Asian Architecture [ARC 60403 /2234]

PROJECT PART B: CASE STUDY

RE-ADAPTATION OF TRADITIONAL SUPERSTRUCTURE INTO A MODERNIZED JAPANESE PALACE, KYUDEN TO MAINTAIN

ITS LOCAL IDENTITY

TOKYO IMPERIAL PALACE, KYUDEN

STUDENT NAME & ID: AFIQAH ZAHRA BT ZAINOL RASHID (0315867)

AMEER FARHAN BIN RAMLAN (0319304)

NIK AFIQ AMADI BIN NIK ABDULLAH (0317749)

NUR ZALIQAL BT ZAHER (0317121)

NURIN BINTI ABDULLAH (0318596)

NURINA AIDA BT GHIZAN (0320035)

LECTURER: MS IDA MAZLAN

SUBMISSION DATE: 15 NOVEMBER 2016, TUESDAY

RE-ADAPTATION OF TRADITIONAL SUPERSTRUCTURE INTO A MODERNIZED JAPANESE PALACE, KYUDEN TO MAINTAIN ITS LOCAL IDENTITY

TABLE OF CONTENT PAGE

1.0 Abstract………………………………………………………………………3

2.0 Research Framework………………………………………………………4

3.0 Introduction

3.1 Tokyo Imperial Palace – Kyuden………………………………….5

3.2 Architectural Style of Kyuden………………………………………6

4.0 Timeline and History

4.1 History of Japanese Palace Architecture…………………………7

5.0 Architectural Aspects of Kyuden

5.1 Traditional Characteristics vs Modern Characteristics…............11

5.2 Disadvantages of Applying Modern Characteristics…………….13

6.0 Modification of Kyuden’s Superstructure

6.1 Post and Beams

6.1.1 System of Joinery…………………………………………14

6.1.2 Methods of Preservation…………………………………15

6.2 Wall

6.2.1 Choice of Materials……………………………………….16

6.2.2 Aesthetics………………………………………………….17

6.3 Roof

6.3.1 Roof Structure……………………………………………..18

6.3.2 Choice of Material…………………………………………19

7.0 Conclusion……………………………………………………………………21

8.0 References……………………………………………………………………22

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1.0 ABSTRACT

Japan, although a secluded island, it was tied to the international realm,

especially after becoming a major commercial, industrial, and technological

pioneer in the '60s. The increasing bonds between Japan and the western world

affected Japanese society as well as the local architecture. The development of

Japanese architecture after ‘70s, however, was a continuation of the neo-

modern movements. Thus, postmodernism in Japan appears to be less a

stylistic movement and more a change in cultural adaptation that fundamentally

affected modernism. With the loss of depth in Japanese traditional architectural

theory, buildings have lost their own uniqueness after it has been replaced. In

the age of globalization, the architects' challenge remains not only to preserve

national identity while establishing personal style, but also to consider

environmental concerns that have become prominent in architecture of the new

century.

Our chosen building, Tokyo Imperial Palace, Kyuden has definitely been

influenced by the western. The notable Japanese traditional features such as

timber framing structures and system of joinery are mostly absent in the building

simultaneously affected on its local identity and aesthetically. Its identity has

been changed throughout the reconstruction over the years and the significance

story that the building holds is not as prominent as it used to be. Therefore, this

research will emphasize on the uses of Japanese traditional elements in

adapting the modernized building to its original site context and maintaining its

local identity. As the neighboring buildings have been designed with Japanese

traditional style, the concept of adaptation will be applied on this issue in

maintaining its originality. A deeper analysis will be carried to capture the

importance of applying traditional architecture in local building.

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2.0 RESEARCH FRAMEWORK

Research Questions:

Question 1: How does the site context affects the architectural style of Kyuden

as one of the Japanese Imperial Palace?

Question 2: What are the architectural aspects (traditional vs western) that

influenced the design of Kyuden?

Question 3: What are the disadvantages of combining traditional and western

architectural style?

Question 4: What are the dominant elements that causing Kyuden losing its

local identity?

