UNIVERSITY OF CINCINNATI

Date:______

I, ______, hereby submit this work as part of the requirements for the degree of: in:

It is entitled:

This work and its defense approved by:

Chair: ______

Dynamic Balance: Bringing Traditional Japanese Architecture to the 21st Century

A thesis submitted to: The Division of Research and Advanced Studies of the University of Cincinnati

In partial fulfi llment of the requirements for the degree of: Masters of Architecture in the school of Architecture and Interior Design of the College of Design, Art, Architecture and Planning

May 25, 2008

by: Lee Warren Dunfi eld Bachelor of Science in Architecture, May 2005 Washington University in St. Louis

Committee Chairs: Elizabeth Riorden, Tom Bible Abstract

In much contemporary architecture today there exists a disconnect between humans and nature, between humans and a regional, cultural identity. Beginning with the Modernist movement of the early 20th Century, many architects have turned away from reliance on nearby resources and building methods suited to their particular environment and towards the material and technological variety made possible by modern manufacturing and transportation. While the reproduction of buildings of the past would be anachronistic and counter-productive, many older styles, such as Japanese traditional architecture, a focus of this thesis, can offer design techniques to help contemporary buildings refocus on nature and on their specifi c local environment. This project uses these techniques from traditional Japanese architecture to design a contemporary, ecologically-sensitive building in the United States based on unique conditions within the urban landscape and shows that older traditional architecture is relevant to the 21st Century.

1

Table of Contents

Abstract 1 Table of Contents 3 List of Illustrations 4 Introduction 7 Thesis Argument Chapter 1: Shortcomings of Contemporary Architecture 10 Chapter 2: The Role of Traditional Styles in 21st Century 13 Chapter 3: The History and Relevance of Japanese Architecture 17 Chapter 4: Design Implications 28

Literary Sources In Praise of Shadows. 38 Form and Space of Japanese Architecture 41 The Contemporary Teahouse: Japan’s Top Architects Redefi ne a Tradition 44

Precedents Katsura Imperial Villa 47 Miho Museum by I.M. Pei 52 International House of Japan 55

Site Analysis 57

Program Analysis 62

Design Outcome 66

Bibliography 69 3 List of Illustrations

Fig. 1 Henry-Russell Hitchcock and Phillip Fig. 14 Ichiryusai Hiroshige, Benten Shrine, Johnson, The International Style (New Inokashira Pond, 1856, ink and color York: W. W. Norton & Company, Inc., on paper. Photo credit: Henry D. Smith 1966), 109. and Ando Hiroshige, Hiroshige: One Hundred Famous Views of Edo, (New Fig. 2 Ibid., 181. York: George Brazilller, 1986).

Fig. 3 http://travel.3yen.com/ Fig. 15 Kevin Nute, Place, Time and Being in Japanese Architecture (New York: Fig. 4 http://improvementweb.com/bamboo- Routledge, 2004) 15. fl ooring/

Fig. 5 http://www.trhamzahyeang.com/ Fig. 16 Norihisa Mizuno, Miho Museum, (Momodani, Japan: Nissha Printing Co., Fig. 6 By author. 2001) 1.

Fig. 7 By author. Fig. 17 http://images.businessweek.com/ss/06/03/ japan_temples/source/2.htm Fig. 8 By author. Fig. 18 Kevin Nute, Place, Time and Being Fig. 9 Arata Isozaki, Katsura Imperial Villa in Japanese Architecture (New York: (Milan: Electra Architecture, 2005), 17. Routledge, 2004) 71.

Fig. 10 Ibid. Fig. 19 Ibid., 70.

Fig. 11 Kazuo Nishi and Kazuo Hozumi, What Fig. 20 Kano Motonobu, Flowers and Birds of is Japanese Architecture? (New York: the Four Seasons, 1535, ink and colors Kodansha International Ltd., 1985), 74. on paper. Photo credit: Kyoto National Museum, ed. Muromachi jidai no Kano- Fig. 12 By author. ha (Kyoto: Kyoto National Museum, 1996). Fig. 13 Kevin Nute, Place, Time and Being in Japanese Architecture (New York: Fig. 21 Kevin Nute, Place, Time and Being Routledge, 2004) 132. in Japanese Architecture (New York: Routledge, 2004) 38

4 Fig. 22 Ibid., 43. Fig. 39 By author

Fig. 23 By author. Fig. 40 Arata Isozaki, Katsura Imperial Villa (Milan: Electra Architecture, 2005), 50. Fig. 24 By author. Fig. 41 By author. Fig. 25 By author. Fig. 42 Arata Isozaki, Katsura Imperial Villa Fig. 26 By author. (Milan: Electra Architecture, 2005), 77.

Fig. 27 Kevin Nute, Place, Time and Being Fig. 43 Arata Isozaki, Katsura Imperial Villa in Japanese Architecture (New York: (Milan: Electra Architecture, 2005), 125, Routledge, 2004) 118. 140.

Fig. 28 Ibid., 119. Fig. 44 http://www.miho.or.jp/english/index.htm

Fig. 29 By author. Fig. 45 By author.

Fig. 30 By author. Fig. 46 http://www.miho.or.jp/english/index.htm

Fig. 31 By author. Fig. 47 By author, source image from http://www.miho.or.jp/english/index.htm Fig. 32 By author. Fig. 48 By author. Fig. 33 By author. Fig. 49 http://www.i-house.or.jp/en/index.html Fig. 34 By author. Fig. 50 Ibid. Fig. 35 By author. Fig. 51 Ibid. Fig. 36 By author, source images from: Arata Isozaki, Katsura Imperial Villa (Milan: Fig. 52 By author. Electra Architecture, 2005), 81, 105, 145; and Kazuo Nishi and Kazuo Hozumi, Fig. 53 By author. What is Japanese Architecture? (New York: Kodansha International Ltd., 1985), Fig. 54 By author. 78-79. Fig. 55 By author. Fig. 37 Arata Isozaki, Katsura Imperial Villa (Milan: Electra Architecture, 2005), 66. Fig. 56 By author.

Fig. 38 By author. Fig. 57 http://www.friendsofmeigs.org/

5 Fig. 58 By author.

Fig. 59 By author.

Fig. 60 By author.

Fig. 61 Google Earth v3.2, Google Software Inc., retrieved on May 11, 2008.

Fig. 62 By author.

Fig. 63 By author, source images from: Google Earth v3.2, Google Software Inc., retrieved on May 11, 2008.

Fig. 64 By author, source images from: Google Earth v3.2, Google Software Inc., retrieved on May 11, 2008.

Fig. 65 By author.

Fig. 66 By author.

Fig. 67 By author.

Fig. 68 By author.

Fig. 69 By author.

6 Introduction

Today’s world is characterized of the Industrial Age and the wasteful, by an increasing disconnect between consumerist, ecologically irresponsible humans and nature;, between humans attitudes that it has engendered. and a regional, cultural identity. In Japan, This is not to suggest that for instance, historic buildings have been architects should attempt to recreate torn down by the hundreds, and miles the buildings of the past in order to of natural riverbanks have been covered regain identity. The world has changed; with cold, anonymous concrete, all in the social conditions and construction the name of modernization. According technologies that shaped those older to many well-respected advocates of styles do not apply to contemporary ecological design including James society. This is also not to say that Wines, architect and author of Green ancient traditions in architecture have Architecture, this mentality can be traced nothing to offer. Many older styles, such back to the early of the 20th Century, as Japanese traditional architecture, a when early modernists turned their backs focus of this thesis, suggest a distinct on traditional forms and materials of sense of place and cultural identity, as construction characteristic of the regions well as a reverence for nature. Similarly, in which they worked, and instead drew contemporary architecture has much inspiration from the material abundance to offer to the traditional. Despite its

7 shortcomings, and its intentional rejection about discovering the architectural of other styles, there are often remarkable principles behind certain buildings and parallels between contemporary Western using only the design techniques that and traditional Japanese architectural are appropriate and compatible with concepts pertaining to space, proportion, contemporary architecture. Aspects of and structural independence. traditional Japanese architecture were The idea of the infusion chosen specifi cally for this thesis because of traditional architecture with of their characteristics of accentuating modernization, present in architectural (and even recreating) the visible character approaches such as Critical Regionalism, of particular natural environments. The then becomes important. By applying problem with urban landscapes in the traditional design methodologies based United States is that they are anonymous on green principles and a recognition of and no longer natural, so this thesis is place to a progressive design process, about fi nding unique conditions within contemporary architecture can be created the urban landscape and accentuating that avoids falling into the Modernist trap them, using traditional Japanese of “technology for technology’s sake” and techniques to create unique landscapes ensures that at its core, it is a response to and distinctive views that are appropriate its specifi c environment and is refl ective to their local setting. of a local history and identity. Thus, by using specifi c techniques Again, this thesis is not about the and design methodology of traditional recreation of masterpieces in traditional Japanese architecture, such as Katsura Japanese architecture, but rather it is Imperial Villa, and modern precedents

