HISTORY OF ARCHITECTURE III

Asian Architecture
MODULE NO. 2

JAPANESE ARCHITECTURE
I. BACKGROUND
INFLUENCE EFFECTS ON JAPANESE ARCHITECTURE
GEOGRAPHY and GEOLOGICAL COMPOSITION
- composed of several islands surrounded by - abundance of natural materials
bodies of water (Sea of Japan-west and Pacific - development of WOODEN ARCHITECTURE
Ocean-East) - development of construction methods and
- earthquakes are common and result from a selection of materials to allow resistance
fault that circles the Pacific Ocean to earthquakes
- the mountains of Japan contain 10% of the
world’s most active volcanoes
- rugged hill country and some 4/5 of the entire
area is occupied by forest and wild vegetation
BUILDING MATERIALS
- diversity of trees - stone is used for foundation work or
- stone of volcanic origin lower portions of walling upon which
- clay tiles would be erected an upper timber
- thatch structure
- tatami mats (3x6ft) - roof construction that are capable in
adapting to changing climate
- floor mats used for determining sizes of
rooms

CLIMATE
- cold air coming from Northern Asia (Mongolia) - wooden architecture blended well with
- warm and moisture air from Asia and the the regional differences of climate in
Pacific Japan
- abundant rainfall and seasonal winds carry - raised platform to avoid moist from the
moisture into the country from its surrounding ground (like China)
water - heating system under a kotatsu
RELIGION
- SHINTOISM – image worship or belief that - increase in construction of religious
powerful deities (Kami) inhabit both heaven buildings – TEMPLES and SHRINES
and earth
- BUDDHISM – influence came from China and
Korea
- practice based on the teachings of Buddha

HISTORICAL EVENTS
1. PRE-BUDDHIST CULTURES
A. JOMON (7500 – 300 BC)
- Hunting-fishing-gathering culture in which produced distinctive ceramic wares in great number of
communities throughout Japan
- lived in flatland dwellings (pit) where roof and floor were supported by a post and beam structure
(post buried directly to ground)
B. YAYOI (300 BC – 300AD)
- new people and influences arrived from Korea bringing metallurgy, large scale wet rice
agriculture based on irrigation and wheel made pottery
- development of smaller states under the control of a variety of clans. Clan chief being both a
symbol of secularism and religion
C. TOMB MOUND (TUMULUS PERIOD) (4TH – 6TH CENTURY)
- succession of dynasties that controlled a large area
- common practice of burying royalty and high ranking clan officials in stone tombs covered with
large earthen mounds.

2. INFLUENCE FROM KOREA AND CHINA

D. ASUKA (538 – 645)
- Buddhism was introduced to Japan in the 6th century from Korea under prince Shutoku’s reign
- Korean craftspeople came to Japan to build Buddhist temples and furnish them with sculptures,
paintings and decorative arts
E. HAKUHO (645 – 710)
- central government was developed based upon the model of Tang in China
- capital was laid out in a square grid pattern
F. NARA (710 – 784)
- increase in the construction of temples dedicated to Buddha that marked the high point of Buddhist
culture in Japan
- RESIDENTIAL ARCHITECTURE average houses are post and beam structure with either thatched
or board roof weighted down with stones; possibility to eliminate interior posts and rely solely on
pillars on exterior walls; development of interior partitions (a)room with earthen floor and
(b)kitchen with fire pit for cooking
- building of monasteries reached its peak with the construction on new buildings and older temples
were rebuilt in new sites were a five storey pagoda occupies the central place

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Asian Architecture
- TODAIJI TEMPLE established as the center of Buddhism; influenced by the grand scale of Buddhis
architecture of China’s Tang Dynasty - Centrepiece was the great GOLDEN BUDDHA HALL (daibutsu
- a cast bronze image more than 16m high) flanked by twin pagodas; resembled Chinese palaces
3