Question 5: What are the modifications that can be applied to Kyuden to sustain

its local identity?

Question 6: How does the choice of materials used in Kyuden affect its

functionality, aesthetically and identity?

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3.0 INTRODUCTION

3.1 Tokyo Imperial Palace – Kyuden

Tokyo Imperial Palace is the primary residence of the Emperor of Japan.

It is a large park-like area located in the Chiyoda ward of Tokyo which

consists of four main grounds – Kitanomaru, Imperial Palace Grounds, East

Garden and Kokyogaien. These four main grounds are lavishly contains of

historical buildings with surrounded with a water-filled moat. It is historically

to provide a preliminary line of defence and also act as sewerage.

Kyuden, is a two-storey above ground and 1 storey below structure which

used for both receiving state guests and holding official state ceremonies.

The access to the inner ground however is very restricted. Access further

inside is limited only two days of the year, which is during New Year’s

greetings by Their Majesty and during Emperor’s birthday.

By referring to Figure 1,

Kyuden (shaded) is situated

in Imperial Palace Grounds

which is in the centre of

Tokyo City. It makes sense

from a historical

perspectives whereby Edo

Castle would have been the

focus of the city of Edo (now

referred as Tokyo).

Figure 1: Map of Tokyo Imperial Palace

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3.2 Architectural Style of Kyuden

Originally, the main buildings of the Palace grounds including

Kyuden were severely damaged by the fire of May 1945. Then, the

Tekenaka Corporation reconstructed it in a modernist style with clear

Japanese architectural references as such as the large, gable-hipped

roof, columns and beams. Today’s palace consists of multiple modern

structures of steel-framed reinforced concrete structures produced

domestically, with two stories above ground and one story below.

Even though Kyuden (Figure 2) is

known as one of Japanese’s

traditional and historical palace but

due to the site where its located

has affected the architectural style

of the building. It is situated in the

centre of developing city, Tokyo

whereas the region is sprouted

with modern skyscrapers and densely surrounded with high-rise

buildings, up to 20 stories.

Apart from the form of the buildings, height, compression and spatial

hierarchy that are most likely resembles the traditional palace of

Japanese architecture – Kyuden however is designed with a ferro-

concrete of modern 20th century style, combined with limited Japanese

architecture details as to fit in into the site context.

Kyuden is often mistaken as a luxurious building with traditional designs

and colourful ornaments but it does not match such an assumptions.

This however, explains Research Question 1, in which site context is

undeniably effects the way of Kyuden was constructed.

4.0 TIMELINE AND HISTORY

Figure 2: Tokyo Imperial Palace - Kyuden

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4.1 History of Japanese Palace of Architecture

It was heard that the first Japanese palaces were built around the

11th century, but most of those which can visited are from the 16th and

17th centuries. This period and more precisely, the Edo Period (staring in

1600) is considered the Golden Age of Japanese palaces. Kyuden was

built during this area.

Figure 3: Timeline of Japanese Palace Architecture

Figure 4: The evolution of the ‘main idea’ caharacteristics of Japanese palace architecture

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Fortification during Heian period (794 – 1185) were built entirely out of

wood and were predicated largely on earlier modes which is by Chinese

and Korean examples. They were commenced to become more

immensely to accommodate more sizably voluminous armies and to be

conceived as more permanent structures. This mode of fortification

developed gradually from earlier modes and used throughout the wars of

the Heian period (770-1185). Palace complexes became fairly elaborate,

containing a number of structures, some of which were quite intricate

internally, as they now accommodated as residences, command centres,

and a number of other purposes.

The size and form of palace continues developing during Sengoku Period

(1185 – 1333). The commencements of the shapes and styles now

considered to be stereotypical "classic" Japanese palace design emerged

at this time, and palace towns were additionally appeared, grew and

developed. Despite these developments, though, for most of the Sengoku

period palace remained essentially more sizably voluminous, more

intricate versions of the simple wooden fortifications of centuries earlier.

