The influences of traditional Japanese culture and vernacular architecture on Nishinoyama House

SCHOOL OF ARCHITECTURE, BUILDING & DESIGN
Research Unit for Modern Architecture Studies in Southeast Asia
Bachelor of Science (Honours) (Architecture)
ASIAN ARCHITECTURE (ARC60403/ARC2234)
THE INFLUENCES OF TRADITIONALJAPANESE CULTURE AND
VERNACULAR JAPANESE ARCHITECTURE ON THE
CONTEMPORARYARCHITECTURE OF NISHINOYAMA HOUSE.
Tutor: Mr. Nicholas Ng
Group Members:
Too Mun Fai 0318214
Lai Yik Xin 0323388
Ng Ke Ning 0323015
Ng Zheng Si 0322585
Tan Sheau Hui 0319235
Tang Ze Zheng 0318967

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Asian Architecture-Nishinoyama HouseAsian Architecture-Nishinoyama House
Asian Architecture-Nishinoyama House
Table of Contents Page
Abstract………………………………………………………………………………iii
1.0 Introduction………………………………………………………………….. 1
2.0 An Overview of Japanese Vernacular Architecture – Kyomachiya………… 2
3.0 Essence of Japanese Culture…………………………………………………. 5
4.0 Features of Nishinoyama House adapting Japanese Culture and Vernacular
Architecture
4.1 Material……………………………………………………………….. 8
4.2 Spatial Organization…………………………………………………... 12
4.3 Circulation…………………………………………………………….. 16
4.4 Structure……………………………………………………………….. 22
5.0 Conclusion………………………………………………………………………29
6.0 References………………………………………………………………………..29

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Abstract
The purpose of this paper is to investigate the influences of Japanese culture and
vernacular Japanese architecture (Kyomachiya) on contemporary architecture, Nishinoyama
House.
The selected building, Nishinoyama House is a modern housing unit situated in Kyoto,
the cultural heart of Japan which has a relatively long history from Heian Period to Meiji
Period. Throughout the years, the Japanese community is heavily influenced by its rich
culture and architectural values. Hence, this paper is to discover how Japanese culture and
vernacular architecture influence the design of Nishinoyama House.
In assisting the validation of research, literature reviews based on various sources regarding
Japanese culture and Kyomachiya were conducted to enhance the process. This paper is
written with evidences from reliable internet sources, institutional thesis, and book source.
Certain features are studied specifically from some traditional Kyomachiya examples.
For starters, this paper will study thoroughly on Japanese vernacular architecture in Kyoto,
which is Kyomachiya, followed by the essence of Japanese culture. The research continues
with the influence that Japanese culture and Kyomachiya has on the Nishinoyama House. The
four main features, material, spatial organization, circulation and structure are the reflection
of the influence.
Nishinoyama House utilizes modern materials which has similar properties with
traditional material used in Kyomachiya, yet they are able to meet modern day requirements.
The transparency of doors and windows reflects the close relationship between people and
nature which is one of the
most important elements in Japanese culture. In terms of spatial organization, internal
courtyards are designed similarly to the tsuboniwa in machiya, creating an interactive space
for the users. The circulation of Nishinoyama House provides different levels of privacy
which is similar to Kyomachiya. Lastly, the structure of Nishinoyama House remains
exposed, similar to Kyomachiya, yet the units share internal walls to reflect the Japanese
cultural concept of harmony.
Hence, it has come to a conclusion that Nishinoyama House has been greatly
influenced by the Japanese culture and the Kyomachiya, be it intentionally or unintentionally.
To preserve a city’s character and remain its architectural and cultural values are integral in
developing a contextual contemporary design.

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1.0 Introdcution
Nishinoyama House, a modern approach which simultaneously echoes traditional
vernacular typology, is a ten-unit housing complex in Omiya Nishinoyama, Kyoto. The
Kyoto city government has started to protect and preserve the city’s character by
implementing rule that requires new buildings to have pitched roof. The 21 individually
pitched roofs and the housing units are positioned out of alignments which creating a various
type of small gardens and also alleyway. Internal spaces are fluidly connected and linked by
external circulation routes. The interconnecting spatial layout encourages a positive and
harmony relationship between the neighbourhood and also with the nature.
The influences of the traditional culture and vernacular architecture Kyo-machiya
reflect in the four main features, which include materials, spatial organization, circulation and
structure. The similar features like simple layout, material and exposed building structure can
be both found between kyo-machiya and also in Nishinoyama House. Besides, the Japanese
culture which emphasize on the harmony between human and nature is also reflected in the
interconnecting spatial organization, circulation and also material used in Nishinoyama
House.
This paper will investigate on the influences of traditional Japanese culture and
vernacular architecture on the contemporary architecture of Nishinoyama House by
responding to the following research questions.
Title: The influences of traditional Japanese culture and vernacular Japanese
architecture on the contemporary architecture of Nishinoyama House.
1. What is Kyo-machiya?
2. What is the essence of Japanese culture related to Nishinoyama House?
3. How is the adaptation of vernacular architecture, Kyo-machiya into Nishinoyama house?
4. How does nishinoyama house reflect Japanese culture?

