Japanese architecture (日本建築,Nihon kenchiku) has been typified by wooden structures, elevated slightly off the ground, with tiled or thatched roofs. Sliding doors (fusuma) andother traditional partitions were used in place of walls, allowing the internal configuration of a space to be customized for different occasions. People usually sat on cushions or otherwise on the floor, traditionally; chairs and high tables were not widely used until the 20th century. Since the 19th century, however, Japan has incorporated much of Western,modern, andpost-modern architecture into construction and design, and is today a leader incutting-edge architectural design and technology.
The earliest Japanese architecture was seen in prehistoric times in simplepit-houses and stores adapted to the needs of ahunter-gatherer population. Influence fromHan dynasty China viaKorea saw the introduction of more complex grain stores and ceremonial burial chambers.
The introduction ofBuddhism in Japan during the sixth century was a catalyst for large-scaletemple building using complicated techniques in wood. Influence from the ChineseSui andTang dynasties led to the foundation of the first permanent capital inNara. Its checkerboard street layout used the Chinese capital ofChang'an as a template for its design.
In 894 during theHeian period (794–1185), Japan abolishedkentōshi (Japanese missions to Tang China) and began to distance itself from Chinese culture, and a culture calledKokufu bunka (lit., Japanese culture) which was suited to the Japanese climate and aesthetic sense flourished. Theshinden-zukuri style, which was the architectural style of the residences of nobles in this period, showed the distinct uniqueness of Japanese architecture and permanently determined the characteristics of later Japanese architecture. Its features are an open structure with few walls that can be opened and closed with doors,shitomi andsudare, a structure in which shoes are taken off to enter the house on stilts, and sitting or sleeping directly ontatami mats without using chairs and beds.[1][2][3]
As thesamurai class gained power in theKamakura period (1185–1333), theshinden-zukuri style changed, and in theMuromachi period (1333–1573), theshoin-zukuri style appeared. This style had a lasting influence on later Japanese architectural styles and became the basis of modern Japanese houses. Its characteristics were that sliding doors calledfusuma and paper windows calledshōji were fully adopted, andtatami mats were laid all over the room.[4][5]
The introduction of thetea ceremony emphasised simplicity and modest design as a counterpoint to the excesses of the aristocracy. In theAzuchi–Momoyama period (1568–1600),sukiya-zukuri style villas appeared under the influence of a tea house calledchashitsu. At first it was an architectural style for the villas ofdaimyo (Japanese feudal lords) and court nobles, but in theEdo period (1683–1807) it was applied toryōtei (Japanese-style restaurants) andchashitsu, and later it was also applied to residences.[6]
During theMeiji Restoration of 1869 the history of Japanese architecture was radically changed by two important events. The first was theKami and Buddhas Separation Act of 1868, which formally separatedBuddhism fromShinto andBuddhist temples fromShinto shrines, breaking an association between the two which had lasted well over a thousand years.[7] Secondly, it was then that Japan underwent a period of intenseWesternization in order to compete with other developed countries. Initially, architects and styles from abroad were imported to Japan, but gradually the country taught its own architects and began to express its own style. Architects returning from study with Western architects introduced theInternational Style of modernism into Japan. However, it was not until after theSecond World War that Japanese architects made an impression on the international scene, firstly with the work of architects likeKenzo Tange and then with theoretical movements, likeMetabolism.
In traditional Japanese architecture, there are various styles, features and techniques unique to Japan in each period and use, such as residence,castle,Buddhist temple andShinto shrine. On the other hand, especially in ancient times, it was strongly influenced by Chinese culture like other Asian countries, so it has characteristics common to architecture in Asian countries.[8]
Partly due, also, to the variety of climates in Japan, and the millennium encompassed between the first cultural import and the last, the result is extremely heterogeneous, but several practically universal features can nonetheless be found. First of all is the choice of materials, always wood in various forms (planks, straw, tree bark, paper, etc.) for almost all structures. Unlike both Western and someChinese architecture, the use of stone is avoided except for certain specific uses, for example templepodia andpagoda foundations.
The general structure is almost always the same:posts and lintels support a large and gently curved roof, while the walls are paper-thin, often movable and neverload-bearing. Arches and barrel roofs are completely absent.Gable and eave curves are gentler than in China and columnarentasis (convexity at the center) limited.[8]
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The roof is the most visually impressive component, often constituting half the size of the whole edifice.[8] The slightly curvedeaves extend far beyond the walls, coveringverandas, and their weight must therefore be supported by complex bracket systems calledtokyō, in the case of temples and shrines. Simpler solutions are adopted in domestic structures. The oversize eaves give the interior a characteristic dimness, which contributes to the building's atmosphere. The interior of the building normally consists of a single room at the center calledmoya, from which depart any other less important spaces.
Inner space divisions are fluid, and room size can be modified through the use of screens or movable paper walls. The large, single space offered by themain hall can therefore be divided according to the need.[8] For example, some walls can be removed and different rooms joined temporarily to make space for some more guests. The separation between inside and outside is itself in some measure not absolute as entire walls can be removed, opening a residence or temple to visitors. Verandas appear to be part of the building to an outsider, but part of the external world to those in the building. Structures are therefore made to a certain extent part of their environment. Care is taken to blend the edifice into the surrounding natural environment.[8]
The use of construction modules keeps proportions between different parts of the edifice constant, preserving its overall harmony.[8] (On the subject of building proportions, see also the articleken).
Even in cases as that ofNikkō Tōshō-gū, where every available space is heavily decorated, ornamentation tends to follow, and therefore emphasize, rather than hide, basic structures.[8]
Being shared by both sacred and profane architecture, these features made it easy converting a lay building into a temple or vice versa. This happened for example atHōryū-ji, where a noblewoman's mansion was transformed into a religious building.
The prehistoric period includes theJōmon,Yayoi andKofun periods stretching from approximately 5000 BCE to the beginning of the eighth century CE.