Moving on to during Azuchi-Momoyama Period (1586 – 1600) where the

palace was located on a plain, rather than on a densely forested

mountain and relied more heavily on architecture and manmade defenses

than on its natural environment for auspice. These features, along with

the general appearance and organization of the Japanese castle, which

had matured by this point, have come to define the stereotypical

Japanese castle.

Edo period (1603 – 1868) palaces however, were no longer had defence

against outside forces as their primary purpose. Rather, they

accommodated primarily as luxurious homes for the imperial families and

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workers and to protect them against peasant uprisings and other internal

insurrections. Though there wereat times, restrictions on the size and

furnishings of these castles, but the Emperors tried as much as possible

to utilize their palaces as representations of their potency and wealth. The

general architectural style did not transmute much from more martial

times but the furnishings and indoor arrangements could be quite lavish.

In between Edo Period and Modern era of Japan, there was period called

Meiji Period (1868 – 1912) where Japan started to incorporate with

western architectural designs. In this period of revolution where the use of

steel, concrete and glass were applied.

Figure 5: The Kyuden shortly after its completion in the late 1800s

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In the Modern era of Japan (1868 – Present), many of the remaining

palaces in Japan today are reconstructed, some of them made primarily

of concrete and designed only to represent or resemble the pristine

wooden structures. Advanced technology and diversed architectural are

used. Nevertheless, all palaces along with a number of sites of historical

or natural consequentiality, are forfended under a series of laws

promulgated for that purport

Based on Figure 3, Figure 4 and explanations above, Kyuden, indeed, a

perfect example, of palace that was created during Meiji Period. Even

though it was originally built during Edo Period but it was then

reconstructed during later eras which resulting it to design in modernist

style consists of combination of traditional and modern characteristics.

Figure 6: Images of old Kyuden palace, during old Meiji era that was destoryed during WWII

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5.0 ARCHITECTURAL ASPECTS OF KYUDEN

5.1 Traditional Characteristic vs. Modern Characteristics

To answer Research Question 2, Kyuden consists of both

Japanese traditional and western characteristics. One of the traditional

characteristics that was applied into the building is timber as the choice of

material. Wood/Timber is used as the some part of the structures,

ceilings, finishes and decorations. The wooden ceilings and interior walls

are finished with wood that are covered with traditional writings.

Besides that, another traditional element implement into Kyuden is the

movable partition wall that are called ‘Fusuma’. This can also be shown in

Figure 7. It allows the internal configuration of a space to be customized

for different types of occasions. Beautiful floral paintings are used as

decorations as it is one of the common Japanese traditional aspects and

every of the paintings has its own story, Figure 8.

Figure 7: Timber finishes in interior of Kyuden

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Unfortunately, Kyuden consists of mostly western characteristics

rather than traditional. The most prominent one is the super-structures of

Kyuden: walls, post and beams, flooring and roof. The walls of Kyuden

are made out of steel-framed concrete. Kyuden’s interior (Figure 9) has a

mixture of traditional and western. For example, the flooring of the lobby

are built with black granite, marble and pine wood while the floors of the

public rooms are covered with parquets and carpets. A large crystal

chandelier that is hanged from the coved brightly covered ceiling also

contributes to the western characteristics. Lastly, the interiors are filled

with western influenced furniture such as the high chairs, high tables and

heavy curtains.

Figure 8: Paintings of Kaede (maples) - left drawn by Houshun Yamaguchi and Sakura (cherry) - right drawn by Meiji Hashimoto

Figure 9: Images of interior of Kyuden (current) with modern

decorations and style

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5.2 Disadvantages of Applying Modern Characteristics

By implementing modern characteristics into a traditional and

historical building causing the palace, Kyuden losing its local identities.

The characteristics are only specified into superstructure elements as

such, post and beams, walls and roof.

Post and beams which were steel-constructed in Kyuden is

probably one of the huge flaws of the construction. Not only that it is

costly but it is also susceptibility to rotting. Some posts are on the exterior

of the palace expose to outside air and rains which allows the structural

elements to rot over long periods of time.

The steel structured wall however results in the losing of strength

at high temperature during winter. For a building which sits in the country

of seasonal temperatures, this is something very unfavourable for the

occupants of the palace, Their Majestry, workers and visitors to be in the

building as they cannot feel warm being indoors.

