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: 29 NOVEMBER 2016, TUESDAY

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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 TIMELINE AND HISTORY

3.1 History of Japanese Palace of Architecture

It was heard that the main Japanese palaces were worked around

the eleventh century, yet the vast majority of the individuals who can visit

are from the 16th and 17th century. This period and all the more definitely,

the Edo Period (starting in 1600) is viewed as the Golden Age of

Japanese palaces. Kyuden was worked amid this zone.

Figure 3.0: Timeline of Japanese Palace Architecture

Figure 3.1: The evolution of the ‘main idea’ caharacteristics of Japanese palace architecture

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Fortification amid Heian period (794 – 1185) was constructed altogether

out of wood and was predicated to a great extent on prior modes, which

is by Chinese and Korean examples. They were started to wind up more

immensely to oblige all the more sizable voluminous armed forces and to

be considered as more lasting structures. This method of fortification

grew progressively from before modes and utilized all through the wars of

the Heian period (770-1185). Castle buildings turned out to be genuinely

detailed, containing various structures, some of which were very mind

boggling inside, as they now suited as homes, command centres, and

various different purposes.

The size and type of castle conitues amid Sengoku Period (1185 – 1333).

The beginnings of the shapes and styles now thought to be cliché "great"

Japanese royal residence configuration rose, and castle towns were

moreover showed up, developed and created. Notwithstanding these

advancements, however, for the vast majority of the Sengoku period royal

residence remained basically more sizable, more multifaceted renditions of the straightforward wooden strongholds of centuries prior.

Proceeding onward to amid Azuchi-Momoyama Period (1586 – 1600)

where the royal residence was situated on a plain, as opposed to on a

thickly forested mountain and depended more vigorously on engineering

and artificial resistances than on its indigenous habitat for support. These

elements, alongside the general appearance and association of the

Japanese chateau, which had developed by this point, have come to characterize the cliche Japanese palace.

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Edo period (1603 – 1868) palaces be that as it may, were no longer had

safeguard against outside powers as their basic role. Rather, they suited

basically as rich homes for the majestic families and specialists and to

ensure them against laborer uprisings and other inward insurgences.

Despite the fact that there were now and again, confinements on the size

and decorations of these castles, however the Emperors attempted

however much as could reasonably be expected to use their palaces as

representations of their intensity and riches. The general architectural

style did not transmute much from more military times but rather the

furniture and indoor arrangements could be very extravagant.

In the middle of Edo Period and Modern time of Japan, there was period

called Meiji Period (1868 – 1912) where Japan began to fuse with

western architecture. In this time of insurgency where the utilization of steel, cement and glass were connected.

Figure 3.2: The Kyuden shortly after its completion in the late 1800s

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In the Modern period of Japan (1868 – Present), a significant number of

the rest of the palaces in Japan today are recreated, some of them made

basically of concrete and planned just to represent or take after the

flawless wooden structures. Propelled innovation and different

composition are utilized. Nevertheless, all palaces alongside various

destinations of verifiable or significant nature, are fore battled under a

progression of laws declared for that indication.

In view of Figure 3.3, Figure 4 and clarifications above, Kyuden, for sure,

an impeccable case, of royal residence that was made amid Meiji Period.

Despite the fact that it was initially worked amid Edo Period yet it was

then reproduced amid later times which coming about it to plan in

Figure 3.3: Images of old Kyuden palace, during old Meiji era that was destoryed during WWII

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modernist style comprises of the mix of customary and advanced

qualities.

4.0 INTRODUCTION

4.1 Tokyo Imperial Palace – Kyuden

Tokyo Imperial Palace is the main living place of the Emperor of Japan. It

is an expansive park-like range situated in the Chiyoda ward of Tokyo which

comprises of four primary grounds – Kitanomaru, Imperial Palace Grounds,

East Garden and Kokyogaien. These four principle grounds are sumptuously

contained historical buildings,encompassed with a water-filled channel.

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 to

facilitate inside is

constrained just two days of

the year, which is amid New

Year's greetings by Their

Majesty and amid Emperor's

birthday.

