanese Century was upon the world.

The Japanese have changed their architectural styles through the years. Their culture is beautiful and interesting. If a person were to look at Tokyo, he would probably see a modern city.

By looking at these examples the person would be able to tell that these buildings and streets have been westernised to improve their cities and help them with certain issues.

Tokyo SkytreeTokyo Tower

Hachiko Square

The Japanese manipulated the western architectural style to fit their culture’s needs. For example the Japanese use their space saving technology with modern Western buildings.

The Japanese changed to westernised architectural styles due to earthquakes (natural disasters), World War 2, the humid climate, and fire.

But yet, they still maintain their historic buildings like shrines, temples, palaces and castles which need to be renovated periodically.

They are also working on rebuilding historic buildings that have been destroyed by natural disasters.

Before Japan was westernised, most of the buildings were made out of wood, stone and paper.

These buildings were then influenced by Chinese architecture. The Japanese grasped Chinese style, but changed it in a way that suited their culture. This is the reason a lot of people get confused between Chinese and Japanese buildings.

Chinese architecture Japanese architecture

During the Edo Period most of the Japanese people lived in farmhouses.

Also during this time people lived in townhouses which were for merchants and craftsman. These townhouses were mostly typically close to a castle or a high ranking nobles house.

A typical townhouse had its store in front, the living quarters behind, and a storehouse (kura) in the back.

Storehouses were fire-insulated with earthen walls to protect valuable goods from the threat of fire.

Townhouse

Storehouses

However the Meiji Period was the first time that Western architecture influenced Japan. It was at that time that the Japanese started to build their buildings with bricks like the Western buildings.

After World War 2 the Japanese changed their architectural style because of the effects of the war. They wanted to improve their cities with modern architectural technology to help recover their country.

Materials like steel and concrete structures which contrasted strongly with traditional styles were used.This resulted in a great difference between the appearance of new, modern landmarks and more traditional residences and small businesses.

While important pre-war buildings, such as the Wako Department Store, Tokyo Station, Akasaka Palace, and the Bank of Japan had been designed along European classical lines, post-war buildings adopted an efficient “unadorned box” style.”

Wako department Store

Tokyo station

Conclusion

The Japanese have been through a lot of changes in their architectural style. They were influenced by Chinese and Western architectural styles. During the Meiji Period westernising was just starting to happen in Japan.

The big cause that pushed Japanese to westernised architecture was because of World War 2.

After the war the Japanese had to rebuild their cities. Another reason was reliability of the modern buildings and their ability to stand against earthquakes.

Instead of using wood and stone on their buildings they used steel and concrete structures.

However modern Western buildings could not stand larger earthquakes, so the Japanese found another way to improve their buildings. They became the pioneers on making buildings resist earthquakes.

Westernised architectural styles did affect Japanese, but they improved it and without them we wouldn’t know how to make buildings that could withstand earthquakes.

Overview of Machiya

The Important Eras

1. Heian Era (794-192) Beginning with Heian-Kyo平安京, then Kyoto was founded as new capital by Emperor Kanmu.

2. Muromachi Era (1392-1573) A new military government was established at the site of Heian-kyo.

3. Beginning of the Meiji EraKyoto’s position as nation capital and imperial seat ended.

4. Modern Era (1968~)Japanese cities were brought with new materials affecting the design of the traditional machiya.

Heian Era“There are several examples of houses in rows that line the streets and clearly do not belong to upper class architecture. It is among scholars generally agreed upon that these house were the first germs of machiya house and that the inhabitants probably were the first few commoners in the city.” - Machiya: Architecture History of Kyoto Town House

Machiya is a commoners house at the beginning. These merchant houses called kyo-machiya, meaing Kyoto-style-machiya (Kyo: National capital, To: all)

Machi 町 = cho 町 in Japanese.

In the Heian bo-jo system, 1 cho = 32 ko 户 (household).

Refering to the map, the capital was formally divided into units called bo-jo 坊条.

9 major east-west streets called jo 条1 jo 条 = 8 bo 坊1 bo坊 = 16 cho 町1 cho 町= 4 lanes each with 8 gates,ko 户, the smallest unit of Heian-kyo.

- Shops along Kyoto street play different roles; Commercial spaces, public gathering and etc.

- Most urban space (Heian period) was reserved for houses or official structures of the aristocracy.