During the three phases of the Jōmon period the population was primarilyhunter-gatherer with some primitive agriculture skills and their behaviour was predominantly determined by changes in climatic conditions and other natural stimulants. Early dwellings werepit houses consisting of shallow pits with tamped earth floors and grass roofs designed to collect rainwater with the aid of storage jars. Later in the period, a colder climate with greater rainfall led to a decline in population, which contributed to an interest in ritual. Concentric stone circles first appeared during this time.[9]
During the Yayoi period, the Japanese people began to interact with the ChineseHan dynasty, whose knowledge and technical skills began to influence them.[9] The Japanese began to build raised-floor storehouses as granaries, which were constructed using metal tools like saws and chisels that began to appear at this time. A reconstruction inToro, Shizuoka is a wooden box made of thick boards joined in the corners in alog cabin style and supported on eight pillars. The roof is thatched but, unlike the typicallyhipped roof of the pit dwellings, it is a simple V-shapedgable.[10] Some authors credit the raised structure designs of this period to contact with therice-cultivatingAustronesian peoples from coastal eastern China or Taiwan, rather than the Han.[11][12]
The Kofun period marked the appearance of many-chambered burial mounds ortumuli (kofun literally means "old mounds"). Similar mounds inKorean Peninsula are thought to have been influenced by Japan.[13] Early in the period, the tombs, known as "keyholekofun" orzenpō-kōen-fun (前方後円墳), often made use of the existing topography, shaping it and adding man-made moats to form a distinctive keyhole shape, i.e. that of a circle interconnected with a triangle. Access was via a vertical shaft that was sealed off once the burial was completed. There was room inside the chamber for a coffin and grave goods. The mounds were often decorated withterracotta figures calledhaniwa. Later in the period mounds began to be located on flat ground and their scale greatly increased. Among many examples inNara andOsaka, the most notable is theDaisen-kofun, designated as the tomb ofEmperor Nintoku. The tomb covers 32 hectares (79 acres) and it is thought to have been decorated with 20,000haniwa figures.[9]
Towards the end of the Kofun period, tomb burials faded out asBuddhist cremation ceremonies gained popularity.[9]
The most significant contributor to architectural changes during theAsuka period was the introduction ofBuddhism. New temples became centers of worship with tomb burial practices quickly becoming outlawed.[9] Also, Buddhism brought with it the idea of permanent shrines and gave toShinto architecture much of its present vocabulary.
Some of the earliest structures still extant in Japan are Buddhist temples established at this time. The oldest surviving wooden buildings in the world are found atHōryū-ji, northeast ofNara. First built in the early 7th century as the private temple of CrownPrince Shōtoku, it consists of 41 independent buildings; the most important ones, the main worship hall, orKon-dō (金堂, Golden Hall), and the five-storypagoda), stand in the centre of an open area surrounded by a roofed cloister (kairō). The Kon-dō, in the style ofChinese worship halls, is a two-story structure of post-and-beam construction, capped by anirimoya, or hipped-gabled, roof of ceramic tiles.[14][15]
Heijō-kyō, modern day Nara, was founded in 708 as the first permanent capital of the state of Japan. The layout of its checkerboard streets and buildings were modeled after the Chinese capital ofChang'an. The city soon became an important centre of Buddhist worship in Japan.[16] The most grandiose of these temples wasTōdai-ji, built to rival temples of the ChineseTang andSui dynasties.[17] Appropriately, the 16.2-m (53-ft) Buddha orDaibutsu (completed in 752) enshrined in the main hall is a Rushana Buddha, the figure that represents the essence ofBuddhahood, just as Tōdai-ji represented the centre for imperially sponsored Buddhism and its dissemination throughout Japan. Only a few fragments of the original statue survive, and the present hall and central Buddha are reconstructions from theEdo period. Clustered around themain hall (the Daibutsuden) on a gently sloping hillside are a number of secondary halls: the Hokke-dō (Lotus Sutra Hall),[9] and thestorehouse, called theShōsō-in, and the adjoiningKōfuku-ji. This last structure is of great importance as an art-historical cache, because in it are stored the utensils that were used in the temple's dedication ceremony in 752, as well as government documents and many secular objects owned by the imperial family.[18]
Although the network of Buddhist temples across the country acted as a catalyst for an exploration of architecture and culture, this also led to the clergy gaining increased power and influence.Emperor Kanmu decided to escape this influence by moving his capital first toNagaoka-kyō and then toHeian-kyō, known today asKyōto. Although the layout of the city was similar to Nara's and inspired by Chinese precedents, the palaces, temples and dwellings began to show examples of local Japanese taste.[19]
Heavy materials likestone,mortar andclay were abandoned as building elements, with simple wooden walls, floors and partitions becoming prevalent. Native species likecedar (sugi) were popular as an interior finish because of its prominent grain, whilepine (matsu) andlarch (aka matsu) were common for structural uses. Brick roofing tiles and a type of cypress calledhinoki were used for roofs.[20] It was sometime during this period that thehidden roof, a uniquely Japanese solution to roof drainage problems, was adopted.[21]
The increasing size of buildings in the capital led to an architecture reliant on columns regularly spaced in accordance with theken, a traditional measure of both size and proportion. The imperial palaceShishinden demonstrated a style that was a precursor to the later aristocratic-style of building known asshinden-zukuri. The style was characterised by symmetrical buildings placed as arms that defined an inner garden. This garden then usedborrowed scenery to seemingly blend with the wider landscape. A gradual increase in the size of buildings led to standard units of measurement as well as refinements in layout and garden design.[19]
In 894, Japan abolishedkentōshi (Japanese missions to Tang China) and began to distance itself from Chinese culture, and a culture calledKokufu bunka (lit., Japanese culture) which was suited to the Japanese climate and aesthetic sense flourished. Theshinden-zukuri style, which was the architectural style of the residences of nobles in this period, showed the distinct uniqueness of Japanese architecture and permanently determined the characteristics of later Japanese architecture. Its features are an open structure with few walls that can be opened and closed with doors andshitomi andsudare, a structure in which shoes are taken off to enter the house on stilts, sitting or sleeping directly ontatami mats without using chairs and beds, a roof made of laminatedhinoki (Japanese cypress) bark instead of ceramic tiles, and a natural texture that is not painted on pillars.[1][2][3] A Buddhist architectural style calledWayō, which developed in accordance with the Japanese climate and aesthetic sense, was established.[22]