8 that reinterpret these ancient ideas, like acknowledgement of) place, and show the works of Tadao Ando and I. M. Pei, that traditional architecture is relevant to this thesis will generate an architectural the 21st Century. strategy that uses specifi c and unique site conditions as design generators, rather than using the environment as mere background for the building. As this thesis is about fi nding distinctive views within existing sites, visual imagery becomes an important part of the design process as well, rather than the traditional way of thinking of renderings as the result of the design. This strategy will counteract the placelessness of Modernism and universalization, and it will evoke a sense of local cultural and historic identity. It will demonstrate how contemporary design strategies can be used to complement nature (and not just in a remote setting), give designers the beginnings of a palette to work from in creating a new design method based on the focus on (not merely the 9 Chapter 1: Shortcomings of Contemporary Architecture

Throughout the 20th Century standpoint, there is a generally increasing and persisting today, there exists a disconnect between humans and nature, general trend of universalization, not especially within Western industrial just of architecture, but also of culture society. As people have become aware of in general. Much of this trend can be Modernism’s ignoring of social conditions explained by Modernist design, the and the potential environmental problems dominant architectural style of the 20th that its irresponsibility may cause, there Fig. 1 (top), Fig. 2 (bottom) Century, which generally turned its back has been a growing call for a new, more Examples of International Style st architecture from the early 20th on traditional forms and materials of humane architectural strategy for the 21 Century construction characteristic of the regions Century, one that refocuses architecture in which they worked, and instead back on the land.3 After all, “the drew inspiration from the Industrial Age landscape has proved the most enduring and its consumerist ideals, as well as of artistic inspirations,”4 and it is only in its ecological irresponsibility.1 From a the last hundred years has enthusiasm social standpoint, this universalization, for our natural landscape diminished in typifi ed by the International Style, has favor of technological preoccupations. resulted in the loss of cultural identity As of yet, though, no such method has and the creativity associated with emerged, at least not with any sort specifi c cultures.2 From an ecological of lasting success. However, there is

10 promise, as relics of culturally rich and an attitude can be a disservice to not environmentally focused traditional, just the architectural profession, but to regional architecture exist around the humankind as a whole: world. The phenomenon of universalization, Unfortunately, architectural design while being an advancement currently faces a great prejudice. In of mankind, at the same time constitutes a sort of subtle the eyes of Western-oriented society, destruction, not only of traditional the international architectural images cultures, which might not be an irreparable wrong, but also of what of the anonymous slab block buildings I shall call for the time being the and the more expressionistic variations creative nucleus of great cultures, that nucleus on the basis of which designed by star architects, made we interpret life…the ethical and 6 possible by modern technologies and mythical nucleus of mankind. new materials, represents the present. In As a singular consumer culture based on Japan, this has resulted in the bulldozing the idea of universalization spreads and of historic temples and dwellings by the hundreds to make way for the styles of creates cheap copies of itself globally; the West. Regional cultural traditions uniqueness, creativity, and identity are that have proved to be well-adapted lost at a subcultural level. The Modernist to local conditions are perceived as “a tenet of reason over passions still exists regressive past associated with rural in contemporary architecture today, 5 poverty, ignorance, and peasant culture.” and has generally limited the arts to As Paul Ricoeur states in Universal entertainment; it is valuable within its Civilization and National Cultures, such

11 own sphere, but not obtained from other style. In nature, hundreds of miles of activities.7 Spirituality, which once Japanese riverbeds and sea shores have charged the art and architecture of Japan, been paved over because natural surfaces has been removed as well: that are smoothed over and covered with concrete are equated with wealth and Traditional fl owers had a purpose, 9 whether it was religious or ritual; progress. people in [the Momoyama period] had a mystical respect for the Fig. 3 wonders of nature and used their ______Riverbanks of Nagasaki arrangements as a way of seeking 1. James Wines, “Nature’s Revenge: A Brief and responding to the creative breath Survey of 20th Century Green History,” Green of the cosmos. Nowadays, all this Architecture (New York: Taschen, 2000), 16. is lost. There is no purpose except 2. Kenneth Frampton, “Towards a Critical decoration for its own sake, no Regionalism: Six Points for an Architecture of inquiring after the nature of plants Resistance,” Labour, Work and Architecture (New and fl owers themselves. Instead, the York: Phaidon Press Inc., 2002), 77. fl owers are just “material,” not much 3. James Wines, 17. different from any other material 4. John Beardsley, Earthworks and Beyond (New such as vinyl and wire, used any York: Abbeville Press, 1984), 7. which way to serve the whimsical 5. David Pearson, In Search of Natural needs of the arrangers. In short, Architecture (New York: Abbeville Press there is no jitsu, no spiritual purpose, Publishers, 2005), 121. nothing that connects with the 6. Kenneth Frampton, “Towards a Critical inherent forces of nature—just empty Regionalism: Six Points for an Architecture of design.8 Resistance,” Labour, Work and Architecture (New York: Phaidon Press, Inc., 2002), 77. 7. Ibid., 80. In architecture, irregular topographies 8. Alex Kerr, Dogs and Demons: Tales from the are fl attened to make way for the Dark Side of Japan. (New York: Hill and Wang, 2001), 383. “placelessness” of the international 9. Ibid., 29.

12 Chapter 2: Role of Traditional Styles in the 21st Century

Yet despite its drawbacks, the “cultural traditions of indigenous contemporary architecture that promotes buildings using vernacular knowledge, anonymity and universalization should forms, and materials…have proved well not be cast aside nor could it be even if it adapted to the locality for thousands of should. Its association with “progress” is years.”1 However, by applying modern not completely unfounded. Much of the technology to environmentally adapted draw of Western architecture to Japan is indigenous materials and construction, its inclusion of new modern technologies, new products based on traditional technologies with the ability to produce styles can be produced that are even buildings cheaper and more effi ciently. To more ecologically successful than the ignore such tools would be nonsensical. traditional. Bamboo, for instance, is a Furthermore, modern technology plentiful material that has been used in can be used to improve upon old forms many traditional building throughout and styles as well. Such is the case Asia, but untreated it is considered to be with the issue of sustainability. While of “poor” technical quality. However, by Fig. 4 “sustainability” is a recent buzzword in using chemical treatments and modern Sustainable bamboo fl ooring architecture, the idea of focusing on local lamination techniques, its durability, climatic conditions and the conservation sound-absorption qualities, and aesthetics of the immediate environment is not,: can be greatly enhanced to a point that

13 it is now a popular sustainable and and ultimately harmful Modernist design economic material.2 style.3 The LEED system provides many Thus sustainability would examples of such a practice. Many seem to be a good vessel for moving supposedly sustainable buildings can contemporary architecture towards remain within the realms of current more positive ends. Ecological design architectural trends and achieve LEED focuses on the preservation of the natural certifi ed status by merely tacking on extra environment and acknowledgement features. Sound ecological principles of one’s surroundings. The lack of are far from the guiding force of these such a focus is a chief criticism with buildings, and they certainly do not give Modernism, and numerous examples of their users any greater appreciation for natural energy-saving technologies have their environment. emerged in recent years to aid this cause. Here again there is a benefi t However, sustainability can also fall into to mediating between traditional, Fig. 5 Editt Tower by T. R. Hamzah and the Modernist trap of using technology indigenous and contemporary Yeang for technology’s sake. There are merits architectural styles. It is far more to ecological water catchment systems, productive to incorporate ecologically- energy effi ciency efforts, and building focused technology into a style that recycling efforts employed today, for is closely based on environmental example, but they are often far from conditions, and one whose aesthetics can integral to the building’s overall design be more expressive of a complete green and represent, at best, only a response design language, than one in which there to moral obligation applied to an old are merely green elements tacked on.4 If

14 creating a new green design language the pre-industrial past. A critical arrière-garde has to remove itself is the goal, one must actively generate from both the optimization of appreciation for nature; it is not enough advanced technology and the ever- present tendency to regress into to passively use energy conservation nostalgic historicism or the glibly elements. It must be fully experienced, decorative.6 appreciated down to its tactile qualities. The dangers of technology for To be successful, an ecological design technology’s sake and the abandonment language must “’express the unseen’ and of identity in the spirit of progress were help de-natured people—whether actual mentioned earlier, yet equally dangerous users or outside observers—‘see into is a reliance too heavily on indigenous, and understand the inner workings of a regional styles. Regionalism can be used landscape.’”5 as a tool of repression. It can also hold The diffi culty then is in fi nding one back, oppose change and progress.7 a balance between the traditional and Regional traditions are not the contemporary, as Kenneth Frampton always positive or even obtainable as describes of Critical Regionalism in architectural infl uences, either. For general: this reason specifi cally, the new style Architecture can only be sustained sought for the 21st Century should be today as a critical practice if it an ecological one, and not limited assumes an arrière-garde position, that is to say, one which distances to a Critical Regionalist one. New itself equally from the Enlightenment technological innovations have led myth of progress and from the reactionary, unrealistic impulse to to entirely new lifestyles, ones which return to the architectonic forms of