- But the aristocrats did not leave spaces in the city plan for dwellings.

- As a result, merchants came in during the day and set up temporary platforms, stalls or booth to do their business.

- These structures eventually become huts including small shop spaces.

- Sometimes, the aristocrat couldn’t occupy a whole block due to fires or decrease in power, they would rent land to merchants and permanent commercial presence gradually developed. Kyo-machiya was born.

As their business prospered, they rented or bought the adjacent land behind their stores from the owners and built their dwelling houses and workshops. In this way, early Mise spaces were extended deep backwards for dwelling, workshops, storage and finally, Machiya was formed.

Muromachi Era

- Decline of Heian Era and chaos of Muromachi Era, causes public order deteriorated. Thus, Kyoto citizens had to become responsible for their own defense.

- A new urban unit known as cho-nai 町内 was born as the square, open block layout of the “bo-jo system” was vulnerable to attack. The communities within the gated block formed self governing associations to organize their defense. From the bonds formed during these hard times emerged a tradition of strong and independent neighborhood that exists to this day.

- The building within the protected neighborhoods had official fronts as shops and a community space both inside the house and in the backyard. At the same time, these shops shared a well in their common backyard. This is a peculiarity of machiya architecture even now.

Meiji Era

- The transfer of the capital brought the Kyoto area many civil wars and big fires which destroyed the central area.

- The reconstruction after the war lasted to the end of the Meiji Period. Most of the machiya houses and temples were rebuilt in the 19th

and 20th centuries from the wood left over from the fires.

Modern Era

- Machiya were not burned down in WWII in Kyoto because Kyoto was no longer the capital but Tokyo and other four biggest cities in Japan were burnt out during the war.

- Therefore, the traditional town style of Kyoto continued from Heian-kyo and the Kyoto people managed to keep the style until today.

Characteristics of Machiya

A. LAYOUT:

The layout of Kyo-machiya is more likely similar. It composed of a front ridge for shop area and back ridge for dwellings. There are entrance area and a court garden between both ridge. A main garden and a warehouse are located in the deepest space. The entire space is composed by the earthen passageways and residence area (tatami-rooms) putting them together with line placement from a front towards the back.

Hibukuro (smoke shaft)A stairwelllocated abovethe earthenpassage allowingsmoke and ash toescape from thecooking area.Skylight is alsoinstalled in theroof or high upon the wall toallow sunlightinto thepassage.Toriniwa (earthen passage)A narrow earthen

pathway which connects from the front to the back of kyo-machiya.

Genkan (entrance hall) A traditional Japanese entryway areas for machiya. Upon entry shoes are usually removed before entering. Its is like a threshold before entering the building.

Misenoma (shop area) One of the unique characteristics of kyo-machiya is the combination of work and living spaces. This is the place where the people sell their products to the customers.

Tsuboniwa (courtyard garden) Located between the front shop and dwelling, it provides pleasant view to the occupant.

Zashiki (reception room) The purpose of this room is to receive important guess. The decoration in the tokonoma, alcove changed according to the season to welcome the guest.

Kura (storehouse)Usually distinctivesquare structureswith straight,thick, whiteplaster and claywalls, dark tiledrood and smallupper windows. Thestructure isusually fire-resistant helpedsave the family’sfortune of pottery,lacquerware, kimonoand scrolls whenfire threatened.

HibukuroMisenoma Genkan Zashiki

Toriniwa Tsuboniwa Kura

B. Exterior Features:

Tiled roof : The more popular pattern ofthe roof of kyo-machiya is the Ichimonji,an overlapping tiles that creates a wavelike pattern on the roof.

Shouki-san : Also known as Zhong Kui, afigure of Chinese mythology whotraditionally regarded as a vanquisher ofevil beings. In some Machiya, the statue isbeing built on the hope to expel the evilspirit.

Mushiko-mado : It is a simple vertical lines of windowproviding ventilation and lightings. It was said to be adevice of the predecessors to provide lights and fireprevention. The name “mushiko” derived from “mushi-kago” which means a box of insects. It evokes theatmosphere where one expect to hear the insects voicesat any moment.

Wooden lattice window , De-goshi : It is one of the mainfeatures of traditional machiya. Wooden lattice, koshi,vary according to the function of the store . Forexample, the thread shop lattice was finer and fartherspaced admitting more light for the dyer to betterdistinguished colour and needlework.