The priestKūkai (best known by the posthumous title Kōbō Daishi, 774–835) journeyed to China to studyShingon, a form ofVajrayana Buddhism, which he introduced into Japan in 806. At the core of Shingon worship are the variousmandalas, diagrams of the spiritual universe that influenced temple design.[9] The temples erected for this new sect were built in the mountains, far away from the court and the laity in the capital. The irregular topography of these sites forced their designers to rethink the problems of temple construction, and in so doing to choose more indigenous elements of design.[23]
At this time the architectural style of Buddhist temples began to influence that of theShintō shrines. For example, like their Buddhist counterparts the Shintō shrines began to paint the normally unfinished timbers with the characteristic redcinnabar colour.[23]
During the later part of the Heian period there were the first documented appearances of vernacular houses in theminka style/form. These were characterized by the use local materials and labor, being primarily constructed of wood, having packed earth floors and thatched roofs.[24]
During theKamakura period (1185–1333) and the followingMuromachi period (1336–1573), Japanese Buddhist architecture made technological advances that made it diverge from its Chinese counterpart. In response to native requirements such as earthquake resistance and shelter against heavy rainfall and the summer heat and sun, the master carpenters of this time responded with a unique type of architecture,[25] creating theDaibutsuyō andZenshūyō styles.[26][27][28] TheWayō style was combined withDaibutsuyō and theZenshūyō to create theShin-Wayō and theSetchūyō styles, and the number of temples in the pureWayō style decreased after the 14th century.[29]
The Kamakura period began with the transfer of power in Japan from the imperial court to theKamakura shogunate. During theGenpei War (1180–1185), many traditional buildings in Nara and Kyoto were damaged. For example,Kōfuku-ji andTōdai-ji were burned down byTaira no Shigehira of theTaira clan in 1180. Many of these temples and shrines were later rebuilt by the Kamakura shogunate to consolidate theshōgun's authority.[9]
Although less elaborate than during the Heian period, architecture in the Kamakura period was informed by a simplicity due to its association with the military order. New residences used abuke-zukuri style that was associated with buildings surrounded by narrow moats or stockades. Defense became a priority, with buildings grouped under a single roof rather than around a garden. The gardens of the Heian period houses often became training grounds.[30]
After the fall of the Kamakura shogunate in 1333, theAshikaga shogunate was formed, having later its seat in the Kyoto district of Muromachi. The proximity of the shogunate to the imperial court led to a rivalry in the upper levels of society which caused tendencies toward luxurious goods and lifestyles. Aristocratic houses were adapted from the simplebuke-zukuri style to resemble the earliershinden-zukuri style. A good example of this ostentatious architecture is theKinkaku-ji in Kyōto, which is decorated withlacquer andgold leaf, in contrast to its otherwise simple structure and plain bark roofs.[30]
During the Muromachi period,shinden-zukuri style, which was the mainstream of the residences of Japanese nobles, declined, andshoin-zukuri, which developed frombuke-zukuri of samurai class residences, became the mainstream.Shoin-zukuri had a lasting impact on later Japanese housing and is the basis of modern Japanese housing. In the old architectural style,tatami mats were laid only in a part of the room, but in theshoin-zukuri style,tatami mats were laid all over the room. In this style, sliding doors calledfusuma were used to separate rooms, and an inner window calledshoji, which was made by pasting paper permeable to sunlight on a wooden frame, was installed inside the wooden shutters. In the room,tokonoma (alcove for the display of art objects) andchigaidana (shelves built into the wall) were set up to decorate various things.[4][5]
In an attempt to rein in the excess of the upper classes, the Zen masters introduced thetea ceremony. In architecture this promoted the design ofchashitsu (tea houses) to a modest size with simple detailing and materials.[30] A typically sizedChashitsu is 4 1/2tatami mats in size.[31][32]
In the garden, Zen principles replaced water with sand or gravel to produce the dry garden (karesansui) like the one atRyōan-ji.[33]
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During the Azuchi–Momoyama period (1568–1600) Japan underwent a process of unification after a long period of civil war. It was marked by the rule ofOda Nobunaga andToyotomi Hideyoshi, men who builtcastles as symbols of their power; Nobunaga inAzuchi, the seat of his government, and Hideyoshi inMomoyama. TheŌnin War during the Muromachi period had led to rise ofcastle architecture in Japan. By the time of the Azuchi-Momoyama period each domain was allowed to have one castle of its own. Typically it consisted of a central tower ortenshu (天守, lit. heaven defense) surrounded by gardens and fortified buildings. All of this was set within massive stone walls and surrounded by deep moats. The dark interiors of castles were often decorated by artists, the spaces were separated up using slidingfusuma panels andbyōbu folding screens.[9]
TheShoin-zukuri style in the Muromachi period continued to be refined. Verandas linked the interiors of residential buildings with highly cultivated exterior gardens.Fusuma andbyōbu became highly decorated with paintings and often an interior room with shelving and alcove (tokonoma) were used to display art work (typically a hanging scroll).[9]
During this period,sukiya-zukuri style villas appeared under the influence of a tea house calledchashitsu (tea house).[6]
Matsumoto,Kumamoto andHimeji (popularly known as the White Heron castle) are excellent examples of the castles of the period, whileNijō Castle in Kyōto is an example of castle architecture blended with that of an imperial palace, to produce a style that is more in keeping with the Chinese influence of previous centuries.[33]
TheTokugawa shogunate took the city ofEdo (later to become part of modern-day Tōkyō) as their capital. They built an imposing fortress around which buildings of the state administration and residences for the provincialdaimyōs were constructed. The city grew around these buildings connected by a network of roads and canals. By 1700 the population had swollen to one million inhabitants. The scarcity of space for residential architecture resulted in houses being built over two stories, often constructed on raised stone plinths.[33]
Althoughmachiya (townhouses) had been around since the Heian period they began to be refined during theEdo period.Machiya typically occupied deep, narrow plots abutting the street (the width of the plot was usually indicative of the wealth of the owner), often with a workshop or shop on the ground floor. Tiles rather than thatch were used on the roof and exposed timbers were often plastered in an effort to protect the building against fire.[34] Ostentatious buildings that demonstrated the wealth and power of the feudal lords were constructed, such as theKamiyashiki of Matsudaira Tadamasa or theŌzone Shimoyashiki.
