traditional japanese design solutions for the modern minimum dwelling
TRANSCRIPT
Traditional Japanese design solutions for the modern minimum dwelling.
January 2012
Contents
List of Illustrations………………………………………………………………… i
Abstract…..………………………………………………………………………… 1
Chapter One: The Compact City…………………………………………………… 5
Introduction……………………………………………………………………….... 6
The Japanese Model………………………………………………………………... 7
Historical Influence……………………………………………………………….... 10
Limitations or Opportunities……………………………………………………….. 11
Local Factors……………………………………………………………………….. 12
Emerging Trends………………………………………………………………….... 13
Conclusion………………………………………………………………………….. 15
Chapter Two: Traditional Japan and the Relationship between Space, Nature and
Human presence…………………………………………………………………..... 16
Introduction………………………………………………………………………… 17
Flexibility using Fusuma and Shoji Screens……………………………………….. 17
Human Proportion and the Tatami Mat Culture……………………………….……19
Nature’s View……………………………………………………………………… 22
Material World……………………………………………………………………... 23
Conclusion………………………………………………………………………….. 26
Chapter Three: Contemporary Japan and its influence on Western Society……...... 28
Introduction………………………………………………………………………… 29
Contents
Material; the Essence of Architecture - Case Study One: The Plastic House……… 29
The Natural Way - Case Study Two: Engawa House……………………………… 33
Go West – Japanese influence on Western Society………………………………... 36
Frank Lloyd Wright………………………………………………………....…….... 37
Tadao Ando………………………………………………………………………… 39
Conclusion………………………………………………………………………….. 42
Chapter Four: Ireland’s Own – The Ballagh House……………………………….. 43
Introduction…………………………………………………………………...…….. 44
Three is a magic number……………………………………………………………. 44
Spatial Layout………………………………………………………………………. 46
Material Simplicity………………………………………………………….………. 47
“Detail defines Space”………………………………………………………………. 52
Conclusion………………………………………………………………………...… 52
Conclusion…………………………………………………………………………... 53
Appendices……………………………………………………………………..…… 57
Appendix A………………………………………………………………..………... 58
Appendix B…………………………………………………………………………. 68
Bibliography………………………………………………………………………… 73
i
List of Illustrations
Figure 1: The City of Tokyo at dusk illustrating its densely populated zones.
http://www.citypictures.org/r2873.search.htm. Accessed 4th
January 2012.
Figure 2: The City of Sydney showing Darling Harbour.
http://www.sydneymedia.com.au/asset/2/images/1_Darling_Harbour_
before.jpg. Accessed 4th
January 2012.
Figure 3: An example of kysho jutaku; the 'Reflection of Mineral' house by
architect Yasuhiro Yamashita.
http://inventorspot.com/articles/reflection_mineral_house_proves_urban_d
esign_hard_18970. Accessed 4th
January 2012.
Figure 4: Traditional painted Fusuma screens in Ninna-Ji.
http://www.fotopedia.com/wiki/Fusuma#!/items/4d41h58ro27a6-
g2gu71twI94. Accessed 4th
January 2012.
Figure 5: Traditional tailor’s workshop with shoji screens.
http://muza-chan.net/japan/index.php/blog/tailor-workshop. Accessed 4th
January 2012.
Figure 6: Traditional tatami mats in a guest room.
http://japansheartandculture.blogspot.com/2010/06/tokonoma.html.
Accessed 4th
January 2012.
Figure 7: Examples of different layouts for traditional Japanese tatami mats.
http://www.tatamiuk.co.uk/tatami_FITTING.html. Accessed 4th
January
2012.
Figure 8: A tsuboniwa or small courtyard garden in Kyo-machiya at Yoshida-ke
http://www.panoramio.com/photo/6307647. Accessed 4th
January 2012.
Figure 9: An interior courtyard garden in the Ogaki House in Gifu, Japan designed
by Katsutoshi Sasaki & Associates.
http://www.designboom.com/weblog/cat/9/view/12619/katsutoshi-sasaki-
ogaki-house.html. Accessed 4th
January 2012.
Figure 10: The exterior of the Plastic House in Tokyo designed by Kengo Kuma
http://kkaa.co.jp/works/plastic-house/. Accessed 4th
January 2012.
ii
List of Illustrations
Figure 11: The thin FRP or fibreglass reinforced plastic beams used for the exterior
walls, were chosen by the architect for it’s resemblance to bamboo.
http://kkaa.co.jp/works/plastic-house/. Accessed 4th
January 2012.