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2.0 An overview of Japanese VernacularArchitecture - Kyomachiya
Machiya is one of the two categories of Japanese vernacular houses according to
Japanese Architecture and Art Net Users System (JAANUS,2011). This vernacular
architecture has undergone three important epoch which accords to the change of political
status of Japan.Machiya originated in the Heian period (794 -1185) and continued to develop
through the Muromachi era (1392-1573) and Meiji period. Under the Chinese influence, the
function of Machiya acted as urban dwellings for the townspeople, which are mostly
merchants and craftsmen.
Figure 2.0(i): Significant epochs of Machiya in Japan timeline
The standard defining form of machiya throughout Japan is represented by the Kyo
machiya, machiya located in Kyoto, which significantly defined the neighbourhood
atmosphere of downtown Kyoto. Kyomachiya is recognized as long and narrow wooden
houses which stretch deep into the city block. Typical Kyomachiya often has a small private
courtyard garden called “tsuboniwa”, which addresses the climate change to the user, also aid

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in air circulation in the house.
Figure 2.0(ii): Typical courtyard garden in Machiya -“ Tsuboniwa”
(Image source:Tsuboniwa - Courtyard japanese gardens. Retrieved November 10, 2016, from
https://www.pinterest.com/frederiquedumas/tsuboniwa-courtyard-japanese-gardens/)
Figure 2.0(iii): Typical floor plan of Kyo Machiya
The front of the building traditionally served as shop spaces while the remainder of
the townhouse serves as dwelling. The merge of commercial and residential functions has
created a multifunctional townhouse which reflects the economic development of Japan as
well as the importance of community linking.
The front appearance of Kyo machiya are often wooden lattices (koshi) which
indicates the type of shops through different style of latticework. Earthen walls and baked tile
roofs are incorporated in two stories high Machiya.
Figure 2.0(iv): Appearance of Machiya
(Image source:Machiya Townhouses. (n.d.). Retrieved November 10, 2016, from
https://www.wmf.org/project/machiya-townhouses)

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Spatial arrangement of Machiya has addressed the importance of spatial fluidity while
respecting residents’ privacy. Sliding doors are used to provide the versatility of a space,
either opened or enclosed.
Figure 2.0(v): Narrow alley walkways between Machiya.
(Image Source: Kyoto Machiya Inn. (n.d.). Retrieved November 10, 2016, from
http://www.kyotomachiyainn.com/)
Kyomachiya sited next to each other with narrow alley walkways in between has
given a strong sense of community, showing the downtown neighbourhood atmosphere.
Machiya in a neighbourhood or an area in Kyoto will merchandise the same type of product
and thus each area are traditionally defined by a product. Through the sharing of
mechanization, the linking among the community is enhanced, eventually creating a stronger
bond among the community.

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3.0 EssenceofJapanese Culture
The focus point of Nishinoyama house is the bonding of a community within an
enclosed neighborhood with compliments from the natural elements around the houses. The
house does this via a series of seemingly random spatial arrangements that promotes healthy
interaction between neighbors and families living in each unit and also with nature. To fully
understand how Japanese culture has influenced the design of the Nishinoyama house, we
need to dwell into the everyday lives of a typical Japanese.
For starters, Japanese mythological beings and gods display human emotions such as
kindness and anger, in these mythologies, positive traits such as kindness and empathy that
results with positive relations with others are praised and rewarded, on the other hand,
negative traits like rage and selfishness that damages relations are condemned and punished,
for example, Omoikane(deity of wisdom and intelligence) who is always called upon to give
good counsel to other heavenly deities. These early literature pieces show how the Japanese
people has always emphasized on intrapersonal relationships between each other. (Varley,
2000)
Figure 3.0(i): students cleaning their classroom together.
(Image source:Koh Mui Fong (n.d.),Retrived November 11, 2016 from http://cdn-media-
2.lifehack.org/wp-content/files/2016/08/23124801/japan-children-clean-room.jpg)
The children in Japan are taught early in their schooling lives that a fulfilled life is one
that has close relations with others. Children quickly learn that they are a part of a big and
interdependent society that starts with the family, and slowly extending to larger groups such
a neighborhood, school, district and ultimately a country that runs as a monolithic organism.