Large door, O-do & Small door, Kuguri-do : Entrance to amachiya is through one or two sliding door that face thestreet. Kuguri-do was for the family members ordeliveries while the O-do was reserved for specialoccasions and guests.

C. Architectural Space

1. Dimness

- The inside of kyo-machiya is dim as both sides are separated from the neighbouring houses by wall. The deep space inside captures the light from the main street at the front and the inner garden at the back.

- The latticework, paper screens, reed blinds and other devices make the inside of the house dim.

2. Depth- Kyo-machiya are narrowly isolated by the closed walls of the neighbouring houses and spaces with narrow frontage and large depth.

- The narrow frontage and deep depth is not a result of tax assessment practice but Kyoto was once populated with merchants and tradesman who desired street-facing storefronts. This resulted in plat shaped like thin strips.

- The nature brightness of the inner garden ahead of the dim space and the gradual change from dark to light from the inside outwards strongly emphasize on the directionality towards the inside depth.

3. Spatial Connection

- Connection between interior and exterior spaces.

- At the eave space as an open space for connecting the inside and outside, the entire width of the tatami floored rooms is fully open to the garden, diverting one’s gaze from the inside the rooms to the landscape in the garden by the eaves that stretch out from the veranda space, emphasizing the connection to the garden.

4. Asymmetry

- The basic space of a kyo-machiya is configured in double spaces, earth-floored passageway and tatami-floored residence and furthermore, asymmetry is apparent in the configuration of both spaces. .

- The space of the main tatami-mat rooms (zashiki) and the inner garden are emphasized asymmetrically by the building elements, the alcove and shelves in the tatami and the open veranda that extends from these rooms in the inner garden.

Open veranda on left side of inner garden

Alcove and shelf as asymmetry elements right side of the room

Vernacular Identity of Machiya

Forms

FormThe principle of Form Follows Function is clearly shown, whereby Machiya, of single detached houses, which the front portal that faces the streetscape functions as shoplots, with Mise, the stall (which means to let people see in Japanese) and the rear are extended deeper to accommodate daily life of the family.

Public and Private Can be seen in the plan, with the Engawa circulating at the center, that provides a gradient of demarcation.

From plan view, the nature of Oku can be traced, whereby, the asymmetrical plan induced a tortous zigzag approach, which heighten the excitement of curiousity and embrace the beauty of imbalance, imperfect as celebrated by Wabi Sabi.

Degoshi & KoshiDegosi, the slender vertical openings at first floor improves ventilation introduce natural daylight to the first floor. Koshi, the Wooden Lattice Screen is the indicative signage of the type of business the Machiya is having. Besides their functional use, these vertical elements aids in the connection between roof and floor by reducing the weight and significance of wall. The verticality of the building is disintegrated in par with the idea of Jaku, in Wabi-Sabiwhich emphasize tranquility, whereby the form is staying down to earth all the time.

HisashiThe overhang roof located at the front of Mise to provide shade and shelter. The addition of this horizontal element provides compression and tone down the sheer volume of the double-stories Machiya, a reflection of the Principle of Kei in Wabi-Sabi, which means respect.

DepthShoji ScreenSuggest the idea of Oku (as proposed by Fumihiko Maki). Oku means a certain depth created by inducing vacancy through layering, whereby it can invite people to move forward and search deeper. The Shoji screen create this vacancy of veiling the bare interior to the exterior in a vague silhouette and vice versa, in a diffused soft light. Facade is usually the most proficient way of making a statement of a building’s identity, but at here, OKU is the building’s image, soft, subtle and vacant for imagination and interpretation to be infilled.

Spatial ConnectionEngawa Is the verandah gaping the interior and exterior of machiya, usually fringing the inward building boundary, as a Machiya is never a house whereby tenants’ privacy is revealed publicly. The gradation of boundary gently weaves the building with the site, by creating sequenced flow that slowly dissolve from a public vicinity into privacy. This shows the value of Wa in Wabi-Sabi, a constant harmony.

AssymetryCirculationIn reference to Oku concept, the circulation is designed in jagged routes, which never reveals the entire view of the end of the building, to enrich the spatial experience of within a tight longitudinal plan.

Materiality Timber, bamboo, earth and Shoji paper as the most profoundly adopted material. These materials depict a direct connection to the nature, as extra homage and respect are paid to nature, whereby in their beliefs, all life starts from the benevolence of God bestowed in nature.