Figure 12: The flexible ground floor space acts as a living room, kitchen, dining area
and photographic studio.
http://kkaa.co.jp/works/plastic-house/. Accessed 4th
January 2012.
Figure 13: The private street façade of the Engawa House.
http://engawahouse.blogspot.com/2010/07/engawa-house-tezuka-
architects.html. Accessed 4th
January 2012.
Figure 14: The open rear façade of the Engawa House.
http://engawahouse.blogspot.com/2010/07/engawa-house-tezuka-
architects.html. Accessed 4th
January 2012.
Figure 15: The glazed sliding doors that open the house almost completely to the
small garden.
http://www.imgspark.com/image/view/all/1210576/. Accessed 4th
January
2012.
Figure 16: The exterior of the Imperial Hotel with its many terraces and courtyard
gardens.
http://online.wsj.com/article/SB1000142405274870402620457526743334
4670608.html. Accessed 4th
January 2012.
Figure 17: The Azuma Row house in Osaka, situated on a very narrow strip of land.
http://www.ananasamiami.com/2011/01/row-house-azuma-house-by-
tadao-ando.html. Accessed 4th
January 2012.
Figure 18: The open central courtyard of the Azuma House.
http://www.ananasamiami.com/2011/01/row-house-azuma-house-by-
tadao-ando.html. Accessed 4th
January 2012.
Figure 19: The open air bridge and outdoor steps in the Azuma House.
http://www.ananasamiami.com/2011/01/row-house-azuma-house-by-
tadao-ando.html. Accessed 4th
January 2012.
iii
List of Illustrations
Figure 20: The ground floor and first floor plans of the Ballagh House.
http://archiseek.com/2003/boyd-cody-architects-ballagh-house-temple-
cottages-dublin/ . Accessed 4th
January 2012.
Figure 21: The existing façade of the terraced houses which was maintained.
http://archiseek.com/2003/boyd-cody-architects-ballagh-house-temple-
cottages-dublin/. Accessed 4th
January 2012.
Figure 22. View of the interior courtyard garden.
Number 3 Temple Cottages, Broadstone, Dublin 7. December 2011.
Photograph by author.
Figure 23: Photo taken from the terrace shows the glazed master bedroom as well as
the acid etched glass panel to the right of the photo.
Number 3 Temple Cottages, Broadstone, Dublin 7. December 2011.
Photograph by author.
Figure 24: Photo of the plywood entrance hall.
Number 3 Temple Cottages, Broadstone, Dublin 7. December 2011.
Photograph by author.
Figure 25: View from the studio into the courtyard and kitchen showing the use of
concrete in the three spaces.
Number 3 Temple Cottages, Broadstone, Dublin 7. December 2011.
Photograph by author.
1
Abstract
2
The idea of minimum dwelling is not a new trend but it is one which has renewed
importance in today’s society. Lifestyle changes as well as population growth have
had a huge impact on living spaces and environments. Gary Hustwit’s documentary
Urbanized illustrates how over half of the world’s population are now living in urban
areas and it is expected that this will rise to seventy-five percent by the year 2050.2
Thus with more and more people living in cities and urban centres, the need for
compact homes increases. Rural dwellings are scarcer than ever before with limited
space and awkward building sites a common occurrence.
This thesis aims to investigate the issues arising from compact and minimum living
spaces and the resultant flexible design solutions. It will use Japan as a case study and
will focus on traditional Japanese design solutions and how they are interpreted for
modern living in an urban context as well as the influence of Japanese design
worldwide.
The initial chapters of this research paper will focus on the idea of a compact city and
proposes Tokyo as an example of an urban centre with high density living. We aim to
investigate the historical and economic reasons that have permitted overcrowding to
occur and to assess the impact a transforming Japanese demographic and domestic
structure has had on a more traditional approach to habitual design.
Chapter Two will focus on the features of the traditional Japanese dwelling and its
related customs. Our enquiry will discuss the traditional use of human scale and
proportion and how this has influenced the spatial layout. Simultaneously we will
establish the significant relationship between nature and the home as well as evaluate
the materials and construction methods which were particular to the native Japanese.