Edo suffered badly from devastating fires and the 1657Great Fire of Meireki was a turning point in urban design. Initially, as a method of reducing fire spread, the government built stone embankments in at least two locations along rivers in the city. Over time these were torn down and replaced withdōzō storehouses that were used both as fire breaks and to store goods unloaded from the canals. Thedōzō were built with a structural frame made of timber coated with a number of layers of earthen plaster on the walls, door and roof. Above the earthen roofs was a timber framework supporting a tiled roof.[35] Although Japanese who had studied with the Dutch at their settlement inDejima advocated building with stone and brick this was not undertaken because of their vulnerability to earthquakes.[36]Machiya and storehouses from the later part of the period are characterised by having a black coloration to the external plaster walls. This colour was made by addingIndia ink toburnt lime and crushed oyster shell.[37]
The clean lines of the civil architecture in Edo influenced thesukiya style of residential architecture.Katsura Detached Palace andShugaku-in Imperial Villa on the outskirts of Kyōto are good examples of this style. Their architecture has simple lines and decor and uses wood in its natural state.[38] Thesukiya style was applied not only to villas but also toryōtei (Japanese-style restaurants) andchashitsu, and later it was also applied to residences.[6]
In the very late part of the periodsankin-kōtai, the law requiring thedaimyōs to maintain dwellings in the capital was repealed which resulted in a decrease in population in Edo and a commensurate reduction in income for the shogunate.[39]
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Towards the end of the Tokugawa shogunate, Western influence in architecture began to show in buildings associated with the military and trade, especially naval and industrial facilities. After theEmperor Meiji was restored to power (known as theMeiji Restoration) Japan began a rapid process ofWesternization which led to the need for new building types such as schools, banks and hotels.[40]Early Meiji Architecture was initially influenced by colonial architecture in Chinese treaty ports such as Hong Kong. InNagasaki, the British traderThomas Glover built his ownhouse in just such a style using the skill of local carpenters. His influence helped the career of architectThomas Waters [ja] who designed theOsaka Mint in 1868, a long, low building in brick and stone with a centralpedimentedportico.[41] In Tōkyō, Waters designed the Commercial Museum, thought to have been the city's first brick building.[42]
In Tokyo, after theTsukiji area burnt to the ground in 1872, the government designated theGinza area as model of modernization. The government planned the construction of fireproof brick buildings, and larger, better streets connecting theShimbashi Station and the foreignconcession in Tsukiji, as well as to important government buildings. Designs for the area were provided by the British architectThomas James Waters; the Bureau of Construction of the Ministry of Finance was in charge of construction. In the following year, a Western-style Ginza was completed. "Bricktown" buildings were initially offered for sale, later they were leased, but the high rent meant that many remained unoccupied. Nevertheless, the area flourished as a symbol of "civilization and enlightenment", thanks to the presence of newspapers and magazine companies, who led the trends of the day. The area was also known for its window displays, an example of modern marketing techniques. The "Bricktown" of Ginza served as a model for many other modernization schemes in Japanese cities.
One of the prime examples of early western architecture was theRokumeikan, a large two-story building in Tokyo, completed in 1883, which was to become a controversial symbol of Westernisation in theMeiji period. Commissioned for the housing of foreign guests by the Foreign MinisterInoue Kaoru, it was designed byJosiah Conder [ja], a prominentforeign government advisors in Meiji Japan (o-yatoi gaikokujin). TheRyōunkaku was Japan's first western-style skyscraper, constructed in 1890 inAsakusa. However traditional architecture was still employed for new buildings, such as theKyūden ofTokyo Imperial Palace, albeit with token western elements such as a spouting water fountain in the gardens.[43]
In contrast to Waters's neoclassical style building, Japanese carpenters developed a pseudo-Japanese style known asgiyōfū[44] chiefly using wood. A good example of which isKaichi Primary School in Nagano Prefecture built in 1876. The master carpenter Tateishi Kiyoshige travelled to Tōkyō to see which Western building styles were popular and incorporated these in the school with traditional building methods. Constructed with a similar method to traditional (kura (倉)) storehouses, the wooden building plastered inside and out incorporates an octagonal Chinese tower and has stone-likequoins to the corners.[45] Traditionalnamako plasterwork was used at the base of the walls to give the impression that the building sits on a stone base.[46] Another example was theFirst National Bank building in Tokyo, built in 1872.[47]
The Japanese government also invited foreign architects to both work in Japan and teach new Japanese architects. One of these, the British architectJosiah Conder [ja] went on to train many of the most prominent of the Japanese Meiji era architects, includingKingo Tatsuno,Tatsuzō Sone andTokuma Katayama. Tatsuno's early works had a Venetian style influenced byJohn Ruskin, but his later works such as theBank of Japan (1896) andTōkyō Station (1914) have a moreBeaux-Arts feel.[48] On the other hand, Katayama was more influenced by the FrenchSecond Empire style which can be seen in theNara National Museum (1894) and theKyōto National Museum (1895).[49]
In 1920, a group of young architects formed the first organization of modernist architects. They were known as theBunriha, literally "Secessionist group", inspired in part by theVienna Secessionists. These architects were worried about the reliance on historical styles and decoration and instead encouraged artistic expression. They drew their influence from European movements likeExpressionism and theBauhaus[50] and helped pave the way towards the introduction of theInternational Style of Modernism.[51]
In theTaishō and earlyShōwa periods two influential American architects worked in Japan. The first wasFrank Lloyd Wright who designed theImperial Hotel, Tokyo (1913–1923) and theYodokō Guest House (1924), both of which used locally quarriedŌya stone.[52] Wright had a number of Japanese apprentices under his tutelage, such asArata Endo, who constructed theKōshien Hotel in 1930.