3. DEVELOPING A CULTURAL IDENTITY

G. HEIAN (784 – 897)
- established a new capital based on geomancy (KYOTO)
- best known for its sculptures, paintings and MANDALA – schematic pictorial diagrams
- of Buddhist divinities and cosmology
- magnificent design for paradise halls to create an image of heaven on earth
H. FUJIWARA (LATE HEIAN) (897 – 1185)
- period when Japanese culture gradually developed its own distinctive identity
- suspension of official exchanges with China
- development of art, poetry and romance expressed in the aesthetic ideals of courtly elegance and
tasteful refinement and awareness of the transient beauty of nature
- maturation of SHINDEN ZUKURI STYLE refers to the style of domestic architecture developed
for palatial or aristocraticmansions built in Heian-kyō (平安京, today's Kyoto) in the Heian
period (794-1185), especially in 10th century Japan.[1]
Shinden-zukuri developed into shoin-zukuri and sukiya-zukuri (detached teahouse type
architecture). During the Kamakura era, it developed into buke-zukuri (武家造 housing for a
military family).
- double roof system

4. THE WAY OF THE SAMURAI

I. KAMAKURA (1185 -1333)
- feudal society governed by the principles of bushido
- founded by MINAMOTO YORIMOTO
- samurai became the ruling class
• BAKUFU – system of government with a hierarchal system
- emphasis on simplicity, strength and realism
- rebuilding of Nara temple that provided revitalization to religious art
- SHOIN ZUKURI a ceremonial style of Japanese residential architecture which derived its name from
the characteristic shoin or study bay and marked by the hierarchical arrangement of public and
private rooms
J. MUROMACHI (ASHIKAGA) (1338 – 1573)
- ruled by the Ashikaga Shoguns from the Muromachi district of Kyoto
- perfection of Shoin Zukuri style
• ZEN BUDDHISM – appealed to warrior class because of its emphasis upon intuitive awareness and
aesthetics expression; black ink paintings, calligraphy and flower arranging; mastering an art form
was perceived as a way to discipline the mind and body – practical benefits useful to a warrior
• SAMURAI RESIDENCES – situated on flatlands or on slightly sloping ground, surrounded by moats
and walls (for irrigation and defense) and walls; complex with different buildings for – cooking,
shed, stables, pit house for servant and vegetable garden
K. MOMOYAMA PERIOD (1573 – 1614)
- Japan was reunified by a succession od three great military leaders (Oda Nobunaga, Hideyoshi,
tokogawa ieyasu)
• HIDE YOSHI – continued the process of military unification and built Fushimi Castle and
reconstructed Osaka castle
- castles were built due to infiltration of feudal lords into Japanese society – both for prestige and
military defense
- NOBUNAGA CASTLE – built by the warlord Nobunaga; set a pattern for ostentatious decoration
- SUKIYA ZUKURI – an architectural style exclusive for tea ceremony purposes and is still used today
L. EDO (TOKOGAWA) (1615 -1868)
- centralized feudalism
- samurai were at the top of the social hierarchy but merchants eventually gained control of the
wealth and common people became the leaders of the new cultural developments
- organization and development of regional towns
TAKAYAMA – administrative town
KANAZAWA – castle town
OGIMACHI – farm village
MINKA – rural houses
KURASHIKI – rice merchant town

5. JAPANESE ARCHITECTURE IN TRANSITION

M. MEIJI (1868 – 1912)
- foreign influence
- karahafu, curve roof on center
- goal was to achieve economic and military modernization
- public buildings, government and business used new styles, techniques and materials from west
(stone and brick, steel, concrete and glass
N. MODERN JAPAN (1912 – present)
- marked by the introduction of an enormous variety of European form of art and architecture
- Palatial buildings appeared in many large cities
- Japan blends traditional Japanese architecture with modern technology and new materials

II. ARCHITECTURAL CHARACTER

- simplicity, asymmetry, sensitivity to natural environment and the use of natural materials
- restrained architectural tradition in marked contrast to an exuberant tradition characterized by
monumentality and use of bold colors (China)

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- traditional Japanese architecture is of timber construction (earthquakes prevented the use of heavy
materials)and uses only post and lintel system
- KEN was used as the standard unit of measurement which regulates intercolumniation