Shifting our study in Chapter Three we will concentrate on the influence these
traditional variations have had on contemporary designs. Modern interpretations of
these traditional characteristics are often found in high density urban regions. This
chapter will focus in particular on two case studies in Tokyo: The Plastic House and
2 Gary Hustwit, ‘Urbanized’, http://urbanizedfilm.com/about/. Accessed 4
th January 2012.
3
the Engawa House. By establishing the significance of these designs we will move on
to examine the influence that Japanese design has had on the urban Western world.
Through briefly looking at the influence of key designers such as Frank Lloyd Wright
and Tadao Ando, we will explore how these traditional Japanese principles have
spread worldwide.
The final chapter will concentrate on the analysis of a modern Irish dwelling which
exhibits Western adaptations of Japanese influences. Located in inner city Dublin, the
Ballagh house displays many of the characteristics of traditional Japanese dwellings
and gives us a relevant context in contemporary Ireland.
Our conclusion will reflect on the successful examples of Japanese design solutions
for contemporary compact living. By focusing on the modern interpretations, we will
be able to evaluate the traditional principles which have had a significant influence on
Western society. This will determine the answer to our research question, whether
traditional Japanese design solutions can be successfully adapted to the modern
minimum dwelling.
4
5
Chapter One:
The Compact City
6
The prominent landscape designer David N Buck believes that ‘as the world
increasingly realises the importance of its natural environment, and makes further
moves to protect it, the pressure will continue to maximize the potential of all cities
where more of the world’s population will reside.’3 Cities are considered the centres
of human activity and they are hugely significant in the argument for a sustainable
future. The pivotal role they play will pose great challenges and exciting opportunities
in terms of design that will relate to environmental concerns as well as economic and
social influences. According to Elkin et al ‘Urban centres are crucial to the
functioning of the world economic order.’4 Hence urban areas become a focal point
for designers as it is argued that the form and density of our cities dictates our future.
In particular the argument that the compact city is the most sustainable form is one
that has come to the fore in recent years. In order to illuminate our argument it is
important that we define a ‘compact city’?
Elkin et al define the compact city as a high density metropolis with centralised
activity and development concentrated within its boundaries. In ‘Reviving the City’
Elkin et al further suggest that ‘Planners should aim for compactness and integration
of land uses’ and they encourage concentrated use of space in the city.5 Other theories
describe the compact city in contrast to other settlement patterns and discuss the
variations between high density land use and reclaiming brown field areas.6
Undoubtedly a major advantage of a compact city is that its dense urban form allows
for reduced energy and transport emissions as destinations are nearer and more
accessible. Obviously this does vary greatly from city to city and country to country
but for the purpose of this research we will define the compact city as having the
following benefits:
less car dependency, low emissions, reduced energy consumption, better
public transportation services, increased overall accessibility, the re-use of
infrastructure and previously developed land, the rejuvenation of existing
urban areas and urban vitality, a high quality of life, the preservation of green
space and a milieu for enhanced business and trading activities.7
3 David N Buck, Responding to Chaos (London: Spon, 2000), 3.
4 Timothy Elkin, Duncan McLaren, and Mayer Hillman, Reviving the City: Towards Sustainable Urban
Development (London: Friends of the Earth, 1991), 4. 5 Elkin et al, Reviving the City, 16.
6 Mike Jenks, Elizabeth Burton and Katie Williams, The Compact City, A Sustainable Urban Form
(London: E & FN Spon, 1996), 3-12. 7 Jenks et al, The Compact City, 56.
7
To be consistent with our definition I have chosen urban Japan as the perfect example
of high-density living since ‘70 percent of the country’s population is in 4 percent of
the land area.’8 This statistic clearly illustrates the density of urban areas, hence why I
selected the Japanese city of Tokyo as an ideal example of a compact city. By using it
as our case study we will be able to examine the resulting implications from a design
point of view.
The Japanese Model
Located off the coast of Russia, China and Korea in the North Pacific, Japan has an
area of 377,873km². Only 18% of Japanese land mass is appropriate for human
settlement as over 70% is mountainous land, which includes over 200 volcanoes.
Japanese cities are therefore characteristically densely populated and overcrowded.
Tokyo itself has an estimated population of 12 million with over 35 million people in
the Greater Tokyo Area.9 It is a city with very distinctive characteristics.