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Schools also teach that dependence on others is a natural human condition and should be
adhered. By doing so, the education system is able to plant the seed of teamwork and
cooperation into the minds of the younger generations. Hence, producing effective team
players to run organizations efficiently in the future.
In intrapersonal relationships, Japanese people lives strongly by the notion of Wa (和),
where there must always be harmony within a group. This notion calls for an attitude for
cooperation and recognition of each other’s social roles. If each individual in a group
understands and carries out their obligations, the whole group will benefit from it. Then there
is also the more-relaxed-culture of after-work-bar-hopping provides not only instrumental
opportunities for the exchange of information and release of social tensions but also
opportunities to express a nonverbal desire for continued affiliation. In Japan, the art of
communication is so important that the people not only listen to what you have to say, they
also focus on your facial expressions to pick up indicators of what you truly mean while you
say those words, that is why Japanese people speak with a non-expressive look to avoid
giving off any false messages. (Varley, 2000)
Figure 3.0(ii): Japanese workers enjoying ramen for dinner together in front of the chef.
(Image Source:Justin C. (2016) Retrieved November 11, 2016 from
http://3c9bl93o71m619w9kn2rfwinkdh.wpengine.netdna-cdn.com/wp-
content/uploads/2014/05/Ramen-Night.jpg)
Even the street side economy ramen stalls which are normally set up in traditional
Machiya shophouses, where the customers, who are normally workers who have just left
work, dine together right in front of the chefs as they prepare their meals on the spot, this not

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only helps the co-workers relax after a long day of work, it also strengthens the bond between
customers and also the shop owners, which further emphasizes the importance of
intrapersonal relationships to the Japanese society. (Cwiertka, 2006) These are just a few of
many customs and traditions that affects the way architecture is designed in Japan,
Nishinoyama house is a fine example of this.
In this culture where they practice strong and healthy intrapersonal relationship
between the people, prompted Kazuyo Sejima to create an enclosed
neighbourhood(Nishinoyama House) where the people within it can bond even further with each
other, via a spatial layout that places each unit in relation to the adjacent units. This intersection
between semi-public units and open japanese courtyards encourages strong community linking
within an enclosedenvironment.
The Japanese mythology also pays close attention to nature as a material for
inspiration. The mythology describes the origin of nature as we know it to be created by two
divinities, one male (Izanagi) and one female (Izanami), as they withdrew a spear from the
ocean, the brine dripped on the surface of the ocean and coagulated to form the 8 islands of
Japan. The female deity then gave birth to the natural elements, such as the seas, the rivers,
the mountains and the trees, water and the fire.She also gave birth to agriculture and
sericulture.
Japanese culture is also often said to be a close relationship between man and nature.
The Japanese attitude towards nature is sometimes described as “man in harmony with nature”
or “man in nature”.This culture is evidently shown through their utmost respect and
appreciation for the nature around them. They celebrate important seasonal festivals that
celebrate the beauty of nature, such as Cherry-blossom viewing, moon-viewing and snow-
viewing festival. The Japanese people often try to bring nature as close to home as possible,
by incorporating floral and wave patterns on the fabric of kimono dresses, and design small
gardens in tight confined spaces or in an alcove. The architectural style of Japan is designed
to compliment nature rather than dominate over it.
Even in cooking culture of Japan, the way food is normally cooked in Japan is rarely
meant to overpower the taste, colour, quality and shape of the natural food ingredient used.
This ultimately shows the respect the Japanese have for the materials and ingredients

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provided by Mother Nature, and the effort they go to preserve the quality of it in fields like
art, literature, food, social and ultimately architecture. (Cwiertka, 2006)
Therefore, the Nishinoyama house has incorporated nature into the open spaces
between roofs to in the form of rock gardens. Their respect for nature is translated to the
Nishinoyama house via many of the Japanese styled courtyards and gardens, where the
principle of wabi-sabi is clearly visible in the layout of the plants and pebbles in the rock
gardens, There is is not more than a few bare trees in each garden, with plain and soft colours
of the walls and pebbles to compliment the minimalistic atmosphere of the gardens. Kazuyo
Sejima chose to stick to the original properties of the materials in the garden to maintain the
subtle quality of the spaces.
4.0 Features of Nishinoyama House adapting Japanese Culture and
Vernacular Architecture
4.1 Material
Kyo Machiya is traditional wooden townhouse which is built before World War II in
Kyoto. Wood is the fundamental material of Japanese architecture as it is found abundantly in
the rich forests of this country. However, the economical growth in the 1960s introduced the
mainstream use of reinforced concrete in the construction of buildings in Japan. Therefore,
the materials used in the construction of Japanese houses transitioned from wood to concrete,
iron and steel.
4.4.1 Kyomachiya material type

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Figure 4.4.1(i):Exterior of a typical Kyo-machiya house.
(Image Source:TravelJapanBlog.com(n.d.)Retrieved November 11, 2016 from
http://traveljapanblog.com/wordpress/2013/10/kyo-machiya-guest-house-makuya-
inexpensive-lodgings-in-kyoto/)
Figure 4.4.1(i): Interior of a typical Kyo-machiya house, courtyard view (right).
(Image Source:Retrieved November 11, 2016 from
http://lik.kcif.or.jp/archives/0409/09_2004.htm )
Kyo-machiya houses are built with natural materials like wood, paper and straw and
the gardens are filled with trees, water, stones, and moss. The natural elements outside serves
to compliment the subtle interior, while the interior frames the garden outside. Ultimately the
Kyo-Machiya house co-exists with the garden outside to form a harmonious relationship. The
earth and straw walls control the humidity during unfavorable weathers. The concept of the
house revolves around the the natural environment in the exterior, hence promoting a nature-
orientated lifestyle.
In Kyo-machiya, Koshi which is a wooden lattice constructed with wood, bamboo, or
metal strips to serves a security measure and to improve the privacy of each unit. The
occupants can view outside easily during the day, yet passers-by cannot easily intrude on the
occupants’ privacy.