A. BASIC PRINCIPLES OF JAPANESE ARCHITECTURE

1. NATURAL MATERIALS AND
SETTING
2. RESTRAINT AND EXUBERANCE
(depending on the occasion and
use of building)
3. ATTENTION TO DETAILS
4. INDEGENOUS AND FOREIGN
INFLUENCE
5. PRESERVING THE PAST
6. STATUS AND FUNCTION
- preference for natural material, particularly wood (wood
can breathe - suitable for Japanese climate, absorbs
humidity in wet season and releases moisture when air is
dry
- materials used as roofing materials include reeds, bark
and clay tiles (usually black)
- Buddhism gave way to mountain temples with an
asymmetrical layout
- appreciation to exuberant color and complexity of form
(ceremonial buildings)
- for residential buildings, the goal is to provide a tasteful
and relaxed atmosphere
- Applies to both technological and design feature
- TECHNOLOGICAL – intricate joinery of a building allowed
it to be assembled without nails and to be disassembled
periodically for repair
- DESIGN – interlocking large supports, repetition of basic
pattern of brackets creating visual rhythm that is well
unified
- foreign influences were assimilated and made part of
Japanese tradition
- influence from China and Korea as well as from Europe
and United State during the Industrial revolution and
World Wars
- creativity blending different influences into new style that
express basic Japanese vales and aesthetics preferences
• REGULAR RENEWAL – custom of periodically making a
more or less exact copy of a building
• RECYCLING OF MATERIALS – using lumber and tiles from
buildings that have collapsed, partially destroyed by fire
or war to rebuild or make a new building
• PRESERVATION – practice of taking steps to save
architectural members and reinforcing structures that are
in damage or collapse
• REMODELING – modifying a structure to bring it into live
with contemporary styles or enable it to meet the
requirements of a revised function
• RESTORATION – parts of a structure that have been
damaged by natural forces are replaced
• RECONSTRUCTION – necessity of rebuilding a structure
that no longer exist
- hierarchal society with considerable emphasis upon
states, authority and power through material expression
• RULERS – palaces and villas, temples and shrines
• MERCHANTS – farmhouses and shop dwellings
- Differences in architectural styles are also associated with
differences in function

B. BUILDING COMPONENTS
1. COLUMN, POST - above is highly decorated with frieze
- stilted upon stone piles to a height which would ensure timber being
above ground water during rainy season
- given a refined entasis and frequently inward inclination to mitigate the
effects of earthquake shocks
- receives the main load from the roof
- either square (panelled) or round (richly lacquered)
2. BEAM - underside are frequently cambered to avoid any impression of sagging
3. ROOF - Usually black, red or gold (temples)
- curve roof under simple brackets
• IRIMOYA GABLE – gable above the walls
- lower part of the main roof is carved round the ends of the building in a
hipped form
4. WALL - TRADITIONAL HOUSES walls are:
- non-structural
- absence of wall mouldings
- exterior walls are extremely thin
5. BRACKETS - Bracketing consists of a series of projecting wooden corbels supporting
horizontal members and rafters allowing the roof to overhang the wall
often by as much as 2.4m
6. DOORS and WINDOWS - openings are filled with timber trellis and provided with wooden
shutters externally and paper (rice)

III. BUILDING TYPES

A. PALACES AND MANSIONS

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- Imperial palace were simple type, consisting of a principal hall joined by corridors to three separate
pavilions for the family of the emperor
- concave on external wall; masonry with tilted quoins tones, to resist earthquake shocks, a moat
invariable encircled the wall
- entire wall complex was arranged around a large garden consisting of a lake with an island reached by
small bridges
• SHINDEN ZUKURI (Heian Period) – buildings were single storey consisting of a Moya (main area) and
Hisashi (peripheral sections) raised on wooden posts sunk into the ground and surrounded by wooden
verandas reach by stairs
- floors are sliding, unpainted wood and roof was shingled or planked (hipped and gabled roof-from
Buddhist temple)
- privacy was provided by paper sliding doors and folding screens

B. TEMPLES AND SHRINES

TEMPLE SHRINE
- BHUDDISM - SHINTOISM
- has a pagoda on the premise - entrance through a Torii gate
- houses the image of Buddha - centers around a variety of gods
- jingu - ji
- a large incense burner is usually found in front - purification fountain near entrance to cleanse
of a temple (smoke is believed to have healing mouth and hands before prayer
properties) - a pair of guardian dogs or lions on each side
- prayers are silent of the entrance
- similar in China, Japan and India - clapping before prayer
- unique to Japan
The following structures and objects can be typically found at a shrine:
Torii
One or more torii gates mark the approach and entrance
to a shrine. They come in various colors and are made
of various materials. Most torii, however are made of
wood, and many are painted orange and black.

Komainu
Komainu are a pair of guardian dogs or lions, often
found on each side of a shrine's entrance. In the case of
Inari Shrines, they are foxes (see picture) rather than
dogs.