Sydney is an appropriate comparison to Tokyo as it has the highest density of
Australia’s major cities. Even though Tokyo is about five times more densely
populated than Sydney ‘74% of Sydney households have some sort of house and
garden, compared with 35% of Tokyo households’.10
Added to this is the fact that
new builds in Sydney average twice the floor space of any new dwellings in Tokyo,
which clearly illustrates the concentration of settlement in Tokyo relative to Sydney.
(Fig.1 & Fig.2).To further illustrate our point if we were to compare Tokyo to the
USA:
At 100 square meters the average home in Tokyo is quite small. Yet
many couples and even families of three and four happily make do with
less, especially in Tokyo, where conditions are so extreme that small
apartments or tiny houses are often the only choice. By contrast the
average single family home in the United States contains about 204
square meters and houses two to three people.11
8 Buck, Responding to Chaos, 3.
9 ‘Facts about Japan’, http://facts-about-japan.com/. Accessed 20
th October 2011.
10 Jenks et al, The Compact City, 46-47.
11 Naomi Pollock, Modern Japanese House (London: Phaidon, 2005). 9.
8
Figure 1: The City of Tokyo at dusk illustrating its densely populated zones.
9
Figure 2: The City of Sydney showing Darling Harbour.
10
Both of these examples visibly show the lack of available space in Tokyo relative to
other highly populated centres. The fact that Tokyo is one of the most densely
populated cities in the world has significant implications for architects and designers.
Historical Influence
Japan has a reputation for demolition and rebuilding. ‘Having survived natural
disasters, war and massive urban renewal, the country is used to rebuilding.’12
One
such incident was the Great Kanto Earthquake of 1923. Measuring 7.9 on the Richter
scale it is said to have killed up to 200,000 and left ‘64% of the remaining population
homeless.’13
The American firebombing of Tokyo between March and May of 1945
was even more devastating to the city. These and other incidents have had major
implications for the appearance of modern Tokyo.
Though its general urban structure remains unchanged, individual buildings are
separate entities, constantly flattened and replaced with little regard for consistency of
style or uniformity on each street. It has been said that on many residential streets the
unwavering line of electricity poles is the only constant. Aesthetically this creates a
certain amount of chaos as buildings may have little or no visual relationship to its
neighbour. Yet these historical factors have given architects a great deal of freedom to
design as they wish.
The continuous threat of earthquakes has also affected the country’s building laws and
restrictions. It is now ‘forbidden for any two buildings to share a structural wall’
which means there must by a narrow passage between the two.14
This naturally
reduces the danger of the domino effect which could be caused by the collapse of one
building. Another impact is that it reduces the available space for each house, further
contributing to overcrowding. The pattern of demolition and reconstruction means
that existing buildings are then seen to be less valuable than land in Japan. Since land
is so expensive, the cost of reconstruction is relatively cheap. In fact people are much
less likely to buy second hand properties preferring to demolish and rebuild.
12
Pollock, Modern Japanese House. 9. 13
Jodidio, Contemporary Japanese Architects. 8. 14
Ibid. 6.
11
Comparative to the United States and Europe where buildings may be a couple of
hundred years old, individual buildings in Japan may have a life span of just two
decades. At this point the building may be considered shabby and difficult to maintain
so therefore is ready to be torn down and replaced.15
This need for scrapping and
rebuilding was mainly due to the fact that wood was the main material used as well as
the nature of the traditional methods of construction used which we will be discussing
in depth in a later chapter.
Limitations or Opportunities
In Tokyo, architects and interior designers are limited by space and size restrictions
with some interesting results. ‘Where land is limited and sites are small, building
codes determine house shapes, and furniture dimensions fix room sizes.’16
According
to Naomi Pollock, an architect who has been writing about Japan for over 20 years,
rooms may be oddly shaped, roofs at strange angles and furniture in unusual places.
Building regulations and legal constraints complicate the situation, limiting heights of
buildings and distance from the street, for example ‘the width of the street in front
determines the building’s height - the narrower the street, the lower the house.’17
The so – called ‘Sunshine Law’ can also lead to odd positioning of buildings and
restricted heights as it dictates that a new building can only cast shadows on
neighbouring buildings for a certain amount of hours per day.18
This law is one of the
most important codes which affects designers in Tokyo and is based on the theory that
everyone is entitled to a certain amount of sunlight per day. The angle of the sun at
winter solstice is used to determine the limitations of the law which leads to unusual
and steep roof angles as well as height restrictions.
15
Pollock, Modern Japanese House. 9. 16
Ibid. 9. 17
Ibid. 9. 18
Philip Jodidio, Contemporary Japanese Architects, Volume II (London: Taschen, 1997). 8.