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4.4.2 Kyo-machiya influences to Nishinoyama House
Figure 4.4.2(i):Wooden Joists raised up on white-painted frames.
(Image Source:Work-architects (n.d.),Retrieved November 11, 2016 from http://www.world-
architects.com/architecture-news/submitted-works/Nishinoyama_House_830)
The structure of each unit uses a mix of wood, concrete and steel for its construction.
Blond wood is used for indoor flooring, while outdoor area is covered with concrete. The
roof is supported by wooden joists which sits on the white steel framework. Ceilings are also
made of wood which makes its users feel welcomed (ArchEyes, 2016). By utilizing modern
materials, the overall strength of the structure is improved and the house becomes more
sustainable and immune to termite attack.
Figure 4.4.2(ii):Sliding door of Nishinoyama House (Left) and Kyo-machiya house (Right).
(Image Source: Architectural Record (n.d.), Booking.com (n.d.)Retrieved November 11, 2016
from http://www.architecturalrecord.com/articles/7325-nishinoyama-
househttp://www.booking.com/hotel/jp/kyoto-guest-house-makuya.en-
gb.html?aid=356980;label=gog235jc-hotel-XX-jp-kyotoNguestNhouseNmakuya-unspec-my-
com-L%3Aen-O%3AwindowsSnt-B%3Achrome-N%3AXX-S%3Abo-

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U%3AXX;sid=024568437fbf71089d7464be288b0502;dist=0&sb_price_type=total&type=tot
al&)
Sliding glass doors allow the indoor and outdoor to merge seamlessly while still
separating the rooms from the garden. It maintains the nature-orientated concept in Kyo-
machiya house. Besides, the sliding door also preserves the Kyo-machiya architecture style
which is hikido.
The sheer curtains filter the light and also add further ambiguity to the interior space
(ArchEyes, 2016). It imitates the translucent shoji paper sliding door which is for light
infiltration.
Figure 4.4.2(iii): Vertical element of the wall of Nishinoyama House.
(Image Source: Booking.com (n.d.)Retrieved November 11, 2016 from
https://get.google.com/albumarchive/106160468754518703312/album/AF1QipNUvpNf5jsgK
lDH3Juo1-dm2INv-Vwnh1KPKzE_)
Vertical element of the wall imitates the wooden lattices on the exterior of Kyoto
traditional machiya houses. These wooden lattices are simplified into vertical lines, so that
the exterior facade keeps its minimalistic look.
Thus, the most important aspect of traditional Japanese architecture design is
“comfort”. Japanese architects are striving to incorporate traditional methods without losing
the essential quality of comfort, both emotionally and physically. They crave aesthetics that
allows the residents to feel comfortable in the space. Japanese architects have found ways to

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create spaces that are both modern in materials and traditional in the feeling they instill.
(Angen, 2012-2013)
Sliding glass doors also represent a more contemporary version of shoji sliding door which is
found in traditional Japanese design. It improves the insulation without losing the feeling of
traditional design. L shaped layout of each room helps to maintain the interior courtyard
which is similar to tsuboniwa (courtyard or gardens found in the machiya of Japan). The
courtyards play a significant role in the connection to the outdoors from indoors. The wise
use of material for the sliding glass door helps to maintain the connection between building
and nature which happens in kyo-machiya house. (Angen, 2012-2013)
In Nishinoyama House, there are different modern material (steel, concrete and
aluminum) to replace the traditional material (timber) in a combination of past and modern
material to improve sustainability.
4.2 Spatial Organization
4.2.1 Spatial Organization of Kyomachiya
Figure 4.2.1(i):Typical floor plan of kyomachiya.
(Image Source:Outside the glass case. (2009). Retrieved November 12, 2016, from
http://lepo.it.da.ut.ee/~cect/teoreetilisedseminarid_2010/etnoloogia_uurimisrühma_seminar/
Brumann_2009_Outside_the_Glass_Case.pdf )
The frontmost space of kyo-machiya is called a ‘mise’, which is used as a space for
business and meeting purposes. The street in front usually turns into the public space for
community gatherings. ‘Omoya’, the space located behind ‘mise’ serves as a living space or
multipurpose space where most of the furnitures can be moved to be converted into another
space (Suwa, 2006).