From nature, they learnt about the beauty of Wabi-Sabi, the embrace of things imperfect, raw, ephemeral and incomplete, just as how nature rejuvenates itself after cycles of life, death and rebirth, to reflect the idea of Sei, which means purity in Wabi-Sabi. Here, the traces and marks left by time is greatly appreciated, whereby the beauty of time left is not resisted or erased, but celebrated.

Retracing ofVernacular Identity of Machiya in ACTIC

Form & Function Relationship

Floor Height Proportion

Materiality & Texture

Similarities

FORM

Geometric structure formed by the intersection of different planes projecting, creating asymmetric perspectives from every point of view. With a similar buildings surrounding vertical orientation, the Centre for Tourism and Cultural Information reduces vertical impact thanks to the movement of their facades, accompanying his eyes from the ground up, encouraging the viewer to observe the characteristics unique to each floor. This reverberated the traditional Machiya, whereby the verticality is surpressed as Jaku in Wabi Sabi which emphasized tranquility, whereby the form is staying down to earth all the time.

KANSO (SIMPLICITY)ACTIC is very minimalistic with its clear form and repetition of slats.

SEIJAKU (TRANQUILITY)The repetition of the slats create a sense of calmness within the space the slats filter light into the space creating a play of shadows.

KANSO (SIMPLICITY)Provides a interval for connecting the inside and the outside environment.

HEIGHT

Within the eight-story building, one can distinguish elevational permutations of silhouettes of vernacular dwellings Japan: Machiya (town house). As a composition of stacked layers, Kuma takes what would otherwise be a fragmented accumulation and its facade conceals long vertical members, a reinterpretation of the traditional lattice facades which carries the representation of the Koshi and Degoshi of traditional Machiya, emphasizing the principle of Jaku .

SHIZEN (NATURALNESS)Juxtoposition of ACTIC (new) against the Nakamisedori (old) opposite the street

Traditional Machiya house form stacked vertically relates contextually to Asakusa’s old Edo atmosphere timber slats reference to traditional Japanese architecture main material

MATERIAL

Its construction is a mixture of steel, wood and glass. Lamas cedar shade each of the four double glazed curtain walls of plants, spaced differently, depending on the shading or privacy required by the interior rooms. The inner surfaces of the building are also coated with various woods, wavy, horizontal on the east wall of the second floor, hiding drawers, or oak boards in soils, known as Edo Chiyogami, dating back to the Edo period of Japan, 1603-1867 although originally made of paper.

Timber is celebrated for its value of time, which is praised in Wabi-Sabi, whereby it ages. Glass is a representation of Shoji paper in modern era, whereby it allows clear view but also reflects the skyline which does not reveal the interior completely, in regard to the principle of Oku.

YUGEN (SUBTLETY)Slats can only be views from certain angles and creates curiosity of what is hidden behind.

WABI SABI (BEAUTY IN IMPERFECT)Slats are made from Japanese cyprus is proned to weathering as it is located on the exterior facade.

PROGRAM & FUNCTIONS

Roofs not only divide the housing structure, but determine the role of each. The shape of the building reveals stratification levels and functions, giving the city a landmark, a building for culture and entertainment, which stands out among its environment without breaking them and maintaining continuity with the soul site. This introduced an organic relationship between form and function, whereby it is not just merely form follows function as the traditional Machiya, but beyond.

DATSUZOKU (BREAK FROM ROUTINE)The space in between the rood and the floor (Plants) are used to store HVAC Systems which is unconventional and unique to the building form.

The method of 'particalization' is a break from the normal because of the breaking down of a material into smaller forms which creates a sense of porosity which connect the inside and outside. This porosity is reflective of the principle of Wa, which means harmony, similar as the traditional Engawa.

Dissimilarities

FORM

Typology: ACTIC falls under Asakusa district, which is a Japanese metropolitan context with dense high-rise buildings.

The brief given for the architect was a “tower”, and in order to fit in the tower typology, Kengo Kuma uses stacking machiya to achieve the function of “tower” but at the same time brings back the resemblance of Machiya houses into an

urban context.