By referring to Figure 4.0,

Kyuden (shaded) is

arranged in Imperial Palace

Grounds, which is in the

focal point of Tokyo City. It

bodes well from an authentic

point of view whereby Edo Figure 4.0: Map of Tokyo Imperial Palace

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Castle would have been the concentration of the city of Edo (now alluded as

Tokyo).

4.2 Architectural Style of Kyuden

Initially, the main structures of the Palace grounds including

Kyuden were seriously harmed by the fire of May 1945. At that point, the

Tekenaka Corporation remade it in a modernist style with clear Japanese

building references in that capacity as the vast, gable-hipped rooftop,

sections and pillars. Today's palace comprises of various advanced

structures of steel-encircled

strengthened solid structures

created locally, with two stories

over the ground and one storey

beneath.

Despite the fact that Kyuden (Figure 4.1) is known as one of Japanese's

traditional and authentic palace yet because of the site where its found

has influenced the structural style of the building. It is arranged in the

focal point of a rising city, Tokyo, though the district is grown with cutting

edge high rises and surrounded with elevated structures, up to 20 stories

high.

Aside from the type of the structures, tallness, pressure and spatial

hierarchy order that are no doubt takes after the traditional palace of

Japanese architecture – Kyuden however is planned with a ferro-

concrete of advanced twentieth century style, joined with restricted

Japanese architecture subtle elements as to fit in into the site setting.

Figure 4.1: Tokyo Imperial Palace - Kyuden

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Figure 5.0

Kyuden is regularly mixed up as an extravagant building with traditional

outlines and vivid decorations yet it doesn't match such assumptions.

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

undeniably effects the way of Kyuden was constructed.

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 were 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 woods that are covered with traditional writings.

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Besides that, another traditional element implement into Kyuden is the

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

5.1. 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.

Unfortunately, Kyuden

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 5.3) 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

Figure 5.1: Timber finishes in interior of Kyuden

Figure 1: Paintings of Kaede (maples) - left drawn by Houshun Yamaguchi and Sakura (cherry) - right drawn by Meiji Hashimoto

Figure 5.2: Images of interior of Kyuden (current) with modern

decorations and style

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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

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 are

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

buildings, as they cannot feel warm being indoors.

Moving on to the modernised roof structure in Kyuden. Thebiggest

drawbacks 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-shafts in

Figure 9 are wooden yet they are worked 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 6.0) connections utilizing wooden wedges and pegs to

secure the joints.

Figure 6.0: Kyuden's entrance with wooden post-and-beam structure

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6.1.2 Methods of Preservation

Where long individuals are required, grafted connections with

wedges and pegs are utilized 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.

Figure 6.1: Traditional Japanese mortise-and-tenon joints

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6.2 Wall

6.2.1 Choice of Material

Based on Figure 6.2, 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.

Figure 6.2: Kyuden's steel-framed concrete wall

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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

airflow even when shut to the outside elements that can flow

through the spaces between the wooden walls. All of these

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

Figure 6.3: Traditional Japanese wooden walls

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logged. In addition, in traditional Japanese wood construction, the

timber structure is almost all open to visual inspection. This means

any water entry, 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 extends out

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

of the shorter opposite sides are stopped and the remaining two

extend to the top where they are joined. Usually, the Irimoya style

roof was found used in temples and upper class houses (shoin) as

it is to show the power and wealth of the occupants. It is also

possible to find this type of roof on a farmer’s house. The

differences between those two are that the upper class Irimoya is

an addition of hisashi around the moya while the farmer’s Irimoya

is the result of openings under the ridgepole.

Figure 6.4: Evolution of Japanese roof architecture

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It would be impossible to build without an elaborate timber structure,

especially without access to metal braces and fasteners, as the

Kyuden roof is heavy and cantilevered. In country like Japan where

the need to resist typhoons is there, 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 6.5: Clear elevation view of Kyuden's wall structure

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Figure 6.6: Images of interior roof of Kyuden

It is believed that metal fasteners are not as lasting as 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 poorly cured wood, they can be loosened by regular

shrinkage and expansion of the surrounding material, and when

exposed to the air they are quick to oxidize in Japan’s humid

climate.

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7.0 CONCLUSION

From the case study of Tokyo Imperial Palace, Kyuden, we were able to analyze

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 locals to the value of

traditional methods.

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