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Figure 4.2.1(ii):Enclosed garden of Kyomachiya.
(Image Source: Yamanaka Aburaten machiya Guest House (n.d.), Retrived November 11,
2016 from http://www.yoil.co.jp/mghouse/en/room/j-h/)
Kyomachiya houses has several types of gardens (niwa), such as the enclosed gardens
and the open gardens. Tataki, the enclosed garden, is located within the centre of kyo-
machiya. It functions as an outside space although it is placed inside the house, (Suwa, 2006).
4.2.2 Nishinoyama House Influenced by the Spatial Organization of Kyomachiya
Figure 4.2.2(i):Public garden and covered garden in Nishinoyama House.
(Image Source: Nishinoyama House. (n.d.). Retrieved November 12, 2016, from
http://www.projectalog.com/board/2014/11/nishinoyama-house )

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Same as Kyomachiya, the Nishinoyama House has various types of gardens, which
include gardens along the streets that are open for the public use, covered gardens surrounded
by a single housing unit that can be described as semi-outdoor, and bright gardens with the
opens sky overhead that can be accessed through narrow paths between units. (Roberto &
Ignacio, 2016).
The rooms and gardens that are connected under the same roof enables the residents
to enjoy both indoor and outdoor activities. The residents can have a positive relationship
with the neighbours by sharing the same front garden, while the covered garden within each
individual unit retains the privacy of the occupants, (Bernstein, 2014).
Figure 4.2.2(ii):Floor plan of Room 1 in Nishinoyama House.
Simple bathroom and kitchen is included in each unit, the rest are used as living
spaces for the residents, (Monocle, n.d.). Similar to the room layout of Kyomachiya, each
room has a simple design so that it can be used for various purposes depending what the
situation calls for. The furnitures in the room is detachable and it is brought in when
necessary and taken out after use, (Intercultural Understanding, 2012).

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Figure 4.2.2(iii):Working space in one of the units(left) and meeting area(right).
(Image Source: Monocle,(n.d.). Retrieved November 28, 2016,from https://vimeo.com/109578280)
The tenants of Nishinoyama House mostly consists of creative craftmans working in
the field of art and fashion, (Monocle, n.d.). Aside from using living spaces, most of them
also use the units as studios to work and meet their clients, which is made possible by the
spatial planning of Kyomachiya, that specializes in creating multifunctional spaces.
4.2.3 Influence of Japanese Culture in the Spatial Organization
The Japanese cultural concept Wa (和) which literally means harmony has influenced
the spatial organization of Nishinoyama House. The 10 housing units are positioned close to
each other under 21 pitched roof to create a sense that neighbours are close at hand and
encourage the traditional spirit of Wa between the neighbourhood. The interconnected
walkway, alley and public courtyard link the neighbours together and create a harmonious
atmosphere within it. The openness of this architectural style naturally leads to the healthy
and positive human interaction, (Bernstein, 2014).

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The culture of Japanese appreciation of nature also plays a significant role in the
spatial organization of Nishinoyama House. Japanese appreciate the aesthetic of nature and
love of nature.
Figure 4.2.3(i):Bathroom is connected to the garden.
(Image Source: Bernstein, F. (2014, September 17). Nishinoyama House. Retrieved
November 12, 2016, fromhttp://www.world-architects.com/architecture-news/submitted-
works/Nishinoyama_House_830 )
The arrangement of the 10 housing units in Nishinoyama House are out of alignment
to create different small gardens between it. Most of the spaces in Nishinoyama House are
visually or physically connected to garden, to encourage the close and harmonious
relationship between the residents and nature (Senda, 2013).
4.3 Circulation
4.3.1 Chō-nai Layout

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Figure 4.3.1(i): Chō-nai Layout
(Image Source: http://www.wachagashi.jp/kosendo/media/the_preservation_of_kyo-
machiya.pdf)
Most of the Machiya House community in Kyoto are arranged in a traditional layout
called Chō-nai. It is a new urban unit for citizen in Kyoto to become responsible for their own
defense during the chaos of Murimachi Era.This layout also known as lozenge shaped cho nai.
(Suwa,2006)
4.3.2 Internal courtyard in Kyo Machiya House
Figure 4.3.2(i):Examples of internal courtyards in Kyo Machiya House
(Image Source: @. (n.d.). Tsuboniwa - Courtyard japanese gardens. Retrieved November 10,
2016, from https://www.pinterest.com/frederiquedumas/tsuboniwa-courtyard-japanese-
gardens/ )

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Internal courtyards are used in most of the Kyo Machiya House. The courtyard
functions as a transition space from the front part of the house to the back part of the house.
Besides, the courtyard encourage natural ventilation. The residence are able to have a sense
of outdoor nature while staying inside the building. The nature brightness gradually change
from dark to light from the inside outward strongly emphasize directionality toward the
inside depth, (Otani,2012)
4.3.3 Fusuma and Shouji
Figure 4.3.3(i):Example of fusuma
(Image Source: Fusuma: Tigers and Dragon. (n.d.). Retrieved November 10, 2016, from
http://art.thewalters.org/detail/77479/fusuma-tigers-and-dragon/ )
Figure 4.3.3(i):Example of shouji
(Image Source:3 ft. Tall Window Pane Shoji Screen. (n.d.). Retrieved November 10, 2016,
from http://www.orientalfurniture.com/oriental-furniture/WP36.html )
The rooms of Kyo Machiya House are separated or joined by sliding frames. The
sliding frames are called fusuma and shouji. The sliding frames invoke a latent awareness
that they can be easily opened and exhibit a faint sense of closure and ambiguity since they
are half isolated and half open. (Otani,2012)