Purification trough
Found near the entrance, the water of these fountains
is used for purification. You are supposed to clean your
hands and mouth before approaching the main
hall. More details

Main and offering hall

Depending on the shrine's architecture style, the main
hall (honden) and offering hall (haiden) are two
separate buildings or combined into one building. The
main hall's innermost chamber contains the shrine's
sacred object, while visitors make their prayers and
offerings at the offering hall. More details

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Stage
Stages for kagura dance or noh theater performances
can be found at some shrines.

Ema
Shrine visitors write their wishes on these wooden
plates and then leave them at the shrine in the hope
that their wishes come true. Most people wish for good
health, success in business, passing entrance exams,
love or wealth.

Omikuji
Omikuji are fortune telling paper slips found at many
shrines and temples. Randomly drawn, they contain
predictions ranging from daikichi ("great good luck") to
daikyo ("great bad luck"). By tying the piece of paper
around a tree's branch, good fortune will come true or
bad fortune can be averted.

Shimenawa
A shimenawa is a straw rope with white zigzag paper
strips (shide). It marks the boundary to something
sacred and can be found on torii gates, around sacred
trees and stones, etc. A rope similar to the shimenawa
is also worn by yokozuna, the highest ranked s

C. CASTLES
FOUR TYPES OF JAPANESE CASTLES
1. MOUNTAINTOP CASTLE
- constructed on the top of mountains protected by mountain terrains
- small, semi-permanent structure that lacked the type of fortifications
- provided excellent view of the surrounding area and was difficult to attack
2. FLATLAND MOUNTAIN CASTLES
- located on lowland, low mountains or large hills where a plain spread out before them
- increased the efficiency of communication
- development of moats and walls
3. FLATLAND CASTLES
- built in the middle of an open plain
- bigger and stronger moats and walls
- disadvantage – susceptible to flood
4. WATER CASTLES
- jut out into a body of water

CASTLE STRUCTURES
CASTLE TOWER - donjon or castle keep
- innermost part, best defended and most prominent structure
- 2-5 stories and are often more stories inside (to confuse invaders)
WALLS AND MOATS - serve as the main defense measure of castles
GUARD TOWERS - watch tower and storage rooms along castle walls often placed at
corners
- much smaller than the main castle town and usually made of two
floors
GATES - typically consist of 2 gates placed 90 degrees to each other, creating
a small inner yard which is heavily defended from all sides
PALACES - lord’s residence and office

• JUGON - a loophole whre aroows and guns are fired (timer shaped)
• ISHIOTOSHI – a special chamber built out over the wall of a castle. Its floor could be open downwards
to drop rocksonto to the heads of attackers trying to scale the wall
D. HOUSES
- built by erecting wooden columns on top of a flat foundation made of packed earth stones
- elevated on ground and laid horizontal wooden floor beams
- traditional design tends to regard the inside and the outside as continuous elements, not two separate
environments (verandah around the house)

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- houses were designed for the people to be sitting on the floor
- doors, windows and alcoves were situated for the most advantageous viewing of the gardens at a
seated position
- important rooms were provided with TOKONOMA
- low table with heater and covered with fabric/mat to maintain the heat under the table

In around the eleventh century, when Japan's unique culture came into full bloom, members of the
aristocracy began to build a distinctive style of house for themselves called SHINDEN-ZUKURI. This
type of house, which stood in the midst of a large garden, was symmetrical, and its rooms were
connected with long hallways. It allowed residents to enjoy seasonal events and the beauty of nature

As political power passed from the nobles to the samurai (warrior class) and a new form of Buddhism
made its way to Japan, core aspects of traditional Japanese culture as we know it today began to take
root, including ikebana(flower arranging), the tea ceremony, and Noh. The samurai created their own
style of house called SHOIN-ZUKURI. This influence can be seen in the alcove ornament of the guest
rooms of modern houses.

The houses of common people developed differently. Farmers in different regions of the country had
houses that were adapted to local conditions. The houses built in the gasshostyle in Shirakawa-go,
which is listed as a World Heritage site, are examples of residences in which common people lived.
Some farmers' houses had space to keep their cattle and horses indoors, while the houses of city
dwellers were often squeezed close together along the streets. As urban homeowners were taxed based
on the width of the front side of the house, their houses were built to be long and narrow. This style
can still be seen today in older cities like Kyoto.