15 regional traditions have not accounted irresponsibility, should not to be for. New “traditions,” as it were, require promoted and unregulated. Even in the new building programs, which in turn tactile sense these cities can seem wholly require entirely new architectural unnatural and disturbing. In such a case forms.8 Furthermore, while human it is often more socially and ecologically lifestyles have been redefi ned, so to responsible to fi ght the norm and reclaim has the land. Human intervention, green space within the city rather than which is “no more unnatural than pushing it away. earthquakes and typhoons,” has resulted ______in the development of entirely new 1. David Pearson, In Search of Natural “natural” landscapes.9 The rapid shift Architecture (New York: Abbeville Press Publishers, 2005), 121. of populations from rural to urban areas 2. Ibid., 123. has created vast paved metropolises 3. James Wines, “Nature’s Revenge: A Brief th and sprawling suburbs beyond. Such Survey of 20 Century Green History,” Green Fig. 6 (top), Fig. 7 (bottom) Architecture (New York: Taschen, 2000), 28. Images illustrating the changing landscapes are either tradition-less or 4. Anthony Walmsley, “Ecological Design: Myth landscape of Japan or Method,” Design Outlaws on the Ecological have very short traditions that have not Frontier (Philadelphia: Knossus Publishing, 1997), had the opportunity to refi ne based on 365. 5. Ibid., 355. geographic context over a number of 6. Kenneth Frampton, “Towards a Critical years. Such traditions are often negative Regionalism: Six Points for an Architecture of Resistance,” Labour, Work and Architecture (New and ought not to be repeated. The York: Phaidon Press, Inc., 2002), 81. growth of Industrialized cities, brimming 7. Ibid. 8. Ibid. with technological exhibitionism, 9. John Beardsley, Earthworks and Beyond (New inhuman scale, and ecological York: Abbeville Press, 1984), 23.

16 Chapter 3: History and Relevance of Japanese Architecture

Why then is Japanese traditional INSIDE ECT IDE VARIA NN OUTS TIO CO TH N architecture the focus for a thesis about WI SUBTLE NSIT PE N TRA ION R DE IS a contemporary design in the United ID RA O H H INTEG TION W RG A OR NATU ITH A B F RE N IL States? First, some basic principles T IC I C I T E RE R Y P U R characteristic of Japanese architecture S T PU E E A R G A S R N IT U L F CE M Y L Y N A A M must be established and addressed. A O E T O C E U R M I E F C L R I T M T E N F When Japan opened ports to the S I Y T E N A A Y I R R L T Y M E O E I R outside world in 1854, Western writers S V E T , T E T I A W E Y Y S R N L O C L T I A I D and architects fi rst wrote off traditional D I N T C G L H E A E I HARMONY R F L H

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N U N notable architects, such as Frank Lloyd I R P S S “ T A RO A N PO K A RTI T M F ON F A T I I O U O O I O N T O Wright, saw beauty in Japanese design, it R N T H MODU A N F M ” L C L LAR - S E A ITY P U L was not until 1936 with the publication I T R A E “ N A E I C O M U Y R F C N H T U N F A E T I T E I C C C C D S ” N E R R U N of Bruno Taut’s Fundamentals of Japanese - A A U E P IN I S A R P T R T E A T E T L S D C E C E R S IN & V CO IC M Architecture that the Western world gave T AL OF NT TR A N IM C N RO ME E IO E ON A L GEO R B T TR TUR RDE & C L OF OL E O T U any serious consideration to Japanese IG F OS R HT RA P ST Fig. 8 V ME ON SH IEW PRO- HM C AD CESSIOIN RHYT architecture. Taut was impressed with Wheel of principles OW NA of traditional Japanese RRO W FOCUS what he saw, especially in the Katsura architecture

17 Imperial Villa. He declared it not rustic today. and simplistic, but rather as a triumph of While not providing the Modernism. The architecture of Katsura whole picture of traditional Japanese represented a “perfect realization of architecture, Taut’s words are true: the function; indeed, in the functions of styles represented in Katsura do in fact beauty and spirituality as well as in share formal and structural similarities that of utility.”2 Along with rationality, with Modernism. These qualities provide Katsura’s embodiment of geometric order, an important connection between Fig. 9 Photo of Katsura by Yasuhiro Ishimoto modularity, and clarity of construction Japanese architecture and contemporary under Modernist directive of Kenzo seemed aligned with Modernism as well. architecture of the West, a connection Tange Taut’s praise of Katsura is one reason that can make buildings based on

Fig. 10 for its being considered as exemplar for Japanese principles not seem altogether Photo of Katsura by Yasuhiro Ishimoto traditional Japanese architecture even foreign and out of place in the United taken 23 years later States. However, by boiling down Japanese architecture to architectonic principles of geometry modularity and structural rationality, “Taut and other modernists neglected the decorative and whimsical aspects of Katsura in order to claim its modernity”3 A side by side comparison of black and white photos of Katsura by photographer Yasuhiro Ishimoto in 1960 under the

18 Modernist directive of Kenzo Tange and of Japanese architecture. The Shoin, a color photos from 1983 by the same style of medieval Japanese residential photographer reveal two very different architecture, employs set proportions, readings (fi g. 9 and 10).4 or kiwarijutsu, allowing the building to Modernists overlooked the rich, achieve an overall architectural harmony organic textures and colors, focusing only by basing all major elements—bay Fig. 11 on the rigid geometry and proportioning widths, posts, furniture placement Drawing of a Shoin style room at Nishi- Honganji Temple of the buildings, typical of the Shoin style and size, tatami mat fl oors, and shoji paper wall screens—on a few standard modules and measurements.5 Katsura was certainly infl uenced by the Shoin, but applied the style less formally. In actuality, “Katsura stressed two aspects: the fl at composition with lightness taken from the shoin, and the broken meter of the rough surface cut out from garden stones.”6 It is the careful balance of many different elements, not just Modernist- aligned tenets, that account for Katsura’s still being considered exemplar for Japanese architecture today. In fact, Katsura was constructed in multiple phases and several different Japanese

19 styles. It is not just a balance of Japanese straightforward expression of something’s principles, but a balance of Japanese inherent nature.”7 This idea of beauty principles of different architectural involves simplicity, spontaneity, and an expressions. It is an important distinction understanding that nothing is fi nished or not just of Katsura, but of Japanese perfect. Materials that showed variation architecture as a whole, that it is not one from one piece to the next, such as wood, set of values but rather a changing path were preferred. This notion of wabi through time. stands in contrast to Western aesthetics Fig. 12 Careful landscape treatment and rich Much of Katsura’s rich organic that value anonymity, uniformity, and organic quality of Katsura quality and careful landscape treatment perfection. Fig. 13 demonstrating a reverence for nature The relation between humans Wabi: the straightforward expression of inherent nature, at Katsura takes its roots in Shinto, the oldest and nature can be traced back to religion of Japan and true native Shinto’s belief in the presence of kami religion of the country. According as well. The term kekkai refers to the to the Shinto faith, spirits or kami mediating zone between the realm of inhabit many natural objects such true wilderness occupied by the kami, as rocks, trees, and mountains. Any and the realm of man, and may even be object in nature that appears unique the source of the Japanese garden.8 This is said to potentially house a kami, kekkai represents the importance of the resulting in an increased respect for connection between inside and outside, nature in general. This belief led to the and the balance between architecture generation of the Japanese aesthetic and nature, present in buildings such as notion of wabi, “the appreciation of the Katsura, as previously discussed. Kekkai

20 represents the liminal space between the tunnel was dug at great cost to preserve man-made and nature, between humans the mountainside. Also, almost eighty and spirits. percent of the building is underground to The respect of nature and its ensure that despite its large program, it integration with architecture is clearly retains a small footprint. visible in Japanese art as well, as evident It is important to understand that in landscape paintings such as this one this respect for nature did not result in (fi g. 14) with small human element (a a laissez-faire approach of staying out Buddhist temple) nestled into the overall of its way, but rather “total control over nature-dominant scene. This is not just every branch and twig.”9 There was a an artistic idea but a somewhat accurate recognition of time and perishability and