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4.3.4 Street Frontage
Figure 4.3.4(i):Example of Kyo Machiya House shop
(Image Source:Billy Handmade Dollhouse Kit Kyoto Series Kyomachiya Kit Ii Pottery Shop
8504 (. (n.d.). Retrieved November 10, 2016, from http://www.terapeak.com/worth/billy-
handmade-dollhouse-kit-kyoto-series-kyomachiya-kit-ii-pottery-shop-8504/301773156591/ )
The front of the building traditionally served as shops for japanese merchants to sell their
goods. The building normally have slide or fold shutters that able to open to display the
goods and product the merchants selling. (Suwa,2006)
4.3.5 Access hierarchy and sharing of internal walls, roofs and courtyards in
Nishinoyama House

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Figure 4.3.5(i):Different access for each apartments
The apartment units are arranged near together but separated as an independent unit to
each other. Certain units are sharing the internal walls, roofs and courtyards with other units.
Every unit has its own access directly from different place within the site perimeter. For
example, the unit no. 4 are access from the underground garage and sharing courtyard with
unit no. 2, unit no. 8 and unit no. 6. Courtyard with numbers indicating the area owned the
respective unit. Only the owner can access their own courtyard. (Bernstein, 2014)

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Figure 4.3.5(ii):Stairs to underground garage
(Image Source:Kuu world » NISHINOYAMA HOUSE. (n.d.). Retrieved November 10, 2016,
from http://www.kuuworld.com/2014/07/nishinoyama-house/ )
Figure 4.3.5(ii):Sharing of internal courtyard
Courtyard without numbers are the public entryway to the private units. Stairway that
access to the underground garage also located in this public courtyard.
The purpose of various access is to blurring out the entrance from the public in order to
protect the privacy for the residence. Sharing of internal walls, courtyards and roof is to
blurred away the boundaries between each unit to create a united community. This concept is
similar to the fusuma and shouji from Kyo Machiya House. (Bernstein,2014)

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4.3.6 Nishinoyama House adapt the layout of Kyo Machiya House
Figure 4.3.6(i)A sketch of typical Kyo Machiya Plan
(Image Source:The Japanese Machiya. (2016). Retrieved November 10, 2016, from
https://misfitsarchitecture.com/2015/06/25/the-japanese-machiya/ )
Figure 4.3.6(ii)Examples of the apartment layout, the empty space within the plans are the
internal courtyard
(Image Source: http://nishinoyamahouse.com/rooms/)
Each apartment is a single-story free flowing multipurpose spaces that connect room
to rectilinear room as in a traditional Japanese house (Kyo Machiya), (Graham,2015). The
layout of Nishinoyama House and Kyo Machiya House is similar, both have living area,
tatami, bathrooms, dining, kitchen and internal courtyards. Each unit have its own internal
courtyards for the purpose of ventilation and natural light penetration. The plan of both Kyo
Machiya and Noshinoyama House are form with rigid square and rectangle without any
curves involved.Some units consist of a series of interconnected room that surround a
courtyard. Some have detached rooms located across a courtyard.

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4.3.7 The front walkway of Nishinoyama House
Figure 4.3.7(i): Walkway of Nishinoyama House
There are walkways in front of all units in Nishinoyama House. The purpose of the
walkway is to encourage interaction within the residences. With the help of transparent glass
walls, residences are able to have a glimpse into their neighbor’s unit. Some artist residence
chose to display their artworks there. This concept is similar to the street frontage of Kyo
Machiya where the merchants displayed their goods.
4.4 Building Structure
The vernacular Japanese architecture in Kyoto which is Kyomachiya is known for its lavish
use of relatively elaborate and delicate materials and their light, supple construction. (Muneta,
2016) Building framework is one of its most prominent features. Thus this section of the
paper is to study on how Nishinoyama House has been influenced by the traditional machiya
structural system and Japanese culture.
The frame of a traditional Japanese house is constructed out of wood and the load is
supported by the three main elements, which are the vertical columns, horizontal beams and
diagonal braces. It was the influence of western countries’ technology that diagonal braces
came to be used in Japanese house.