12
Local Factors
Since centrally located land is very highly priced in most parts of Japan, especially
Tokyo, landowners tend to sub divide their property. This division lead to further high
density living once the bubble period ended. They believe that doing this will make
the land sell quicker. The consequence of this is that people often end up buying a
small or oddly shaped piece of land on a limited or unusual site. These factors have
led to the creation of unique micro homes and buildings on small slivers of land. As
the Tokyo based architect, Jun Ishikawa says ‘This trend is not driven by design; it is
economics. But from an architect’s point of view it is his job to satisfy the customer’s
needs regardless of the site conditions.’19
The changing social demographic of Japan’s population and the resultant design
implications has also shaped contemporary Tokyo. Before World War II, the social
unit of the extended family was dominant where there was no choice but to live with
ones parents. After the war, the family structure had started to change and had broken
down into smaller units. Simultaneously Tokyo experienced a growth spurt with an
influx of people from the country moving to the city in search of employment. This
migration of people meant that more and more people needed to live in the city while
the available land constantly diminished. The strain on resources was reflected in
house design as the demand for smaller homes necessitated designers to take a fresh
approach to the problem.20
As in Western countries, non traditional family units
including single parent families and unmarried couples are on the increase in Japan.
The elderly population is also rapidly expanding while the birth rate is decreasing. In
June 2003 for the first time the ‘number of births countrywide dropped below 1.3
children per family.’21
In Tokyo this has been particularly low with less than one child
per family.22
This changing social demographic clearly has had implications for the
design of modern Japanese dwellings and has contributed to the need for minimum
dwelling in urban centres.
19
Brett Bull, Small House Tokyo, How the Japanese Live Well in Small Spaces (Tokyo:Cocoro Books,
2008). 3. 20
Pollock, Modern Japanese House. 10. 21
Ibid. 10. 22
Pollock, Modern Japanese House. 11.
13
Emerging Trends
‘Living small is in, especially among younger Japanese with modest budgets who no
longer want to cope with the gruelling commutes by train from far-off suburbs outside
Tokyo as their parents did.’23
Young couples are only one of the emerging groups
who choose to live in ultra compact homes in Japan. They prefer to live close to the
cultural amenities and employment opportunities offered by urban centres such as
Tokyo despite the scarcity of suitable land. Leaving the lively inner city for the
suburbs holds little appeal as they sacrifice space for micro homes on tiny parcels of
land. Due to these demands architects are not just for the wealthy in Japan and can be
an option for those less well off. The challenges these restricted projects pose require
architects to rethink traditional structure and assembly and manipulate the space to
allow more light and air.24
In more recent years one solution architects have provided is the development of the
micro home or kyosho jutaku. Becoming the fashionable choice for big city living,
these innovative houses are located on small and irregular plots of land some of which
may be no more than 30 square meters in total. Providing a unique approach to
minimum dwelling and compact living they satisfy modern living needs by catering to
individual needs.25
The kyosho jutaku free themselves from conventional design rules
‘walls can be tipped to meet floors at angles greater than 90 degrees, mimicking the
slope of a ships hull.’26
An example of kysho jutaku is the 'Reflection of
Mineral' house which was designed by architect Yasuhiro Yamashita. (Fig.3).
Architects have adapted narrow spaces so that floors can perform more than one
function, and walls and ceilings incorporate furniture in an unconventional manner.
These homes are part of a small revolution in Japan where economy and necessity has
led to unorthodox ultra- compact living and in a sense redefining the rules of house
design.27
This ultra compact living also has some interesting social implications.
23
Hiroko Tashiro, “Japan: Micro-Homes in the Big City” Bloomberg Businessweek ( 2007). 24
Hiroko Tashiro, “Japan: Micro-Homes in the Big City. 25
Bull, Small House Tokyo. 3. 26
Ibid. 3. 27
Ibid. 4.
15
As homes become smaller many people compensate by using offices, schools and
parental homes for supplementary storage and study spaces. Added to these are the
city’s resources which become additional social living spaces. Coffee shops can
become living rooms for socialising, public baths provide shower facilities and parks
and playgrounds act as everyone’s back garden.28
Conclusion
This chapter investigated the idea of a compact city as a sustainable form of
settlement for the future and the various benefits associated with it. In particular it
focused on Tokyo in Japan as a compact urban metropolis. The research examined the
necessity and desire for minimum dwelling in Tokyo driven by geography, economy
and changes in social structure. The research also looked at the influence of
overcrowding both past and present and how building regulations and city zoning
laws have shaped city homes in Japanese cities such as Tokyo.