The second wasAntonin Raymond who worked for Wright on the Imperial Hotel before leaving to set up his own practice in Tōkyō. Although his early works like Tōkyō Women's Christian College show Wright's influence,[53] he soon began to experiment with the use of in-situ reinforced concrete, detailing it in way that recalled traditional Japanese construction methods.[54] Between 1933 and 1937Bruno Taut stayed in Japan. His writings, especially those onKatsura Imperial Villa reevaluated traditional Japanese architecture whilst bringing it to a wider audience.[55]
As in the Meiji era experience from abroad was gained by Japanese architects working in Europe. Among these wereKunio Maekawa andJunzo Sakakura who worked atLe Corbusier's atelier in Paris andBunzō Yamaguchi and Chikatada Kurata who worked withWalter Gropius.[55]
Some architects built their reputation upon works of public architecture.Togo Murano, a contemporary of Raymond, was influenced byRationalism and designed the Morigo Shoten office building, Tōkyō (1931) and Ube Public Hall, Yamaguchi Prefecture (1937). Similarly, Tetsuro Yoshida's rationalist modern architecture included theTōkyō Central Post Office [ja] (1931) and Ōsaka Central Post Office (1939).[51]
Running contrary to modernism in Japan was the so-calledImperial Crown style (teikan yōshiki). Buildings in this style were characterised by having a Japanese-style roof such as theTōkyō Imperial Museum (1937) by Hitoshi Watanabe andNagoya City Hall and theAichi Prefectural Government Office. The increasingly militaristic government insisted that major buildings be designed in a "Japanese Style" limiting opportunities for modernist design to works of infrastructure[56] such as Bunzō Yamaguchi's Number 2 Power Plant for theKurobe Dam, (1938).[57]
A large number of buildings from the Meiji, Taishō and Shōwa eras were lost during and after World War II, such as the Rokumeikan. Taniguchi Yoshirō (谷口 吉郎, 1904–79), an architect, and Moto Tsuchikawa establishedMeiji Mura in 1965, close to Nagoya, where a large number of rescued buildings are re-assembled. A similar museum is theEdo-Tokyo Open Air Architectural Museum.
The colonial authorities constructed a large number of public buildings, many of which have survived. Examples include the large-scale concept of what is todayKetagalan Boulevard in centralZhongzheng District ofTaipei that showcases theOffice of the Governor-General,Taiwan Governor Museum,National Taiwan University Hospital,Taipei Guest House,Judicial Yuan, theNippon Kangyo Bank andMitsui Bussan Company buildings, as well as many examples ofsmaller houses found on Qidong Street.
InKorea under Japanese administration, public buildings such as train stations and city halls were also constructed in various styles. Although the largest Japanese colonial building, the immenseGovernment-General Building, was demolished in 1995, many colonial buildings have been preserved. These include the former Keijo City Hall, todaySeoul Metropolitan Library; the former Keijo station, todayOld Seoul Station; the former Bank of Chosen, designed byTatsuno Kingo, today the headquarters of theBank of Korea; and the former branch ofMitsukoshi department store, today the flagship ofShinsegae department store.
After winningDalian as the result of theRusso-Japanese War of 1904–05, Japan continued to build the Russian-built city with themodern buildings on "Large Square". With the conquest and establishment of the puppet stateManchukuo, massive funds and efforts were invested into the master plan for the construction of the capital city of Shinkyō (Xinjing). Many official buildings erected during the colonial period still stand today, including those of theEight Grand Ministries of Manchukuo, theImperial Palace, the headquarters of theKwantung Army and Datong Avenue.
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![Osaka Prefectural Nakanoshima Library, Osaka, Magoichi Noguchi [ja], built in 1904](/mt/?noimg=&dark=on&url=https%3a%2f%2fwikipedia.org%2fwiki%2fFile%3aOsaka_prefectural_nakanoshima_library01_1920.jpg)
![Sumitomo Building, Osaka, Eikichi Hasebe [ja], built in 1924](/mt/?noimg=&dark=on&url=https%3a%2f%2fwikipedia.org%2fwiki%2fFile%3aSumitomo_bld02s3200.jpg)
![National Diet Building in Tōkyō, Kenkichi Yabashi, Yoshikuni Okuma [ja], built in 1936](/mt/?noimg=&dark=on&url=https%3a%2f%2fwikipedia.org%2fwiki%2fFile%3aDiet_of_Japan_Kokkai_2009.jpg)
![Main building of Aichi Prefectural Office, Yoshitoki Nishimura [ja], Jin Watanabe, built in 1938](/mt/?noimg=&dark=on&url=https%3a%2f%2fwikipedia.org%2fwiki%2fFile%3a090408_aichi_kenchou.jpg)
![Kurobe Dam No 2 Power Plant, Bunzō Yamaguchi [ja], built in 1938](/mt/?noimg=&dark=on&url=https%3a%2f%2fwikipedia.org%2fwiki%2fFile%3aKurobe_Daini_Hydropowerstation.jpg)
After the war and under the influence of theSupreme Commander of the Allied Powers, GeneralDouglas MacArthur, Japanese political and religious life was reformed to produce a demilitarised and democratic country. Although a newconstitution was established in 1947, it was not until the beginning of theKorean War that Japan (as an ally of the United States) saw a growth in its economy brought about by the manufacture of industrial goods.[58] In 1946 the Prefabricated Housing Association was formed to try and address the chronic shortage of housing, and architects like Kunio Maekawa submitted designs. However, it was not until the passing of the Public Housing Act in 1951 that housing built by the private sector was supported in law by the government.[59] Also in 1946, the War Damage Rehabilitation Board put forward ideas for the reconstruction of thirteen Japanese cities. ArchitectKenzō Tange submitted proposals forHiroshima andMaebashi.[60]
In 1949, Tange's winning competition entry to design theHiroshima Peace Memorial Museum gave him international acclaim. The project (completed in 1955) led to a series of commissions including the Kagawa Prefectural Office Building in Takamatsu (1958) and Old Kurashiki City Hall (1960). At this time both Tange and Maekawa were interested in the tradition of Japanese architecture and the influence of local character. This was illustrated at Kagawa with elements of Heian period design fused with the International Style.[61]