PLAN - may be entered through a vestibule

- initially had open plans without screens to separate rooms until freestanding
screens were introduced
- light movable partitions; corridors run within the house formed by paper
screens which could be pushed aside to open up new areas or open the entire
house to the garden
- rooms regulated in size by tatami
- a lower unfloored area is used for the hall, bathroom and kitchen areas while
two raised areas serve as living and sleeping and corridors and verandahs
(fishing gallery)
WALLS - wood framed with paper infilling
- buildings were stilted upon stone piles
- non – load bearing
- movable partitions
ROOFS - resemble Chinese roof but are simple in treatment and more subtle and
refined in outline
- thatch, shingle or tiles

PARTS OF A TRADITIONAL JAPANESE HOUSE

a. GENKAN – entrance consist of sliding doors, inside of which is a ground level area for leaving shoes
and umbrella; considered to be public in that visitors can enter without knocking
b. ENGAWA – elevated veranda ; transition between the interior and surrounding garden
c. ZASHIKI – reception room
d. CHANOMA – family room
e. DAIDOKORO – kitchen
f. TOKONOMA – elevated alcove where calligraphy scroll and/or ikebana are displayed
g. TOKOWAKI – second alcove consists of a small cupboard with sliding door
h. FUSUMA – sliding screens use to divide interior space
i. SHOJI – wooden lattice exterior sliding door covered with translucent paper
j. AMADO – heavy wooden door
k. ZABUTON – flat cushions for seating
l. FUTON – three fold thick quilt used for sleeping
m. HAKINOWA – box garden, provided when there is limited space
n. BUDSUDAN – Buddhist altar
o. KOTATSU – Japanese table with heaters for winter and blanket over the laps of those seated around
the table

E. TEA HOUSES
- Composed of two elements:
1. BUILDING ITSELF
2. GARDEN – divided into two areas by gates,
a. OUTER AREA, provides covered seating were guests wait quietly to be summoned by the tea
master
b. INNER AREA, may have additional seating and has a water basin for washing hands and stepping
stones in which guests are expected to walk
- Access to the building is through a low “crawl door” (prevent samurai from entering with their swords)
- interior consists of tatami mat and tokonoma, ante-rooms for tea preparation
- windows consist of holes of different sizes and shapes, covered with materials such as bamboo slats on
Japanese rice paper
F. TORII
- gate without doors marking the entrance of a Shinto shrine
- means “were the birds are”
- upright posts supporting two or more horizontal beams
- main function is to provide a dividing line between the exterior profane world and the interior sacred
space
- made of wood, stone or metal and sometimes painted in red
G. PAGODA
- square in plan, usually five storeyed and about 45m in height

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- virtually suspended around a central timber
- ground storey contains images and relics
- upper storeys serves as belvederes – open roof gallery in an upper storey built for giving view of the
scenery
- wide projecting roof to each storey and the subtle curvature
H. OTHER STRUCTURES
• KAKU – intricately and elaborately decorated garden pavilions
• SHOSOIN – treasure house which can be found in Bddhist temples and government houses
• STOREHOUSES – elevated
• NOH THEATERS
• SUMO RINGS – with raised platform about 5.40m in diameter
• MERCHANT HOUSES
• FARMHOUSES

IV. BUILDING EXAMPLES

1. TODAIJI TEMPLE
- Largest wooden structure in the world
- Cnterpiece was the great GOLDEN BUDDHA HALL flanked by twin pagodas; resembled Chinese palaces
(daibutsu – a cast bronze image more than 16m high)
2. HIMEJI CASTLE
- MALI ITO
- literally the Altar of Heaven (TIAN - TAN)
- a complex of Taoist buildings situated in the south-eastern part of central Beijing.
- one of the largest temple complexes in china & a paradigm of architectural balance & symbolism.
- the complex was visited by the Emperors of the Ming and Qing dynasties for annual ceremonies of
prayer to Heaven for good harvest.
- it is regarded as a Taoist temple, although Chinese Heaven worship, especially by the reigning monarch
of the day, pre-dates Taoism .
- the Temple grounds cover 2.73 km² of parkland and comprises three main groups of constructions, all
built according to strict philosophical requirements:
1. THE HALL OF PRAYER FOR GOOD HARVESTS
2. THE IMPERIAL VAULT OF HEAVEN
3. THE CIRCULAR MOUND ALTAR

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