Now that a context has been established for the research question, the second chapter
will focus on the traditional features of Japanese homes and the characteristics
associated from a design perspective. By referring to commonly used native Japanese
building materials and methods of construction, the chapter will focus on the features
related to space and proportion in design as well as the strong link with the natural
environment.
28
Pollock, Modern Japanese House. 15.
16
Chapter Two:
Traditional Japan and the Relationship
between Space, Nature and Human
Presence
17
The second chapter will focus on the question of traditional Japanese design solutions.
Michael Freeman, an expert on Japanese design, suggests that a fundamental concept
in traditional Japanese houses was the relationship between ‘space and human
presence’.29
In his book Space, he illustrates traditional Japanese design concepts and
characterises how these solutions accommodated the needs of the inhabitants of the
house. Freeman also discusses the use of dimensions and scale of established
elements and how these were linked to the proportions of the human body. It is
important to consider Freeman’s work within the context of our study of minimum
and compact living spaces in urban areas. By looking at traditional Japanese design
elements regarding space and proportion, as well as the relationship with nature and
native materials we can assess its value to minimum compact living spaces in the
modern city.
Flexibility using Fusuma and Shoji Screens
Adaptable and flexible interior space has been an integral part of Japanese living for
many centuries. The traditional Japanese house was a one roomed space which was
then partitioned into various sections developing a multi-use interior which could be
adapted for sleeping, eating, entertaining and working. Traditional homes had a
number of important elements. These key characteristics were the dimensioning of
space by human proportions and the interior structural system with flexible and fixed
elements. Fusuma and shoji were types of opaque and translucent movable screens
used to partition the interior and by examining these basic features we can understand
how they lent themselves to the flexible partition of space in the traditional Japanese
home.30
Fusuma were adjustable wooden partitions which divided adjoining rooms, facilitated
by wooden grooved runners along the ground. These sliding screens were usually
lacquered frames with heavy opaque paper which were often painted with traditional
patterns.(Fig.4). They allowed for great functional flexibility within the home.
29
Michael Freeman, Space: Japanese Design Solutions for Compact Living (New York: Universe,
2004), 7. 30
Freeman, Space, 7.
18
Figure 4: Traditional painted Fusuma screens in Ninna-Ji
19
Designed to divide rather than enclose a space, they opened up a great deal of design
possibilities. Generally used as room dividers and cupboard doors they could be
opened back for entertaining or closed up for more intimate occasions, as well as
sleeping or working. Suitable for closet doors and to create a sound and light barrier
between rooms, fusuma screens differed from the shoji screens in that they were made
from thick opaque paper which did not allow the light through.
The shoji screens were a second type of movable wooden screens which were
generally placed along windowed corridors and behind window spaces. Unlike the
fusuma screens, they were designed to allow light through and hence worked like
curtains across a windowed space. These were made from white translucent
handmade paper stretched across a rectangular lattice screen often made from cedar
wood. (Fig.5). The handmade paper known as washi was made from plant fibres from
the inner bark of plants such as mulberry and wisteria.31
While the thin paper allowed
light to penetrate, it also prevented people from seeing in and therefore maintained the
privacy of the home. For the Japanese, lightness was an essential element in
successful compact spaces and the traditional shoji is a classic example of this. The
nature of the material, its structural form and colour as well as the light which
permeates the layered paper, made it an essential element in a Japanese house. Both
traditional fusuma and shoji screens had a lightness and ease of movement which
allowed great spatial freedom. They became mobile walls which allowed the
inhabitants create new worlds as they pleased.
Human Proportion and the Tatami Mat Culture
An essential item which dictated the structural grid of the traditional Japanese home
was the tatami straw mat. This element of interior furniture was more a piece of
flooring rather than a rug or mat. Made from tightly woven ‘blue-green igusa straw,
the mat was solid enough to be load bearing while at the same time sufficiently
resilient for comfort.’32
The tatami mat offered a comfortable living surface for
multi-functional use as a durable floor and a flexible seating area. (Fig.6).
31
Michael Dunn, Inspired Design, Japan’s Traditional Arts (Milan: 5 Continents, 2005), 312-313. 32
Freeman, Space. 6.