In 1955, Le Corbusier was asked by the Japanese government to design theNational Museum of Western Art in Tōkyō. He was assisted by his three former students: Maekawa, Sakakura andTakamasa Yoshizaka. The design was based upon Le Corbusier's museum inAhmedabad, and both of the museums are square and raised onpiloti.[62]
Due largely to the influence of Tange, the 1960 World Design Conference was held in Tōkyō. A small group of Japanese designers who came to represent theMetabolist Movement presented their manifesto and a series of projects. The group included the architectsKiyonori Kikutake,Masato Ōtaka,Kisho Kurokawa andFumihiko Maki. Originally known as the Burnt Ash School, the Metabolists associated themselves with idea of renewal and regeneration, rejecting visual representations of the past and promoting the idea that the individual, the house and the city were all parts of a single organism. Although the individual members of the group went in their own directions after a few years the enduring nature of their publications meant that they had a longer presence overseas. The international symbol of the Metabolists, the capsule, emerged as an idea in the late 1960s and was demonstrated in Kurokawa'sNakagin Capsule Tower in Tōkyō in 1972.[63]
In the 1960s Japan saw both the rise and the expansion of large construction firms, including theShimizu Corporation andKajima.Nikken Sekkei emerged as a comprehensive company that often included elements of Metabolist design in its buildings.[64]
The1964 Summer Olympics in Tokyo saw a large boost to new design. Venues were constructed and theYoyogi National Gymnasium, built between 1961 and 1964 byKenzo Tange, became a landmark structure famous for its suspension roof design, recalling traditional elements of Shinto shrines. Other structures include theNippon Budokan, theKomazawa Gymnasium and many others. The Olympic Games symbolised the re-emergence of Japan after the destruction of World War II, reflecting the new confidence in its architecture.
During the 1960s there were also architects who did not see the world of architecture in terms of Metabolism. For example,Kazuo Shinohara specialised in small residential projects in which he explored traditional architecture with simple elements in terms of space, abstraction and symbolism. In the Umbrella House (1961) he explored the spatial relationship between thedoma (earth-paved internal floor) and the raisedtatami floor in the living room and sleeping room. This relationship was explored further with the House with an Earthen floor (1963) where a tamped-down earthen floor was included in the kitchen area. His use of a roof to anchor his design for the House in White (1966) has been compared with Frank Lloyd Wright'sPrairie Houses. Shinohara explored these abstractions as "Three Styles", which were periods of design that stretched from the early sixties to the mid seventies.[65]
A former employee of Kenzo Tange wasArata Isozaki who was initially interested in the Metabolist Movement and produced innovative theoretical projects for the City in the Air (1961) and Future City (1962). However he soon moved away from this towards a moreMannerist approach similar to the work ofJames Stirling. This was particularly striking at the Oita Branch for Fukuoka Mutual (1967) with its mathematical grids, concrete construction and exposed services. In the Gunma Prefectural Museum (1971–74) he experimented with cubic elements (some of them twelve metres to a side) overlaid by a secondary grid expressed by the external wall panels andfenestration. This rhythm of panelling may have been influenced by Corbusier's detailing on the Museum of Western Art in Tōkyō.[66]
Japanese cities where they lack European-likepiazzas and squares often emphasise the relationship of people with the everyday workings of the street. Fumihiko Maki was one of a number of architects who were interested in the relationship of architecture and the city and this can be seen in works like Ōsaka Prefectural Sports Centre (1972) andSpiral in Tōkyō (1985). Likewise,Takefumi Aida (member of the group known as ArchiteXt) rejected the ideas of the Metabolist Movement and explored urbansemiology.[67]
In the late seventies and early eightiesTadao Ando's architecture and theoretical writings explored the idea ofCritical regionalism – the idea of promoting local or national culture within architecture. Ando's interpretation of this was demonstrated by his idea of reacquainting the Japanese house with nature, a relationship he thought had been lost withModernist architecture. His first projects were for small urban houses with enclosed courtyards (such as the Azuma House in Ōsaka in 1976). His architecture is characterised by the use of concrete, but it has been important for him to use the interplay of light, through time, with this and other materials in his work.[68] His ideas about the integration of nature converted well into larger projects such as the Rokkō Housing 1 (1983) (on a steep site onMount Rokkō) and the Church on the Water (1988) in Tomamu,Hokkaidō.[69]
The late eighties saw the first work by architects of the so-called "Shinohara" school. This includedToyō Itō andItsuko Hasegawa who were both interested in urban life and the contemporary city. Itō concentrated on the dynamism and mobility of the city's "urban nomads" with projects like the Tower of Winds (1986) which integrated natural elements like light and wind with those of technology. Hasegawa concentrated on what she termed "architecture as another nature". Her Shōnandai Cultural Centre in Fujisawa (1991) combined the natural environment with new high-tech materials.[70]
Highly individualist architects of the late eighties included the monumental buildings ofShin Takamatsu and the "cosmic" work of Masaharu Takasaki.[71] Takasaki, who worked with the Austrian architectGünther Domenig in the 1970s shares Domenig's organic architecture. His Zero Cosmology House of 1991 inKagoshima Prefecture constructed from concrete has a contemplative egg-shaped "zero space" at its centre.[72]
TheHeisei period began with the collapse of the so-called"bubble economy" that had previously boosted Japan's economy. Commissions for commercial works of architecture virtually dried up and architects relied upon government andprefectural organisations to provide projects.[73]