24
4.4.1 Kyomachiya structural feature
4.4.1.1 Exposed framework
Figure4.4.1.1.1:The façade of Kyomachiya.
(Image Source:World Monument Funds in Japan (2013). Retrieved November 11, 2016 from
https://www.wmf.org/sites/default/files/styles/project_gallery_full_size/public/projects/gallery
/main.jpg?itok=NiVdTHLT)
In normal houses, the pillars and timberwork are usually hidden behind the wall
coverings. (Kie &Azusa, 2004) However, in machiya system, the columns and timberwork
are purposely made exposed to serve as a decorative enhancement to the building. (Kie
&Azusa, 2004) Timber roof trusses and columns are visible, with the ceiling of the ground
floor passes through from the front to the back of the building, which further enhance its
aesthetic value. (Kie &Azusa, 2004)
4.4.1.2 Roof structure
Figure 4.4.1.2(i):Gabled roof or kirizuma (left) and hipped-gable roof or irimoya (right).
(Image Source:Japan National Tourism Organization (n.d.) Retrieved November 11, 2016
from http://www.jnto.go.jp/eng/indepth/cultural/experience/a.html)

25
In Japanese traditional architecture, various roof forms can be found as they evolved
historically and changed based on different building types since as far as the Edo period until
the Second World War. Addition of spaces and combination of the basic hipped and gable
roof form are the main causes of this transformation.
In Kyomachiya, gabled roof or kirizuma is often used, which were also used in shrines.
Hipped roof or yosemune is mostly found on farmer houses while hipped-gable roof or
irimoya is applied in upper class houses. (Higashino, 2000) In machiya system, roof structure
is carefully designed based on every detail on its spatial organization thus the types of spaces
of a building is well expressed in its roof structural design.
Figure 4.4.1.2 (ii): Roof plan (left) and floor plan (right) of Fukokan, Hiroshima.
(Image Source: Retrieved November 11, 2016 from
https://www.academia.edu/8291977/Roof_Typology_and_Composition_in_Traditional_Japa
nese_Architecture.)
For the case of Fukokan Machiya in Hiroshima (built in 1859), due to the limited site
given, separated roof to each functionally different space was not possibly made. (Higashino,
2000) Solution done was expressing the different types of spaces by giving each of them an
independent ridgepole in the roof form. (Higashino, 2000)

26
Figure 4.4.1.2 (iii):Roof plan (left) and floor plan (right) of Kokian, Kanagawa.
(Image Source:Retrieved November 11, 2016 from
https://www.academia.edu/8291977/Roof_Typology_and_Composition_in_Traditional_Japa
nese_Architecture.)
Another case is Kokian in Kanagawa (1909) which its roof form results from the
combination of the roofs of three defined type of spaces-formal, informal and service.
(Higashino, 2000)
4.4.2 Nishinoyama House Influenced by The Structural System of Kyomachiya
In Nishinoyama house, a similar structural system to Kyomachiya is applied, with
differences in materials to suit the modern context. It is characterized by its unifying steel
structure which holistically connects the ten units, creating a series of internal gardens and
alleyways.
4.4.2.1 Exposed Framework
Following vernacular Kyomachiya aesthetic value, the building framework of
Nishinoyama House remains visible from both the exterior and interior. Steel framing include
the three main elements in Japanese houses, which are the vertical columns, horizontal beams
and diagonal braces.

27
Figure 4.4.2.1(i): Construction site of Nishinoyama House.
(Image Source:Haze Building Group (2016). Retrieved November 11, 2016 from
http://www.designboom.com/wp-content/gallery/nishinoyama-house-by-kazuyo-sejima/g1.jpg)
Steel structural frames are partially exposed, with steel cross bracing hidden behind
the building’s mortar walls. (Pollock, 2014)
Figure 4.4.2.1(ii): Exposed structure of Nishinoyama House.
(Image Source:Enzo Garden (2016). Retrieved November 11, 2016 from
http://www.designboom.com/wp-content/uploads/2013/12/kazuyo-sejima_nishinoyama-
house_designboom_006.jpg)
The transparent glass doors imitate the traditional shoji screen door, which allows the
exposed framework to be more vivid. Wood members securing the plywood roofs (Pollock,
2014) also remains visible, making the houses transparent with its naked structure in its
original state, thus enhancing its aesthetic values.

28
4.4.2.2 Roof Structure
Figure 4.4.2.1(iii): Roof view of Nishinoyama House.
(Image Source: Iwan Baan (2014). Retrieved November 11, 2016 from http://cdn2.world-
architects.com/images/CmsPage/23/43/56/5419a27e5ee043e29c02137e0ab5c3b7/5419a27e5
ee043e29c02137e0ab5c3b7.jpg)
By using a combination of the city’s three acceptable angles of roof sloping, the
architect designed three roofs on each unit, with two of them sharing the adjacent apartments.
(Pollock, 2014) This idea is influenced by the thinking of traditional Japanese builders which
had created various types of roof by combining basic roof forms.
Similar to the concept of Kyomachiya roof, the roofs for each unit were developed
according to its spatial organization. This includes the level count of each unit and types of
spaces, which were carefully designed alongside with courtyard area, natural lighting and
ventilation. (Senda, 2013)
Figure 4.4.2.1(iv): Dining area in Nishinoyama House.