20
Figure 5: Traditional tailor’s workshop with shoji screens.
21
Figure 6: Traditional tatami mats in a guest room.
Figure 7: Examples of different layouts for traditional Japanese tatami mats.
22
Although the dimensions of the mat varied over the centuries and there were
distinctions between different regions, they all corresponded to the proportions of the
human body and in general the mat represented the dimensions of a person lying
down. The tatami mat became an important architectural element as the height of the
room, doorways and so on all related to the proportion of the mats. It acted as a unit of
measurement which was relative to the proportion of a person and the final
configuration of the mats also determined the size and shape of the room. (Fig.7).
Nature’s View
Historically Japanese houses had a strong spiritual and physical link with the natural
environment. Their design fell broadly into two broad categories, the house
surrounding the garden and the garden surrounding the house. A garden was seen as a
vital element and was designed and developed to be at one with the house. Traditional
homes also boasted transitional spaces between outside and inside, such as ‘enkan
entry foyers, doma dirt-floored work areas and engawa verandas.’33
These elements
prevented a rigid separation between the interior and exterior spaces and blurred the
dividing lines between the two.
This inter-connection of house and environment was enhanced by the use of movable
walls and large openings within the traditional building framework, in particular on
the south side of the house. Adjustable walls on one side would allow the occupants to
open the house up in the summer to ventilate the space. In addition, fresh air could
circulate beneath the house as they were raised almost a foot above the ground.34
Traditional Japanese homes used the principle of borrowed landscape or scenery
(shakei) to incorporate distant natural features into the view from the house or garden.
Windows and sliding doors or screens would often be used to frame the view of
background scenery. This form of illusion would take advantage of any views of trees
or mountains in the background to extend the perception of the space.35
The shakei
method of quoting the far away landscape was an important technique employed to
bring the outside world into the urban landscape.
33
Pollock, Modern Japanese House. 59. 34
Ibid. 60. 35
Dunn, Inspired Design, 95.
23
The relationship between interior and exterior spaces was a particularly important
element for minimum compact homes and introduced a sense of well-being, light and
atmosphere. As discussed in Chapter One, the combination of zoning laws and
historical factors which led to overcrowding meant that traditional homes with
perimeter gardens were impossible in many towns and cities. Designers needed to
devise new ways to provide a spiritual and physical link to the outdoors. A solution
was the enclosed gardens called the tsuboniwa which were located in small spaces in
the centre of a house or in confined areas between several buildings. A tsuboniwa was
a tiny patch of greenery based on a traditional unit of measurement called a tsubo
which measures approximately 35 square feet or 3 metre squared. (Fig.8). It was
originally designed as a way of drawing hot air out of the home and was accessed
from the house using movable screens such as those previously discussed earlier in
this chapter.36
Unlike courtyards found in other areas, these gardens were merely for
planting of small trees and plants and were not to be used as circulation space. This
type of garden became popular both for practical reasons as well as its aesthetic value.
Courtyard gardens were often essential in the design of space restricted homes and
provided a connection with the outdoors as well as light and fresh air. Limiting space
and ever changing site conditions, in addition to the proximity of ones neighbours
meant that architects used windows cautiously and when they did had to position
them carefully. Many found that interior courtyards were the perfect solution to
escape these conflicts and uncertainties. (Fig.9). As well as providing sunlight and
views of the sky, courtyards acted as visual focal points within the home when
windows may not have been a suitable option. In narrow and high buildings a
courtyard area would have made the entire space feel bigger by providing a vertical
visual link throughout.37
Material World
An understanding of the traditional design solutions highlighted previously would not
be complete without a brief look at the relevant building materials and techniques.
36
Pollock, Modern Japanese House. 60. 37
Ibid. 61.
26
Traditional Japanese buildings were generally constructed using readily available
materials and local building methods. Though it varied from region to region houses
were essentially a wooden post and beam construction, with the frame resting on a
foundation of stones. This type of construction allowed great flexibility in the design
permitting openings at almost any point. The enclosing wall composition had several
variations. Some houses had walls of clay or sometimes clay with a combination of
boiled straw and a sand finish. Others were constructed in wood or alternatively, from
using a lime finish made from oyster shells. Roofs were mainly thatched with grass or
reeds, and were strong enough to act as the primary form of shelter and protection.