Fig. 14 depiction. Many mountains and other a recognition that everything was going Landscape painting illustrating particularly scenic areas were sacred and through cycles of life and death. Building architecture’s reverence of nature thought to house spirits. Only Buddhist materials were meant to be natural, and Fig. 15 A Shinto shrine, The Kiganunseki, temples and Shinto shrines were allowed were prevented from decaying through conveying a similar sentiment to be built in such areas, and had to frequent care and replacement. Gardens be done with the utmost care and the were constantly pruned to preserve lightest footprint possible. A successful their perfect composition. This purity contemporary Japanese building that of architecture was an important part of upholds this reverence is the Miho respecting the kami. Museum located in the mountains on the outskirts of Kyoto, Japan (fi g. 16). This need for control of nature During its construction, an underground can also be attributed to Buddhism,

21 This doctrine rejected the religious dogma, works, ceremonies and authority of the original Buddhism, its different sects recognizing the transitory nature of this world as the only certainty. Man’s sole defense against this fact was the creation of a particular way of life. Through concentration and meditation which led to an understanding of the relationship between man and Nature, everyone could, it was believed, come to know his Fig. 16 another religion of Japan with a major own place in the world, and, as a Miho Museum, nestled into the Shiga result, would achieve peace within impact on architecture. Few people in Mountains on the outskirts of Kyoto himself.10 Japan today would consider themselves to be of one religion. Their religious The tools of Buddhist concentration and views would often contain a combination meditation were used to enhance Shinto’s of Shinto and Buddhism. Buddhism, reverence of nature further. though an introduced religion from One technique for Zen meditation China, is generally accepting of other involves focusing on things that are faiths and ideas, allowing it to fi t with beyond the capacity for the mind to Shinto. Buddhism, like Christianity, grasp to the fullest in order to achieve a takes many forms. Zen Buddhism, higher plane of consciousness. “What became widespread in the 14th century in is the sound of one hand clapping?” is a Japan, and left its mark on all aspects of famous example of koan, a nonsensical Japanese culture. question meant to stimulate such a

22 thought process. Rhythms and patterns complex order to simple ones. Objects in nature exist on this level as well. In and buildings are meant to be viewed in nature, the pattern of every snowfl ake relation to each other and also in relation is unique and complex, but it is not to an overall balance. This balance is completely random, there is an overall made intentionally complex, so one ordering system at work. Japanese may be aware that such a balance exists, Fig. 17 Rock garden at Ryoanji Temple architecture, too, tends to prefer this but it is not fully understood. The rock garden at Ryoanji Temple, for instance, has fi fteen rocks, but from no vantage point are all fi fteen visible at once. This is done intentionally to make their overall composition harder to grasp.

This relationship of parts to a whole can be seen in Japanese culture as well. Japanese society has traditionally been known for its relative lack of recognition of the individual, at least in the common Western understanding of this term. Yet the early Japanese clearly went out of their way to acknowledge the unique in nature, and this even extended to exceptional human beings. Where the Japanese notion of the individual seems to differ, however, is in its emphasis on interdependence, in addition to simple distinctiveness.11

23 While the West tends to value fusuma, are excellent examples of this independence, the Japanese put more freedom. These walls can be opened and value on interdependence or bun, a removed in the summertime, allowing person’s ‘part’ in a Japanese social group. the breeze to move directly through the In the composition of complex building. Another type of sliding door, balance like that of the rock garden at shoji, contains translucent paper, which Ryoanji, the interval of space between permits light into the rooms even when each object, or ma, becomes just as closed, and which again emphasize the important to its understanding as the structure and roof and deemphasize the object itself. For this reason Japanese walls. buildings defi ne rooms by the space Ma refers not only to the interval between posts and under the ceiling, not of space between objects but to the by walls. This is an important concept for interval of time as well. This interval nature-focused architecture because the can be thought of as “the universal Fig. 18 The position of shoji changes the spatial freedom from walls allows the building medium through which life moved in and lighting qualities of the room to open up more to the outside. Sliding constant transformation, in which place Fig. 19

Changing character of wa-shitsu room partitions that serve as room dividers, and time [are] only relative states.”12 As throughout the day walls can be thought of as fl exible and impermanent, so too can the objects and purpose contained by the space. In a traditional wa-shitsu Japanese home, each room essentially contains a fi xed interval of space containing shifting intervals of

24 occupation throughout the day.13 Thus tea, this activity is about cleansing the the aspect of time inherent to ma also soul and eliminating all earthly worries acknowledges the impermanence of and distractions. This elimination of humans and nature. distractions includes elements of silence Focus and control are important and tranquility, qualities that are seen aspects of Buddhist art and architecture in Japanese music and theatre as well. as well: Whereas Westerners would seek to eliminate all pauses in music (labeled as “Ryoanji Temple in Kyoto: a few “dead air”), traditional Japanese culture parrots, their feathers brightly painted in red and green, sit on gray branches embraces this quality.15 in a landscape drawn in stark shades Control also manifests itself in the of black ink on white paper. The Zen message of the painting is that tea ceremony in the form of strict and the parrots are the focus of our attention—hence we see them in precise movement: color, while the background black- and-white trees are nearly invisible “Kata is an important Japanese to the mind’s eye.”14 word that means ‘forms,’ a term that derives from traditional arts and The tea ceremony presents another good refers to fi xed movements in dance, Fig. 20 the tea ceremony, and martial arts. Painting making use of the Zen idea example of Zen focus and control. The Once the kata of an art takes shape, of control of focus; the bright red bird ceremony is meant to block distractions it is nearly impossible to change immediately catches the eye them fundamentally, although and focus completely on the act of tea practitioners may make slight adjustments and embellishments. In preparation and tea drinking; in a sense, the tea ceremony, kata requires that the teahouse becomes its own enclosed the tea master fi rst fold a small silk cloth and wipe the tea container with universe. More than just about drinking it. Followers of the Urasenke school

25 fold the cloth in thirds, while those closer. A similar effect to this shakkei can of the Mushanokoji school fold it be created by placing a built object in in half, but the essential kata is the same for both schools.”16 the natural landscape beyond the realm of the architecture to make the natural In tea, these formal processes are an environment seem continuous with the act of removing impurities from the tea built space.17 before it is drunk. In architecture, this A third means by which the precision and control manifests itself teahouse uses control and focus is in the form of maintaining buildings through the path to get to the teahouse. and gardens as was mentioned before, This path dictates a strict and prescribed which is an act of removing impurities movement with specifi c stopping points from nature. This precision and control Fig. 21 to observe and one’s natural surrounds is also used in architecture through the Framing; habitable space focusing on a and clear one’s mind. This idea of strict natural object techniques of “framing nature,” where procession as a tool to direct view is Fig. 22 frames and windows can be strategically Example of shakkei in Yoshio Taniguchi’s important to Japanese architecture’s Tokyo Sea Life Park; sails introduced to placed so that the view is almost part relation to nature as well. connect the foreground pool to the distant of the space claimed by the building, Tokyo Bay Japanese architecture is then fi t and shakkei, or “borrowed scenery,” for guiding contemporary architecture in which a visual passage is created in the United States because it shares between an object in the foreground and contemporary Western values in terms the distant landscape in the background of architectonics, but with an increased, by eliminating the middle ground with spiritually charged focus on environment. the effect of drawing the background in Shinto brought to architecture the ideas

26 of respect and care for nature, the 6. Arata Isozaki, 17. unique imperfection of nature, and the 7. Kevin Nute, Place Time and Being in Japanese Architecture, (New York: Routledge, 2004), 99. connection of inside and outside space. 8. Ibid., 18. Buddhism brought means for control and 9. Alex Kerr, Dogs and Demons: Tales from the Dark Side of Japan. (New York: Hill and Wang, focus on nature: complex composition, 2001), 36. space, pause, framing, and procession. 10. Drahomir Illik, Great Architecture of Japan (New York: The Hamlyn Publishing Group Ltd., And even without sharing Japan’s spiritual 1970), 13. beliefs, applying their architecture’s 11. Kevin Nute, 102. 12. Norman Carver, Form and Space in Japanese methodologies rather than just forms and Architecture (Tokyo: Shokokusha Publishing Company, 1955), 130. surface aesthetic qualities can bring an 13. Kevin Nute, 70. appreciation of nature and a sense of 14. Alex Kerr, 74. place to the West as well. 15. Junichiro Tanizaki, In Praise of Shadows (Stony Creek, Connecticut: Leete’s Island Books, 1977) 9. ______16. Alex Kerr, 30. 1. Sandra Kaji-O’Grady, “Authentic Japanese 17. Kevin Nute, 20. Architecture after Bruno Taut: the Problem of Eclecticism,” Fabrications 11.2, 2001, 6. 2. Bruno Taut, Fundamentals of Japanese Architecture (Tokyo: The Society for International Cultural Relations, 1936), 34. 3. Sandra Kaji-O’Grady, 7. 4. Arata Isozaki, “The Diagonal Strategy: Katsura as Envisioned by ‘Enshu’s Taste’,” Katsura Imperial Villa, Ed. Virginia Ponciroli (Milan: Electra Architecture, 2005), 10. 5. Kazuo Nishi and Kazuo Hozumi, What is Japanese Architecture? (New York: Kodansha International Ltd., 1985), 74.