Traditional Machiya Stacking Machiya

(Tower typology and plot size)

ACTIC

Traditional Machiya

Conventional tower ACTIC

Non-tower like building with tower-like function ( Breakdown of levels, 7 one-stories house)

Different from conventional tower, in ACTIC balconys directing to different orientation can be seen at each floors and outdoor café at rooftop.

Site-specific brief results in adaptation of tower typology

MATERIAL

• Double glazed glass curtain wall is used in ACTIC as an alternate to the paper wall (shoji) or bamboo wall in the traditional Machiya. The architect wants the user to experience the interior spaces as if one is in different machiyas, from one floor to above. However, glass curtain wall is used on façade to aware users of the surrounding and the fact that they are in a Japanese metropolitan context.

• In each of the sloping roofs covering different levels steel plate was used, differs from traditional Machiya roof material, the baked-tile roof

PROGRAM & FUNCTION

Despite the Machiyafaçade on the outside,the interior of ACTICstill obey to the modernfunction of a touristinformation center, suchas Theatre, exhibitionhall, conference hall anda café, contradicting tothe traditional Machiyawith residential as thebase function

Plant spaces are seen in ACTIC. Even though stacking machiya makes the tower seems well fitted in to site in terms of lightness and verticality of bulding, one must not forget the fact that ACTIC is still considered as tower typology.

unprecedented plant spaces created by the architect can be found as a result of agalmalmation of machiya as a tower.

CIRCULATION

In traditional Machiya, the arrangement of spaces is adjacent to each other, and shoji act as both partition and opening, all spaces are on same level, maze-like.

In ACTIC the architect brings the original state of machiyacirculation into each spaces. However, to replace shoji, the partition wall or the informal steps that rises from ground act as “wayfinding” that aids user in vertical circulation, or to called moving from floors to floors.

Solved Conventional Issue of Tower Typology in ACTIC

Form & Function Relationship

Floor Height Proportion

Materiality & Texture

Form & Function Relationship:Inter-relatable & Spatial Experience

- Main form is a result of stacking several Machiyas into a continuous geometrical tower

- vertical timber cedar louvers on each facets are spaced out differently to reduce overall visual impact and also according to each interior needs of privacy.

- The presence of interior sloped timber joists roofs allows users to be able to trace the intersection between the ceiling and the floors above

- chamfered slated facets to adapt to on site T-junction

- forms are conglomeration of both traditional and contemporary due to its strategic location that shares both traits and while its function are contemporarily defined.

Information Lobby & Foreign Exchange 1F & Tourist Information 2F

- a continuous flow of space -double volume

- public typological function, hence the openness

- a continuous flow of interior stair well that circulates an indoor atrium, enhance the presence of the sloped ceilings

Multipurpose Hall 6F

- tiered terraces implemented onto the irregular slope slant that is form due to stacking

- has attached mansard mezzanine

- taking advantage of the slope roof hence allowing it to function as a theatre

Plant Spaces

- functional spaces which are born in between the two stacked floors

- spaces which function to store mechanical services and equipment

- recessed and hidden within the core to enhance stacking

- floor height are in direct relevance with the interior function of the space

- public and privacy of the interior space determines its height

- relationship with its context (view framing)

Floor Height Proportion:INTER-RELATABLE HEIGHT & SPACES

Information Lobby & Foreign Exchange 1F & Tourist Information 2F

- a double volume floor to ceiling height

- to enhance openness and approachability

- public function

Office & Group Tour Support 3F

- a normal volume space with a standard floor to ceiling height

- private function which are mainly for staffs and management

Multipurpose Hall 6F

- sloped & slanted mansard

- suited towards the space functioning as a theatre (typology)

- high to low view which is in relation with the context views

- tiered views and perspectives

Relationship with its context

- framing different views and perspectives from different heights

- spacing and openings in fenestrations varies with regards to the context

- higher heights of different facets of each elevation of the building

- Lower facets provides direct interaction with the urban streets within proximity of the building

- Higher outreaching facets functions as vantage points towards the Senso-Ji

Spatial quality & gradation

Elimination of strong and visually impactful materials

Small, thin, lightweight

Precedented by nature

Primitive & simple

Materiality & Texture

Timber louvres

- depict the traditional Japanese construction

- usage of natural cedar wood

- contemporary definition and portrayal of Koshi

Glass

- elimination of visually heavy materials

- glass carved with art motifs dating back to Edo period a direct depiction of Edo-Chiyogami

- substitute for paper in between timber, OKU

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