29
(Image Source:Iwan Baan (2014). Retrieved November 11, 2016 from
http://www.architecturalrecord.com/ext/resources/archives/projects/building_types_study/mu
lti-family-housing/2014/images/Nishinoyama-House-Kazuyo-Sejima-Architect-7.jpg)
For instance, one of the unit’s dining areas is covered by a high ceiling and roof to
create openings for better ventilation and welcomes natural lights.
Figure 4.4.2.1(v): Open courtyard in Nishinoyama House.
(Image Source:Enzo Garden (2016). Retrieved November 11, 2016 from
http://www.designboom.com/wp-content/uploads/2013/12/kazuyo-sejima_nishinoyama-
house_designboom_004.jpg)
Some intermediate openings between roof planes are turned into open courtyards
between private units. Besides, outdoor spaces and circulation areas are covered by the
angled roof. (Pollock, 2014)
4.4.3 Influence of Japanese Culture in The Structure

30
4.4.3.1 Japanese Cultural Concept, “Wa”
As stated in the section of Japanese Culture, Wa which literally means harmony, is a
Japanese cultural concept derived from traditional Japanese family values. Wa plays an
integral role in Japanese society, which has consequentially reflected in their daily life, social
attributes and even in the vernacular architectural value.
4.4.3.2 “Wa” reflected in Nishinoyama House
Identical to many old community in Kyoto, the dwelling units in Nishinoyama House
are constructed both close together and independent of each other.
Figure 4.4.3.2(i): Sharing of internal wall in Nishinoyama House.
(Image Source:Hase Building Group (2016) Retrieved November 11, 2016 from
http://www.designboom.com/wp-content/gallery/nishinoyama-house-by-kazuyo-sejima/g2.jpg)
Instead of supporting the entire complex with a single structural frame, the architect
has given each unit with its own localized framing and then linked them all together. (Pollock,
2014) Some apartment shares the internal walls and all units are then connected with a
continuous set of pitched roofs. This result in a unifying structure consists of separated parts,
each constructed out of 3 inch (75 millimeter-square), solid-section steel columns and H-
beams that support the wood joists which secured the plywood roofs. (Pollock, 2014). This
unifying structural form portrays the cultural concept of “Wa”, a continuation of harmony in
Japanese.
5.0 Conclusion
This assignment teaches us to focus on how asian architecture can relate and comply
to the cultural and architectural context of its given site, and hence complementing and

31
blending with the site. By applying newer and more efficient construction methods and using
more modern and sustainable materials and technology to replace important parts of the
traditional Kyo-Machiya houses, while maintaining the spatial layout and features of the
houses such as the shoji screens and vertical latices of the facade, they were able to overcome
the shortcomings and impracticality of the traditional Kyo-Machiya design without giving up
its essence and main characteristics. The Nishinoyama House was able to infuse public and
private space together in one area, hence maximizing the usage of the limited space that
Japan has, while maintaining comfortable and spacious living conditions for its users.
6.0 References
1. Engel, H. (1985). Measure and construction of the Japanese house. Rutland, VT: C.E.
Tuttle.
2. Hays, J. (2013, January). JAPANESE ARCHITECTURE: WOOD, EARTHQUAKES,
TEA ROOMS AND TRADITIONAL HOMES. Retrieved November 12, 2016, from
http://factsanddetails.com/japan/cat20/sub129/item687.html
3. Higashino, A. (2000). Roof Typology and Composition in Traditional Japanese
Architecture. 3-47. Retrieved November 12, 2016, from
https://www.academia.edu/8291977/Roof_Typology_and_Composition_in_Tradition
al_Japanese_Architecture.
4. Machiya Townhouses. (2015). Retrieved November 11, 2016, from
https://www.wmf.org/project/machiya-townhouses
5. Muneta, Y., Professor. (2016). Experiencing Machiya | Japan Up Close. Retrieved
November 11, 2016, from http://japanupclose.web-japan.org/spot/20150323_1.html
6. Pollock, N. R. (2014, October 16). Nishinoyama House. Retrieved November 11,
2016, from http://www.architecturalrecord.com/articles/7325-nishinoyama-house
7. Senda, S. (2013, December 23). Kazuyo sejima unifies nishinoyama house in kyoto,
japan. Retrieved November 11, 2016, from
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in-kyoto-japan-12-23-2013/
8. Roberto, O., & Ignacio, G. (2016). Nishinoyama House in Kyoto / Kazuyo Sejima .
9. ArchEyes. Retrieved November 12, 2016, from http://archeyes.com/nishinoyama-
house-kazuyo-sejima/
10. Monocle, (n.d.). Retrieved November 28, 2016, from https://vimeo.com/109578280

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11. Intercultural Understanding. (2012, March 21). Retrieved November 12, 2016, from
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12. Bernstein, F. (2014, September 17). Nishinoyama House. Retrieved November 12,
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works/Nishinoyama_House_830
13. Suwa, S. (2006). The Preservation of Kyo-machiya. Retrieved November 12, 2016,
from http://www.wachagashi.jp/kosendo/media/the_preservation_of_kyo-machiya.pdf
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japan. Retrieved November 12, 2016, from
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ohp

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