27 Chapter 4: Design Implications

The realm of techniques and styles many architects have employed a strategy that can be categorized as Japanese of eclectic picking and choosing of past traditional architecture is quite vast. styles and techniques. The ‘crown style’ This vastness is too much to wholly for instance, which gained popularity in incorporate into a single contemporary Japan in the mid-20th century, consisted building. Moreover, complete of essentially placing a traditional reproduction of the past is not productive, Japanese roof over a rationalist stripped Fig. 23 for reasons previously stated. To combat Western classicist building.1 This Process site model this problem with the incorporation of eclecticism removes understanding of the Fig. 24 Final site model past traditions into contemporary design, tradition from the contemporary design. It is important to recognize that principles of traditional Japanese architecture are interrelated. For a contemporary building to be designed based on and retain understanding of these traditions, it must fi rst be understood how the traditions are connected. Then, rather than picking techniques at random, one can focus on

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PROMINENT STRUCTURAL POSTS ALIGNED (AND CONTINUED BEYOND BUILDING) TO ESTABLISH PROMINENT VISUAL AXIS Fig. 26 Teahouse design 30 a particular group of interrelated parts its site, specifi cally to the steep slope for a deep infl uence that goes beyond and bridge elements. This response aesthetic reproduction. is primarily an architectonic one, The following is the design for a with a rhythmic, geometric structural teahouse in Cincinnati that demonstrates system responding to the structure and this process and acts as a warm-up for proportions of the bridge. Zen-inspired the main thesis design at a simplifi ed, design concepts are also employed: Fig. 27 (top), Fig. 28 (bottom) miniaturized scale (fi g. 25 and 26). the rhythmic, linear structure of the Inherent nature of a material celebrated in the building’s form The building is designed in response to teahouse alongside the bridge frames the space along the length of the bridge. By cutting into the ground, the building is also able to establish a clear procession and awareness of the unique site as one moves from a position of fl oating above the ground alongside the bridge to buried inside the slope. However, the teahouse makes no attempt to respond directly to the Shinto or material infl uences of traditional Japanese architecture. As with the teahouse design, the fi nal thesis proposal, a Japanese Cultural Center in Chicago, largely ignores the material qualities of traditional

31 Japanese architecture. The Japanese use “G ANKO FORM ”-F ATIO LY N ING TAL D OF G IZON IAGO EL E of materials simply represented what OR ION NA E ES H NTAT PR L M E RIE OCE DE EN O SS PT T IO H S E COM N & CAL PLE L S X G was available to them, and similarly, E AL E C M OM Y N S E R E T E D R - P I ” N N E & A C I E E T T O traditional Japanese architecture did not E C P I G E O T E C F R K S S N E E A D I N L G K C R S D R I S E E A A F N Y E E I N M N S I M H T ; C I I W E N Z Building does not S N L E A M M Parallels complexity “ O I N represent a complete refusal of modern A P A G E R O C S M T T T R O I dominate site R of natural forms O R S O O L T Y P N

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Fig. 29 Wheel of design principles: East versus West 32 reorganizing the previous diagram of on and responding to nature, not actual Japanese principles to be based their architectural solutions. The formal relation to nature and comparing it to a solutions of Japanese architecture are Western equivalent, one can clearly see irrelevant. For instance, while paper the difference in design strategies (fi g. screens are enough to block out wind 29). and rain in Japan, this is not so in It is important to note that this Chicago. The abilities for the building to Fig. 30, Fig. 31 diagram is outlining means of focusing be fl exible to weather and to open up to Final bay model, illustrating procession the outside are important, but a building in a Chicago winter climate must also be able to close off more tightly than a traditional Japanese building. For this reason, there are several paths through the cultural center, some which allow occupants to travel across open roof terraces and others that allow them to travel along paths contained completely within the building’s interior envelope. It is also important to note that one does not have to be in an isolated natural place to appreciate nature.

“A single ‘mountain’ may give rise to many effects, a small stone may

33 evoke many feelings. The shadow from the dry leaves of the banana tree is beautifully outlined on the paper of the window. The roots of the pine force their way through the crevices of the hollow stones…If one can fi nd stillness in the midst of the city turmoil, why should one then forego such an easily accessible spot and seek a more distant one?’”3

The city might in fact be a better location for this project than a place isolated within nature. To remove the building from city would be to remove it from proper contemporary environment; it Fig. 32 would no longer truthful. The unique Early perspective focusing on lake topographic conditions within city Fig. 33 hold just as much promise as natural Early perspective focusing on city

34 topography, and picturesque views can the building, they gradually descend to be found anywhere: within the city or in ground level, and the pavilions become the natural outlying area. The site of this sparser, giving way to the expansive thesis project, Northerly Island, is located views of land and sea. The fi nal pavilion between Chicago’s downtown city center fl oats in the water on axis beyond the and calm, expansive Lake Michigan. This site. At this point, nature is clearly gives the building the option to open up the dominant element and building is to the city or to shift focus to beauty of reduced to its absolute minimum. Much the land and sea, to accentuate nature’s like the Japanese rock garden in which beauty to those within the city (fi g. 32 there is a dynamic, asymmetric balance and 33). between rocks and the voids between The building’s procession begins them, so too is there a similar balance in within the realm of the city, at the the culture center between the pavilions, McCormick Conference Center, an which symbolize “object” and “city,” international hub, and crosses a bridge and the expansive horizontal planes to reach the site. Upon entering the site, between them, representing “space” and occupants are at an elevation of thirty feet “land.” The pavilions are differentiated Fig. 34 above ground, surrounded by covered from the horizontal planes through their Building elevation showing gradual decent as moves to ground level pavilions. As users proceed through multi-story, vertical orientation. All of the

35 vertical circulation of the cultural center realm of the city. Conversely, by the end is also controlled within the pavilions. of the building’s procession, the cityscape Additionally, the pavilions and planes is entirely blocked from view. are differentiated though materiality; the Another strategy the building horizontal planes consist of concrete implements to connect it to the landscape slabs whereas the pavilions are clad in is the use of a continuous, consistent wood. path as it moves through the changing Along the procession, the building conditions of the inside and outside, over also makes use of the concepts of the wood-clad pavilions and across the “controlling nature” established in the concrete slabs that connect them. This previous chapter. The placement and path consists of a repetitive system of space between pavilions frames specifi c wood planks with a consistent spacing views. The buildings are essentially between each board. This gives the path grouped into two wings spreading away a slightly transparent reading. The wood from the main axis, framing the view of planks remain consistent, but the overall the water at the end of the site. However, expression of the path changes as it at the start of the site, the pavilions also passes over concrete, wood, gravel, grass, frame side views to the Northwest, the or void and one is able to catch glimpse direction of the city center. Views of of the material quality below. prominent Chicago skyscrapers, the Overall, the cultural center has Sears and Hancock Towers, are framed been designed to implement traditional here, indicating that at this point in the Japanese design techniques that procession, the user is still within the specifi cally concern the relationship

36 between building and nature. By addressing fl exibility, the relation between object and space, the control of views beyond the site, and the need for a consistent path to tie all of the elements together, the building uses Japanese design ideas but articulates them in a manner that is appropriate to their local setting of Chicago, Illinois.

______1. Sandra Kaji-O’Grady, “Authentic Japanese Architecture after Bruno Taut: the Problem of Eclecticism,” Fabrications 11.2, 2001, 2. 2. Junichiro Tanizaki, In Praise of Shadows (Stony Creek, Connecticut: Leete’s Island Books, 1977) 18. 3. Ann Cline, A Hut of One’s Own: Life Outside the Circle of Architecture (Cambridge: MIT Press, 1998), 10.