Building on elements from the Shōnandai Culture Centre, Itsuko Hasegawa undertook a number cultural and community centres throughout Japan. These included the Sumida Cultural Centre (1995) and the Fukuroi Community Centre (2001) where she involved the public in the process of design whilst exploring her own ideas about the filtration of light through the external walls into the interior.[74] In his 1995 competition win forSendai Mediatheque, Toyō Itō continued his earlier thoughts about fluid dynamics within the modern city with "seaweed-like" columns supporting a seven-story building wrapped in glass.[75] His work later in the period, for example, the library toTama Art University in Tōkyō in 2007 demonstrates more expressive forms, rather than the engineered aesthetic of his earlier works.[76]
Although Tadao Ando became well known for his use of concrete, he began the decade designing the Japanese pavilion at theSeville Exposition 1992, with a building that was hailed as "the largest wooden structure in the world". He continued with this medium in projects for the Museum of Wood Culture, Kami, Hyōgo Prefecture (1994) and the Komyo-ji Shrine in Saijo (2001).[77][78]
The UK practice,Foreign Office Architects won an international competition in 1994 to design theYokohama International Port Terminal. It is an undulating structure that emerges from the surrounding city and forms a building to walk over as well as into.[79] Klein Dytham Architecture are one of a handful of foreign architects who managed to gain a strong foothold in Japan. Their design for Moku Moku Yu (literally "wood wood steam"), a communal bathhouse in Kobuchizawa, Yamanashi Prefecture in 2004 is a series of interconnected circular pools and changing rooms, flat-roofed and clad in coloured vertical timbers.[80]
After the 1995Kōbe earthquake,Shigeru Ban developed cardboard tubes that could be used to quickly construct refugee shelters that were dubbed "Paper Houses". Also as part of that relief effort he designed a church using 58 cardboard tubes that were 5m high and had a tensile roof that opened up like an umbrella. The church was erected by Roman Catholic volunteers in five weeks.[81] For theNomadic Museum, Ban used walls made of shipping containers, stacked four high and joined at the corners with twist connectors that produced a checkerboard effect of solid and void. The ancillary spaces were made with paper tubes and honeycomb panels. The museum was designed to be disassembled and it subsequently moved from New York, to Santa Monica, Tōkyō and Mexico.[82]
Historian and architectTerunobu Fujimori's studies in the 1980s into so-called architectural curios found in the city inspired the work of a younger generation of architects such as the founders ofAtelier Bow-Wow. Yoshiharu Tsukamoto and Momoyo Kajima surveyed the city for "no-good" architecture for their bookMade in Tokyo in 2001. Their work in turn seeks to embrace its context rather than block it out. Although their office in Tōkyō is on a tight site they have welcomed the city in with huge windows and spacious porches.[83]
Sou Fujimoto's architecture relies upon a manipulation of basic building blocks to produce a geometricprimitivism. His buildings are very sensitive to the topographical form of their context and include a series of houses as well as a children's home inHokkaidō.[84]
Two former employees of Toyō Itō,Kazuyo Sejima andRyue Nishizawa formed a collaborative partnership in 1995 calledSANAA. They are known for creating lightweight, transparent spaces that expose the fluidity and movement of their occupants. TheirDior store in Shibuya, Tōkyō, in 2001 was reminiscent of Itō's Mediatheque, with cool white acrylic sheets on the external facade that filter the light and partially reveal the store's contents.[85] Their dynamic of fluidity is demonstrated by theRolex Learning Centre atÉcole Polytechnique Fédérale de Lausanne, completed in 2010. This building has an undulating floor plane set under a continuous concrete shell roof that was poured in one go over two days. The plan is like a biological cell punctuated with tables and courtyards alike.[86] In 2009 they designed theSerpentine Gallery Pavilion in London that comprised a reflective, floating aluminium roof supported by slender columns.[87]
Japanese interior design has a unique aesthetic derived fromShinto,Taoism,Zen Buddhism, world view ofwabi-sabi, specific religious figures and the West. This aesthetic has in turn influenced Western style, particularlyModernism.[88]
What is generally identified as the Japanese aesthetic stems from ideals of JapaneseShinto and ChineseTaoism.[89] Japanese culture is extremely diverse; despite this, in terms of the interior, the aesthetic is one of simplicity and minimalism.
The specific idea that a room's true beauty is in the empty space within the roof and walls came fromLaozi, a philosopher and the founder ofTaoism, who held to the "aesthetic ideal of emptiness",[89] believing that the mood should be captured in the imagination, and not so heavily dictated by what is physically present.[89] Japanese design is based strongly on craftsmanship, beauty, elaboration, and delicacy. The design of interiors is very simple but made with attention to detail and intricacy. This sense of intricacy and simplicity in Japanese designs is still valued in modern Japan as it was in traditional Japan.[90]
Interiors are very simple, highlighting minimal and natural decoration. Traditional Japanese interiors, as well as modern, incorporate mainly natural materials including fine woods, bamboo, silk, rice straw mats, and papershōji screens. Natural materials are used to keep simplicity in the space that connects to nature. Natural color schemes are used and neutral palettes including black, white, off-white, gray, and brown.[91]
Impermanence is a strong theme in traditional Japanese dwellings.[89] The size of rooms can be altered by interior sliding walls or screens, the already mentionedshōji. Cupboards built smoothly into the wall hidefuton, mattresses pulled out before going to bed, allowing more space to be available during the day. The versatility of these dwellings becomes more apparent with changes of seasons. In summer, for example, exterior walls can be opened to bring the garden and cooling breezes in. The minimal decoration also alters seasonally, with a different scroll hanging or new flower arrangement.