Moving on to the modernised roof structure in Kyuden. The biggest

draw backs to having a concrete roof, is leak detection.  Once it gets a

leak, user may never find it. The water can travel for hundred of feet

before becoming evident. The main disadvantage is also cost. Forming,

pouring, and supporting a concrete roof will typically be more expensive

than wood frame construction.

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6.0 MODIFICATION OF KYUDEN’S SUPERSTRUCTURE

6.1 Post and Beams

6.1.1 System of Joinery

The fundamental characteristic of Japanese architecture is the

wooden post-and-beam structure. Kyuden’s post-and-beams in

Figure 9 are wooden but they are built as one. Instead of being

nailed together as applied on Kyuden currently, it should be

modified into the traditional Japanese post-and-beam that consist

of a system of joinery in which the structural members meet at

right angles and are joined by designates of mortise-and-tenon

(Figure 11) connections utilizing wooden wedges and pegs to

secure the joints.

Figure 10: Kyuden's entrance with wooden post-and-beam structure

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6.1.2 Methods of Preservation

Where long members are required, spliced connections with

wedges and pegs are used to join shorter lengths of wood

together. This structure should be “reversible”, in that it can be

disassembled and reassembled without damage to the members.

With modifying the post-and-beam into this kind of structural

characteristic, it is possible to adopt the technique of “repair with

dismantlement” which is mundane in the conservation of buildings

in Japan. By having the post-and-beam built as one as it is now, it

is harder to be repaired and the whole beam has to be replaced

instead. This proved an ideal way to mitigate any damage from

mold and insects while preserving the economic benefit of the

most durable parts of the palace.

6.2 Wall

6.2.1 Choice of Material

Figure 11: Traditional Japanese mortise-and-tenon joints

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Based on Figure 12, Kyuden is built with steel-framed structure

and concrete walls which were majorly influenced by western

architecture and has lost the originality of its materiality. In a

country where devastating earthquakes are almost as common as

devastating typhoons, having concrete wall is dangerous and

impractical. It should be modified into the rudimentary system of

the Japanese traditional frame structure that is known as “rigid-

frame structure”. This rigid-frame structure is constructed to resist

the bending moment at each joint, but in effect the overall system

acts as a flexible structure which sanctions a certain degree of

flexure and to sway in replication to lateral external forces. This

would be very practical type of system in an earthquake-prone

country such as Japan. The metal fasteners should be modified

into timber or at least installed in well-cured wood and protected

from contact with air because metal fasteners cannot rival the

longevity wood. Additionally, regular stress over time will result in

metal fatigue.

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6.2.2 Aesthetic

The walls should be timber to sustain its traditional domestic

materiality and for aesthetic values. Besides that, based on

Japan’s condition of climate, in imperfectly cured wood, they can

be loosened by seasonal shrinkage and expansion of the

surrounding material, and when exposed to the air they are subject

to rapid oxidation in Japan’s humid climate. However, traditional

wooden construction can fight mold by raising the building above

ground level and leaving walls mostly open so that air could flow

freely under, around, and through the entire interior space. Since

relative humidity can be high even in winter, there is an abundant

air flow even when shut to the outside elements that can flow

through the spaces between the wooden walls. All of this modified

walls will help the ventilation to make the palace fairly comfortable

in summer. Conversely, wood gains in strength as the wood ages

and individual cells harden. Calculations show that wood can be

more structurally sound centuries after their initial construction. In

general, wood gains in strength for 200–300 years after being cut.

Strength gradually declines after that point, but only after about a

thousand years will a properly cured timber structure be reduced to

the strength it was when it was originally logged. In addition, in

traditional Japanese wood construction, the timber structure is

almost all open to visual inspection. This means any water entry,

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such as from a leaky roof, can be easily identified and dealt with

before mold has a chance to move in.

6.3 Roof

6.3.1 Roof Structure

Kyuden is reconstructed and completed in the year 1968 with steel-

framed-concrete designed in a modernist architectural style but

was still using the beauty of traditional architectural style as

references where large, gable-hipped roof called the irimoya style

was still used.