37 Literary Sources Tanizaki, Junichiro. In Praise of Shadows. Stony Creek: Leete’s Island Books, 1977.

Junichiro Tanizaki, author of house in the modern day and the In Praise of Shadows, is an eminent various problems that arise. However, Japanese author with a deep interest in the author frequently veers away from Japanese traditional culture. His novels this basic premise to describe other vary a great deal in subject matter; aspects of traditional Japanese culture. perhaps the only constant is eloquent These tangents are sometimes strictly and imaginative storytelling. Some Prefer architectural in nature, but not always. Nettles describes the emotional confl icts They include descriptions of jewelry, between a businessman and his unfaithful ceramics, and Nõ theatre. wife. Diary of a Mad Old Man looks into The common theme that ties all of the mind of a crazy man who is trying these pieces back together is traditional to fulfi ll his somewhat perverse sexual Japanese culture’s love for shadows and desires before succumbing to death. darkness. Tanizaki postulates that this is In Praise of Shadows is more at least in part due to ancient Japan’s use architectural in theme than Tanizaki’s of low roofs to keep out driving wind and other works, but it does not lack his rain. By necessity, the Japanese lived in aptitude for imaginative storytelling. dark rooms, and thus “came to discover The book describes one man’s attempt beauty in shadows, ultimately to guide to build a traditional style Japanese shadows towards beauty’s ends.”1

38 This love of darkness manifested refrigerators and stoves all made of light, itself not only in architecture, but also in refl ective materials (not to mention jewelry, in which the dimness of jade is the problems of wiring and plumbing). preferred to the brilliant of diamond; in Windows become a problem, too. To ceramics, where dark glazes were used to condition the house, shoji paper screens, show depth and mystery; and in music, which were wonderful for fi ltering which emphasized pause and silence. light, must be replaced with clear glass This praise of shadow also explains why windows. Zen Buddhism was such a good fi t for Tanizaki attempts to fi nd ways the Japanese, with its tenets of pause, to mediate between traditional and tranquility, and silence. modern dwellings but openly admits Confl ict arises when this that many of his solutions are awkward traditional value of shadow meets and cumbersome. He explains that the modern conception of residence. while Westerners have moved forward The modern bathroom in particular in ordered steps, Japan decision to join stands in direct contrast to that of the them has meant taking larger leaps and traditional Japanese house. The quiet, leaving some of their own culture behind. peaceful backyard outhouse is replaced “The missteps and inconveniences this with the porcelain toilet and sink. The has caused have, I think, been many,”2 cold, textureless porcelain refl ects all says Tanizaki. As he is not an architect light back, driving away shadows. The himself, Tanizaki does not concern same problem exists in the kitchen himself with design solutions and instead with contemporary appliances like focuses on the poetic description of

39 shadow and darkness as it pertains to Japanese culture. The most useful part of this book is its highlighting of the contrast between Japanese and Western use of light, both in architecture and elsewhere in society. It also clearly illustrates how the Japanese conception of beauty is expressed through shadow. Although his descriptions are often more poetic than architectural, Tanizaki clearly demonstrates the importance of control of light in traditional Japanese architecture.

______1. Junichiro Tanizaki, In Praise of Shadows (Stony Creek, Connecticut: Leete’s Island Books, 1977) 18. 2. Ibid., 8.

40 Carver, Norman. Form and Space of Japanese Architecture. Tokyo: Shokokusha Publishing Co., 1955.

Form and Space of Japanese within the Japanese ordering system, Architecture is divided into two main asymmetry is introduced. According to sections, one about form and one about the author, this introduction of asymmetry space. Each section begins with a to the static, geometric system can be brief introduction followed by a large viewed as a Japanese interpretation of collection of black and white captioned life itself; life is organic and changing, photographs of famous traditional not static and perfectible. From a Japanese buildings. The two sections practicality standpoint, free structure explain the meaning of form and space allows for the enclosure of various in Japanese architecture from a modern asymmetrical functions, but a consistent perspective. rhythm and implied overall order are The form section describes maintained. The underlying unity is thus and illustrates the use of geometric, structurally-derived and contributes to symmetric order in traditional Japanese the functional unity of the architecture architecture, and a structural system as a whole. Structure and purpose are that is independent of enclosure. These expressed down to the smallest detail idea of static, geometric ordering and as well. Smaller elements are designed independent structure are quite common to emphasize their lightness and frailty. to modern architecture as well. However, These details stand in direct contrast with

41 the bulky primary structural columns. in great detail, this book also does a Space in Japanese architecture good job of expressing which concepts represents the idea that space is infi nite. of traditional architecture parallel It can be directed but not confi ned. modern ideals and which concepts are Curiously, this idea led to space being in contrast. And while pictures are no represented as human-scale rather replacement for real life observation, the than monumental. The stress was on photos in this book illustrate formal and man’s ordered progression through time spatial concepts quite well. Rhythm, and space. A rhythmic progression organic irregularity, subtlety of transition, was started through structure. This and expressed purpose of material are movement then progressed from the all legible through the author’s black and near and precisely defi ned to the distant white photographs. and indefi nable. As such, great care In terms of design implications, had to be taken to transitions between this book brings up a few concepts to spaces, both within the building itself follow in order to be true to traditional and between the near and distant. The Japanese design. The fi rst is a free meeting of architecture and nature structural system. It is important for it to became a key spatial relationship, as it be clearly expressed and for it to defi ne represented this connection between the boundaries of space. Overall scale near and distant, between defi ned and is also important. As space in Japanese undefi ned. architecture is of human-scale, room In addition to illustrating sizes are determined by their minimal traditional Japanese form and structure functional requirements. This also ties

42 back to free structural system. Since room sizes are determined by function and function varies, the structural system also needs the freedom to vary. Along with clearly expressed structure, clearly expressed materiality—in terms of function, value, and meaning— should also be expressed. The heavy weight of the structure should contrast the lightness of the windows, for example. Structural posts should also be represented as signifi cantly bulkier than walls themselves, as rooms in traditional Japanese buildings are defi ned by void, structural columns, and the roof overhead, not by walls. Finally, the concept of space beyond the building must be maintained. The outdoor space immediately outside the building and far off in the distance must be addressed through deliberate transitions, both physical and visual.

43 Isozaki, Arata, Tadao Ando, and Terunobu Fujimori. The Contemporary Tea House: Japan’s Top Architects Redefine a Tradition. New York: Kodansha America, Inc., 2007.

The Contemporary Tea House Tadao Ando focuses on the spatial aspects is written by fi ve world-renowned of the teahouse and the relation between architects: Arata Isozaki, Tadao Ando, space and spirituality. When separated Terunobu Fujimori, Kengo Kuma, and from its immediate surroundings, the Hiroshi Hara. After an introduction space enclosed by the teahouse acts as explaining the history of the tea a “miniature universe [and] stimulates ceremony and the teahouse form, the the contemplation of things beyond the subsequent chapters are each written mundane.”1 Ando highlights the spatial by a different architect and include character of the tea room by minimizing examples of contemporary teahouses and simplifying other architectural that correspond to that particular components. In many of his teahouses, architect’s philosophies concerning how Ando strives for a completely amaterial the tea ceremony and teahouse can be quality, an effect which can most closely reinterpreted in the modern era. These be imitated through use of ordinary examples vary greatly and refl ect the materials. “I deliberately selected a architects’ signifi cantly divergent values jumbled urban environment as the concerning the tea ceremony. site, and commonplace materials for In Chapter Two, “The Confl ict construction, because the theme called Between Abstraction and Representation,” not for architecture in a physical sense,

44 but for architecture submerged into the Japanese teahouse and the complexity background and imbued with a spiritual of its conceptual transformation into character.”2 contemporary building. Even in the Conversely, in Chapter Three, introduction of the book, an explanation “The Tea Room: Architecture Writ Small,” of the evolution and changes to the tea Terunobu Fujimori focuses a great deal ceremony through history, one gets a on the materiality of his teahouses. sense that there is not one distinct set of Largely rejecting contemporary rules defi ning the traditional Japanese materials such as concrete, steel and teahouse, but rather it is dependent on glass, Fujimori instead favors raw, un- the time and region that one chooses worked materials like bark, wood, and to look. As the characteristics of the earth. Through their inconsistencies and traditional teahouse cannot be reduced unevenness, these materials create a to one or two simple bullet-points, profound connection between building the architects are forced to pick and and nature, an important aspect of the choose; to assign a hierarchy to the traditional Japanese teahouse. teahouse’s various traits when creating What is most fascinating about a contemporary design. Rawness, this book is that within formal constraints fragility, and the connection between and extremely limited space that the spatiality and spirituality are just teahouse form entails, contemporary some of the themes of the traditional architects have still managed to fi nd a teahouse that architects of this book have great range of possibilities. This illustrates chosen to draw from in their modern the complexity of the traditional reinterpretations.

45 This is an important book for this particular thesis because the teahouse form embodies many aspects of traditional Japanese architecture at a minute scale. The book shows many examples of traditional Japanese architecture being reinterpreted in contemporary buildings. It also shows the complexity and variety possible when reinterpreting essentially a formal, single, small room of this traditional architecture.

______1. Tadao Ando, “The Confl ict Between Abstraction and Representation,” The Contemporary Tea House: Japan’s Top Architects Redefi ne a Tradition (New York: Kodansha America, Inc., 2007), 61. 2. Ibid., 60.