The Japanese aesthetic developed further with the celebration of imperfection and insufficiency, characteristics resulting from the natural ageing process or darkening effect.[92]Shinto, the indigenous religious tradition of Japan, provides a basis for the appreciation of these qualities, holding to a philosophy of appreciation of life and the world.Sei Shōnagon was a trend-setting court lady of the tenth century who wrote in 'The Pillow Book' of her dislike for "a new cloth screen with a colourful and cluttered painting of many cherry blossoms",[92] preferring instead to notice "that one's elegant Chinese mirror has become a little cloudy".[92] Her taste was not out of place in the ancient Japanese court. In the twelfth century a Buddhist monk,Yoshida Kenkō, exerted his influence on Japanese aesthetic sensibility resulting from his philosophy of life. He asked, "Are we to look at cherry blossoms only in full bloom, the moon only when it is cloudless? ...Branches about to blossom or garden strewn with faded flowers are worthier of our admiration."[92] The incomplete is also praised by Kenkō, "uniformity and completeness are undesirable".[92] Underpinning or complementing these aesthetic ideals, is the valuing of contrast; when imperfection or the impoverished is contrasted with perfection or opulence, each is emphasised and thus better appreciated.[92]
Japanese interior design is very efficient in the use of resources. Traditional and modern Japanese interiors have been flexible in use and designed mostly with natural materials. The spaces are used as multifunctional rooms. The rooms can be opened to create more space for a particular occasion or for more privacy, or vice versa closed-off by pulling closed paper screens calledshōji.[93]
Japanese Zen interior designs draw inspiration from elements of nature as they have immense respect for nature. Their designs have a strong connection with natural elements such as wood, plants, natural lighting and more.
A large portion of Japanese interior walls are often made ofshōji screens that can be pushed open to join two rooms together, and then close them allowing more privacy. Theshōji screens are made of paper attached to thin wooden frames that roll away on a track when they are pushed. Another important feature of theshōji screen, besides privacy and seclusion, is that they allow light through. This is an important aspect to Japanese design. Paper translucent walls allow light to be diffused through the space and create light shadows and patterns.
Tatami mats are rice straw floor mats often used to cover the floor in Japan's interiors; in modern Japanese houses there are usually only one or twotatami rooms. Another way to connect rooms in Japan's interiors is through sliding panels made of wood and paper, like theshōji screens, or cloth. These panels are calledfusuma and are used as an entire wall. They are traditionally hand painted.[93]
Tatami are the basis of traditional Japanese architecture, regulating a building's size and dimensions. They originated in ancient Japan when straw was laid on bare earth as a softener and warmer. In theHeian period (794–1185), this idea developed into moveable mats that could be laid anywhere in the house to sit or sleep on before becoming a permanent floor covering in the fifteenth century.[89]Tatami are suitable for the Japanese climate because they let air circulate around the floor.[89][93]
Bamboo is prominently used and even expected in the Japanese house, used both for decorative and functional purposes. Bamboo blinds,sudare, replaceshoji in summer to prevent excess heat inside and also offer greater ventilation. Country dwellings and farmhouses often use it for ceilings and rafters.[89] The natural properties of bamboo, its raw beauty with the knots and smooth surface, correspond to Japanese aesthetic ideals of imperfection, contrast and the natural.
The use of paper, orwashi, in Japanese buildings is a main component in the beauty and atmosphere of the Japanese interior, the way variation of shadow combines to create a "mystery of shadows".[89] A range of papers are used for various purposes in the home.
Wood is generally used for the framework of the home, but its properties are valuable in the Japanese aesthetic, namely its warmth and irregularity.
A recessed space calledtokonoma is often present in traditional as well as modern Japanese living rooms. This is the focus of the room and displays Japanese art, usually a painting or calligraphy.
After theMeiji Restoration of 1868, Japan's relations to Euro-American powers became more prominent and involved.[94] This spilled into a broader interacting with the modern world, which in terms of interior design, resulted in the introduction of western style interiors, while the vernacular style came to be more associated with tradition and the past.[94] The typical interiors found in Japanese homes and western homes in the late nineteenth and early twentieth centuries were vastly different with almost opposing attitudes to furniture, versatility of space and materials.[94]
Many public spaces had begun to incorporate chairs and desks by the late nineteenth century, department stores adopted western-style displays; a new "urban visual and consumer culture" was emerging.[94] In thedomestic sphere, the manner and dress of inhabitants were determined by the interior style, Japanese or Western. One of the examples is theHōmei-Den of the Meiji era Tokyo Imperial Palace, which fused Japanese styles such as the coffered ceiling with western parquet floor and chandeliers.
There was a push by bureaucrats for Japan to develop into a more "modern" (Western) culture. The modernising of the home was considered the best way to change the daily life of the people.[94] Much of the reason for modernisation was a desire to "present a 'civilised' face to the world, thus helping to secure Japan's position as a modern nation in the world order".[94] Even with governmental encouragement to transform the home, the majority of Japanese people still lived in fairly traditional style dwellings well into the 1920s,[94] partly due to economic situation in the early 1910s that meant western style was out of reach for the majority of people. It was also difficult to incorporate furniture into traditional dwellings due to their small size and intended flexible use of space, a flexibility made difficult to maintain when bulky furniture was involved; it was impractical, but aesthetically incongruent too.
Some of the earliest influence on the West came in the form of Japanese art, which gained popularity in Europe in particular, in the latter part of the nineteenth century.[95] In terms of architecture and interior design though, the influence on the West is much more centered on the United States of America.[96]
Before the twentieth century, very little of the West's knowledge of the Japanese building was gained in Japan. Instead it was gained through exhibitions the Japanese partook in such as the1876 Centennial International Exhibition in Philadelphia.[96] The early influence of such exhibitions was more in the creation of an enthusiasm for things Japanese instead of something more authentic.[96] The result was exuberant Japanese decoration, the simplicity of Japanese design lost in the clutter of Victorian ostentation.[96]
During the twentieth century though, a number of now renowned architects visited Japan includingFrank Lloyd Wright,Ralph Adams Cram,Richard Neutra andAntonin Raymond. These architects, among others, played significant roles in bringing the Japanese influence to Western modernism.[96] Influence from the Far East was not new in America at this time. During the eighteenth and a large part of the nineteenth centuries, a taste for Chinese art and architecture existed and often resulted in a "superficial copying". The Japanese influence was different however. The modernist context, and the time leading up to it, meant that architects were more concerned with "the problem of building, rather than in the art of ornamenting".[96] The simplicity of Japanese dwellings contrasted the oft-esteemed excessive decoration of the West. The influence of Japanese design was thus not so much that it was directly copied but rather, "the west discovered the quality of space in traditional Japanese architecture through a filter of western architectural values".[97]The culture that created traditional Japanese architecture is so far removed from Western values philosophies of life that it could not be directly applied in a design context.
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