In the Irimoya style roof there is a side of roofing that elongates out

and up from each side of the rectangular structure. Partway up two

of the shorter opposite sides are stopped and the remaining two

perpetuate to the top where they are joined. The Irimoya style roof

was frequently used in temples and upper class house (shoin)

where it is to resemble majesty's power and wealth. It is also

possible to find irimoya roofs on a farmer’s house. There is a

distinctive difference in those two where the irimoya roof of the

upper class comes from the addition of hisashi around the moya

while irimoya roof of the farmer’s house is the result of opening

windows under the ridgepole, on the upper part of a hipped roof.

Figure 14: Evolution of Japanese roof architecture

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The Kyuden roof is heavy and cantilevered where it would be

impossible to build without an elaborate timber structure,

especially without access to metal braces and fasteners. In country

like Japan where there is the need to resist typhoons, these heavy

roofs would ideally be supported with thick stone or masonry walls.

6.3.2 Choice of Material

Japan is known for their extreme weather where it can either be

extremely freezing or scorching hot in the summer which then leads

to extreme degree of humidity in monsoon-marked weather. These

are the considerations that the Japanese architects had to consider

in applying their design. In general, proper ventilations are

necessary to the health of inhabitants in all buildings as it is to keep

out of “sick house” syndrome. For Kyuden, although it has been

reconstructed and using steel as frames, wood are still widely used

for its interior ventilation.

Figure 15: Clear elevation view of Kyuden's wall structure

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It is believed that metal fasteners cannot rival the longevity of all-

wood joints unless installed in well-cured wood and protected from

contact with air. This is why wood was still used as part of the roof

materials. In imperfectly cured wood, they can be loosened by

seasonal shrinkage and expansion of the surrounding material,

and when exposed to the air they are subject to rapid oxidation in

Japan’s humid climate.

Figure 16: Images of interior roof of Kyuden

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7.0 CONCLUSION

From the case study of Tokyo Imperial Palace, Kyuden, we able to analyse that

Japanese traditional features as timber framing structures and system of joinery

in Kyuden’s superstructure which are mostly absent in the building

simultaneously affected on its local identity and aesthetically. However, through

certain modification that we would suggest as part of the solutions, we noticed

that those features may have improve the Japanese architecture’s identity which

people, both visitors and the locals will appreciate more.

Not only that the materials we suggested can be 100% locally manufactured, but

it almost manageable to blend in with the site context despite it is located in the

sub-urban city. Besides that, the re-adaptation of Japanese traditional

characteristics gives a great respect for culture and heritage, as it aims to

restore back what was once lost and educate visitors and locas to the value of

traditional’s methods.

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8.0 REFERENCES

1. The Imperial Family (2016). The Imperial Palace. Retrieved November 13, 2016, from http://www.kunaicho.go.jp/e-about/shisetsu/kyuden-ph.html

2. JAPANESE CASTLE HISTORY - Go Japan Go. (2016). Gojapango.com. Retrieved 15 November 2016, from http://www.gojapango.com/travel/japanese_castles_history.html

3. nternational, A. (2016). Types and History of Castles - Japanese Castles. Castlesandmanorhouses.com. Retrieved 15 November 2016, from http://www.castlesandmanorhouses.com/types_07_japanese.htm

4. Mentzer, D. & Mentzer, J. (2014). Japon (1st ed.). [Sèvres]: CEESLI éd.

5. Roofs and Gables. (2016). Retrieved November 13, 2016, from http://www.jcastle.info/resources/view/114-Roofs-And-Gables

6. Higashino, A. (2016). II - Basic Roof Forms, Structures and Material. Roof Typology and Composition in Traditional Japanese Architecture,3-4. Retrieved from http://www.academia.edu/8291977/Roof_Typology_and_Composition_in_Traditional_Japanese_Architecture

7. Kohtz, A. (2016, October 25). Wood, Mold, and Japanese Architecture.

Retrieved November 13, 2016, from

http://www.nippon.com/en/views/b02314/

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