46 Precedents Katsura Imperial Villa

Katsura Imperial Villa was built in of tea ceremony. Over time it has three stages in the mid-17th Century on become regarded as the exemplar for the outskirts of Kyoto. The villa served as traditional Japanese architecture for a a getaway for the imperial prince’s family; number of reasons: its number of stylistic Fig. 35 Katsura Imperial Villa a place to enjoy the simple delights of fi rsts, its embodiment of a great range of the countryside and the spiritual ritual characteristics and styles of traditional Japanese architecture, and its ability to create a dynamic balance from this broad range of parts. The sukiya zukuri or “teahouse style” characterizes Katsura and is a combination of the older soan style of teahouses and the current residential style of shoin zukuri. Nearly all Japanese domestic architecture from the Edo period (1603-1868) down to the present follow this style, and as the earliest prominent example, Katsura thus established itself as a cornerstone

47 for Japanese architecture. Furthermore, three phases, one can actually trace because it is one of earliest examples, the style’s evolution by comparing Katsura had no prototype to follow, the differences between each of the

Fig. 36 freeing it from many of the formal building’s three parts. On the oldest of Diagram illustrating the evolution of the facade of Katsura’s main building constraints that the style would develop the three phase’s facades (fi g. 36, furthest complex, from Old Shoin style (far later on.1 In the main building complex to the right in image), the impression is right) to Middle Shoin (middle) to New Shoin (far left) of the villa, which was constructed in that of a solid structure, whereas in the two later parts, the lower fl oor is set back from the projected veranda, structure is progressively minimized, and a smooth white treatment becomes increasingly dominant, all adding to the effect of lightness. This freedom from formal constraints also results in the broad range of architectural gestures present in Katsura. In fact, the architecture and landscaping of the villa is so diverse that, as in nature, no design or pattern is ever repeated.2 And though they may appear to be random, the relation between all of these assorted buildings and gestures actually creates a dynamic balance,

48 one that cannot be defi ned by a simple pattern or module. A complex balance of geometries is present at smaller scale as well in Katsura. This idea of complex balance is an often-recurring quality of Japanese art and architecture. It is as if the placement of all elements within the villa are controlled by a set formula, but its complexity is beyond human understanding. Fig. 37 Fig. 39 Site plan of Katsura Imperial Villa Complex balance of geometries Much of the balance created in Katsura comes from the man-made hills and ponds. These elements are Fig. 38 Framing; focus directed across pond Fig. 40 interwoven to enhance the expanse to building on opposing bank Sumiyoshi Pine of nature. Focus is also often directed across the pond to objects on an opposing bank, again emphasizing the sense of depth (fi g. 38). Complex balance is also maintained by hiding parts of the villa. At no point are all buildings of the complex visible at once. This makes any sort of overall controlling pattern harder

49 to perceive. At no point is this concept as a natural retreat, but within it small more apparent than at the terminus of human elements such as lanterns and the building’s main entry axis. The axis bridges are strategically placed. The proceeds through the main gate and majority of the view is dominated by would continue visually straight across nature, but with human elements to the entire pond if it were not obscured by provide focus and direction. the famous Sumiyoshi Pine (fi g. 40). Among the buildings themselves,

Fig. 41 Another important balance at there exists a balance of interior and Diagram highlighting human Katsura is the balance between nature exterior space. Verandas and balconies elements within nature-dominated view and human elements. Katsura was built may be separated from the outside by thin shoji screens or not at all, raising question as to whether the space belongs to the building or to the landscape beyond. These spaces help create a smooth transition and connection between inside and outside. Another important distinction in the proportioning and rhythm of Katsura is that, in accordance with traditional Japanese architecture, depth is expressed in layered planes, not along a central axis as is typical of Western architecture. In this confi guration, known as the “fl ying-

50 geese formation,” planes move in a diagonal, away from the central axis, as they move back in space. This is another tool to add to the complexity of Katsura’s overall organization.3

______1. A. L. Sander, A Short History of Japanese Architecture (Rutland, Vermont: Charles E. Tuttle, Co., 1962), 111. 2. Ibid., 80. Fig. 42 3. Arata Isozaki, “The Diagonal Strategy: Katsura Balance and transition between as Envisioned by “Enshu’s Taste,” Katsura Imperial interior and exterior space Villa (Milan: Electra Architecture, 2005), 19.

Fig. 43 Flying geese formation

51 Miho Museum by I.M. Pei

The Miho Museum serves as an Shigaraki-no-Sato, northeast of Kyoto, excellent example of both reverence for Japan. This location not only allows the nature and the use of traditional Japanese building to be completely surrounded techniques as an ecological design tool by nature and pristine views, but it for a modern building. holds historical signifi cance as well. The museum is located in the Traditionally, only sacred temples Fig. 44 (left), Fig. 45 (right) Miho Museum Shiga Mountains near the town of were allowed to be built in the Shiga

52 Fig. 46 Mountains, and they had to be built with Framing extreme care so as not to disturb the mountain’s unspoiled, natural beauty. I. M. Pei wished to show the mountain the same respect, as is evident not only in the architectural language of the Miho Museum, but in its construction as well. Fig. 47 For the building’s construction, a tunnel Peaks and valleys of Miho museum fi t well into was dug into the mountain to transport surrounding tree line materials up to the site, allowing the natural vegetation on the mountain to be undisturbed by construction equipment. In terms of the actual architecture, the building contains a large program, yet fi ts comfortably into the landscape in silhouette. This is due primarily to two causes: almost eighty percent of the building is underground and the rooftops produce a series of peaks and valleys that fi t appropriately into the surrounding tree line. In terms of employing traditional Japanese design strategies, the Miho

53 Museum uses the ancient techniques of “framing nature” and “borrowed landscape”. Frames and windows are strategically placed so that the view is almost part of the space claimed by the building. The technique of “borrowed landscape” accentuates this by creating a visual passage between an object in the foreground and an object in the background with no middle ground. This technique has the effect of drawing the Fig. 48 background in closer. Example of “framing nature” and “borrowed landscape” techniques

54 International House of Japan

Fig. 49 (top), Fig. 50 (middle), In 1955 the International House Fig 51 (bottom) International House of Japan of Japan was constructed under the collaboration of three prominent Japanese architects—Kunio Maekawa (1905-1986), Junzo Sakakura (1904-1989), Junzo Yoshimura (1908-1997)—and in 1976 the building was expanded using Maekawa’s design. The International House has been awarded the Architectural Institute of Japan Prize and in March 2006 was registered by the Agency for Cultural Affairs as registered tangible cultural properties. The House is an especially important case study for this thesis because of its ability to maintain principles of Japanese architecture in a setting that is not physically isolated. The building is located in urban Tokyo, specifi cally in the Roppongi

55 area. Aside from having guest accommodations, the International x House has as its main purpose serving as the site for international cultural exchange. Thus an urban center was a more appropriate site than one immersed in nature and isolated from human o contact. Among its internationally- Fig. 52 (top) focused programmatic elements are one of the best English language libraries about Japan in the world and the Asian Leader Fellowship Program, which brings Fig. 53 (right) o Diagram comparing eye level to a Asian leaders from various disciplines for visual connection with the outside research, creative and cultural activities, and cross-cultural dialogue. However, despite its urban site and internationally-focused program, the Fig. 54 (bottom) International House still maintains the International House of Japan’s specifi c connection to the outside traditional Japanese value of a connection to nature. All rooms face the building’s expansive garden to the south, which rises up to block the view of buildings beyond. The fact that the garden rises up

56 signifi cantly off the ground also allows it This garden also features a pond, to be viewed at eye level from within the which the I-House’s main dining room building. Seeing it at eye level makes the fl oats lightly on top of. This pond is viewer more intimately connected to the modeled after a motif that can be seen in garden. The view is directed across the scroll paintings of Japan’s ancient Heian garden, making it seem deep and layered Period. rather than down at the garden from The International House also Fig. 55 above, which would cause the view to utilizes roof gardens to emphasize the View from front entrance see everything at once and make the line importance of nature and to connect Fig. 56 of sight stop once it hit the ground. the building to landscaping beyond. I-House’s pond and dining room The roof garden adds further depth to the landscaping beyond, providing the line of site with another layer of eye- level vegetation to move across. It also serves to blur the distinction between building and land. These roof gardens are also strategically placed so that the largest ones are adjacent to main areas of circulation such as the stairs and lobby. At the front entrance specifi cally, one’s view passes uninhibited through the building and across the roof garden to the full garden beyond.

57 Site Analysis

The Japanese Cultural Center is water, and nature. The urban center, on sited on Northerly Island, formerly Meigs the other hand, represents verticality, Field Airport, a 91-acre peninsula along turbulence, land, and the man-made. the shores of Lake Michigan in Chicago, Thus, the cultural center is forced to fi nd Illinois. This location allows the building a balance between these opposing forces. to be adjacent to the two main forces of the city, the lakefront and the high-rise Fig. 57 urban center. These two elements stand Thesis project site, Northerly Island in direct opposition with each other. The lake, stretching seemingly endlessly, broken by only the occasional sailboat Fig. 58 or buoy, represents horizontality, peace, Drawing highlighting Chicago’s two main forces: the lakefront and the high-rise urban center

58 Specifi c programmatic elements must beaches. Though entirely man-made, decide whether to acknowledge or deny these islands (only the fi rst of which the forces of “city” and “nature.” was ever realized) were to add green Northerly Island in itself can be space to the city. Northerly Island is considered a balance between these currently home to wildfl ower prairies, two forces. The peninsula was originally a bird-watching area, and a wildlife conceived by architect Daniel Burnham rehabilitation center. and was to act as the northernmost of From 1947 until 2003, the Fig. 59 (top) a series of islands stretching along the peninsula served as an airport, a relic Panorama facing North Chicago coastline. His envisioned these of which still remains in the form of the Fig. 60 (bottom) Panorama facing Southwest islands as containing parks, lagoons and airport’s control tower. The island’s long skinny shape was ideal for an airport runway, and is also ideal for setting up good axial views fl anked by the city one side and the lake on the other. Each piece of the Japanese Cultural Center has a choice of which side of this axis to favor. An additional axis is created by McCormick Conference Center, an international hub just to the Southwest of Northerly Island. Currently, a pedestrian pathway begins at the new conference

59 center, proceeds directly through it and over the highway, and terminates at the old conference center. However, if this axis were allowed to continue through the old building, it would run over a small channel of water and directly onto the Japan Center’s site. This axis could be quite compelling as an entry procession, crossing over a highway and through a building, the realm of humans; then proceeding over water and into the park, the realms of nature; and fi nally terminating with a view of the lake, extending seemingly infi nitely along the horizon. The axis terminating at an infi nite void rather than an object marks a departure from typical Western design and seems much more emblematic of Fig. 61 Japan. As it would connect the Japanese Main site axes Cultural Center with the international hub of McCormick Place, this axis would Fig. 62 Photos of East-West axis, beginning at also act as a bridge, both literally and McCormick Center (top) and ending fi guratively, between Japan and the rest of at Lake Michigan (bottom)

60 the world. Aside from creating an entry axis and acting as an international hub the McCormick Conference Center also provides an interesting precedent in terms of circulation and topography. Despite being built on a relatively fl at site, the built topography of McCormick Place Fig. 63 Diagram of circulation fl uctuates considerably to accommodate various paths of circulation that weave through the site. The fl at site of Northerly Island could benefi t from treatment as procession as well.

Fig. 64 Diagram of urban topography

61 Program Analysis

There are several goals for the of the design. For the purposes of Japanese Cultural Center. It is to serve programming, square footages are based as a place for cultural exchange and solely on what is contained within the understanding Japanese culture. It is building envelope, but in many cases, the meant to have a local directive as well, experiential area of a piece of program focusing the user on the local infl uences may be much larger. of the city, and claiming some of Moreover, only the program of the Chicago’s land as peaceful, meditative, “objects” is defi ned in this section. The green space. “void,” which takes up far more square The building is designed at a footage than the objects themselves, has Japanese scale, which is smaller and the potential to serve various purposes. less imposing than the monumental Like the fusuma screens or the rooms of architecture of the West. It also a wa-shitsu home, this void may change incorporates relationships of “object depending on time of day or season. It to void” and “object to whole” present will always serve as green space, but its in Zen rock gardens. As such each specifi c program is indefi nable. programmatic element is allowed to serve as its own stand-alone “object,” to some extent, within the overall frame

62 Lobby (1500 sq. ft.) Auditorium (3000 sq. ft.) The lobby acts as the entry point The auditorium serves as the to the island from the McCormick center main enclosed gathering space of the axis. It is solid on the sides and open in Cultural Center and should seat up to the front and back, signifying that the axis 250 people. It will be visible and easily continues unabated through this enclosed accessible from both the pedestrian space to the body of the building and vehicular entries to the building. complex beyond. It contains a reception Large performances and lectures will be and information desk to welcome the conducted here, as well as conferences visitor to the cultural center. and fi lms, all relating to Japanese culture. As its program varies considerably the Administrative (1000 sq. ft.) lighting of this space will be fl exible. It Administrative space shall be should have the capacity to open up to provided adjacent to the main lobby. the lake or to close itself off. This is private space for the staff of the building and will be hidden from public Cafe (500 sq. ft.) view. Its focus will thus be more towards A café will be adjacent to the the lake side of the site rather than the auditorium and include a kitchen and city side, and it should have access to movable tables and chairs. In warm natural light and view. weather, it will open and accommodate outside dining.

63 Gallery (2500 sq. ft.) Library (2000 sq. ft.) Of all the programmatic elements The library is meant to be a place besides the lobby, the gallery will be of research, storage, and distribution of most prominent on the “city side” of the information about Japanese culture. It cultural center complex. The primary will accommodate both the English objective of the gallery is to display and Japanese language. As this space temporary artwork pertaining to Japanese is meant to be peaceful and meditative, culture. In this sense, the gallery displays it should turn away from the city and Japan’s culture to the city of Chicago instead focus on the water of Lake and acts as a gateway to other cultural Michigan. In the library itself, learning learning activities deeper within the is meant to be a private and solitary building. The gallery space will have a exercise. One step beyond the library more linear reading than many of the will be purely meditative space, which other programmatic elements, with a will hang over Lake Michigan, as far higher surface area to volume ratio, removed from the city as possible. allowing for more display space for artwork and providing a larger façade for the city to see.

64 Classrooms (8 @ 500-1000 sq. ft.) classes will teach participants about The classrooms will come traditional Japanese cuisine. in various sizes and be spread out The arts and crafts rooms will throughout the site. They will work work specifi cally with the gallery in conjunction with the gallery, café, space. Participants will learn about auditorium or library depending on the the cultural and historical signifi cance specifi c nature of the classroom. All of art and, more generally, observing classroom spaces will be linked by a and interpreting the world. Products of focus on fostering an appreciation for the these classrooms will make temporary art, design, and culture of Japan. There exhibitions for the gallery. will be four different types of classrooms: language, arts and crafts, cooking and Storage (1000 sq. ft.) general. Storage space can be hidden but The language rooms, shall be must be accommodated throughout generally intended for foreign students the building. It is especially important wishing to learn English in the United adjacent to the galleries for the storage of States. Sound absorption is especially artwork and display cases. important for these rooms, and of the four types, the language rooms will be the Restrooms (4 @ 100 sq. ft.) most removed from the public and from One male and female handicap general distraction accessible bathroom will be provided on The cooking rooms will share each fl oor of the building. kitchen space with the café. These

65 Design Outcomes

One of the most interesting design based on the same principles problems with this project was trying to in Japan. This visual distinction is also separate traditional Japanese aesthetics important since this thesis has decried from the techniques and principles upon the Modernist qualities of anonymity which these aesthetics are based. If this and universality. Avoiding the use of design, based in Chicago, truly represents traditional Japanese building materials, a response to its surroundings, it should especially wood, for major construction Fig. 65, Fig. 66 Final bay model have a very different reading than a elements greatly aided in this cause. Utilizing contemporary technology and construction materials also helped avoid a traditional Japanese aesthetic. Long spans of glass in this design created a more contemporary reading and also helped to de-emphasize the wall and open the building up to the outside.

Of the Japanese techniques employed in this design, the most successful were the focus on specifi c

66 views of the surrounding area, the across the lake or to specifi c buildings connection of inside and outside, and the within downtown Chicago. As the path drawing of nature closely and intimately moves through different programmatic into the building. spaces of the building, the focus beyond Fig. 67 (top) In terms of focus on the the building dramatically shifts. This City view surroundings, the user’s position and project was not about complete emersion Fig. 68 (bottom) Lake view direction of movement along the in nature. To ignore the city would Both perspectives from same location building’s prescribed path yields very have been to ignore a major portion of within the builiding but facing different directions on the path different views, whether they are out the building’s local setting. Rather, this building was about creating a balance between natural and human infl uences, justifying the contrasting views. The path itself became very important to this project, not only in terms of prescribing movement to control and frame specifi c exterior views, but also to tie the interior and exterior together. The path’s construction, consisting of a repetitive system of wood planks with a consistent space between each piece, remains constant as it passes over different materials and between the inside and outside. Thus, the user

67 is able to see the changing materials between the building and nature, can through the spacing of the wood, yet the be seen on several levels. At points, path’s overall reading remains constant, the cultural center frames the seemingly tying all materials together, blurring the infi nite expansive view of Lake Michigan, boundary between interior and exterior, yet the building also brings nature and preventing them from being mutually into the building in the form of garden

Fig. 69 exclusive. terraces framed by the pavilions. Nature Final bay model, showing garden The third successful Japanese even comes close enough to touch terrace and ground rising up through spacing in wood technique, the intimate connection at some points as it rises up through the space between the planks of the building’s wood path.

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