Sometimes wood shingles were used but in later years ceramic tiles replaced these
earlier materials.38
Wood was the most fundamental building material in ancient Japan. The country is
rich in forests ranging from grand cedars to sub tropical evergreens. As a readily
available building material to local builders and craftsmen, wood rapidly became the
popular choice for traditional homes. Such variety of wood allowed for different uses
throughout the house, from bamboo for the frame construction to the cedar shoji
screens.39
Bamboo is a type of wood which many instinctively associate with Japan.
As a building material, it has been used for centuries and as illustrated by Michael
Dunn, it would ‘be almost impossible to imagine Japan without bamboo.’40
A
dynamic and sustainable building material, bamboo has a rich cultural background
and has been widely used not only in construction but also for weapons, furniture and
musical instruments to name but a few.
Conclusion
The second chapter focused on the first part of the research question concerning
traditional Japanese design solutions. Relevant features such as the flexibility of
interior space provided by the use of fusuma and shoji as well as the tatami straw mat
have now been identified. Transitional elements between interior and exterior space
and the importance of bringing nature into the home have also been discussed as well
38
Dunn, Inspired Design, 88. 39
Dunn, Inspired Design, 85. 40
Ibid. 123.
27
as the significant use of courtyards to introduce light and air. Finally the chapter
looked briefly at native building materials and methods of construction.
In the third chapter the study will focus on compact solutions for modern living and
examples of contemporary Japanese minimum dwellings. In particular, it will
concentrate on those that have incorporated modern interpretations of traditional
methods and materials by referring to the research completed in previous chapters.
After examining their success the chapter will investigate the influence of Japanese
design in Western society and how characteristics of Japanese architecture have been
popularly adopted by architects in the United States and other Western countries.
28
Chapter Three:
Contemporary Japan and its influence
on Western Society
29
The arrival of the 20th
century in Japan brought with it greater communication and an
influx of ideas and influences from around the world. This had a profound impact on
the development of Japanese design. The most significant consequence of this was the
introduction of new materials, such as reinforced concrete, plastic and steel. At the
same time fresh interpretations of traditional materials were being conceived.41
There
was also renewed interest in the relationship between interior and exterior space as
well as modern applications for movable screens, tatami mats and other traditional
elements.
As previously discussed in Chapter One the micro home or kyosho jutaku has become
the fashionable choice for urban living in recent times. These innovative houses are
situated on small and irregular plots of land and are a good example of contemporary
dwellings in Japanese cities. The development of fresh approaches to modern
Japanese dwellings has freed designers from conventional design rules in terms of
structure, construction methods and use of materials. Tokyo is considered to be the
birthplace of modern Japanese architecture as the disorderly urban environment offers
many diverse design opportunities. Consequently the study will now focus on two
suitable examples of contemporary dwellings in Tokyo; the first, ‘The Plastic House’
illustrates material reinvention and the second, ‘The Engawa House’ responds to the
traditional link between the built and natural environment.
Material; the Essence of Architecture - Case Study One: The Plastic House
The present generation of Japanese architects has embraced the challenge of adapting
old materials to new unique uses, as well as using modern materials to reinterpret
traditional forms. According to the Japanese architect Kengo Kuma ‘Material is the
essence of architecture. It is the material itself that forms the exterior instead of a
thinly applied finish.’42
Here the architect is emphasising the significance of the
choice of material as well as a functional honesty and non-superficial use within the
overall design. This belief is central to his contemporary designs and also echoes the
principle of the ‘true’ use of materials in traditional Japanese design.
41
Michael Freeman, The New Oriental Style (London: Thames & Hudson, 2006), 146. 42
Michiko Rico Nose, Design: Japan.(London: Mitchell Beazley, 2004), 13.
30
There are numerous modern dwellings in Tokyo which demonstrate a reinterpretation
of tradition through the use and exploration of materials. For the purposes of this
study we will look at one such building in detail.
Kengo Kuma‘s Plastic House is an excellent example of a contemporary minimum
dwelling that successfully blends modern technologies with long-standing Japanese
traditions. Located in central Tokyo, the house was designed for a photographer and
his writer mother, and cleverly integrates work, rest and play in a flexible dynamic
space. (Fig.10). Built in 2002, the house displays elements of traditional Japanese
architecture with simplicity and lightness as well as the use of select materials such as
wood, bamboo, paper and earthen straw renders.43
The modern twist comes with the chosen material: FRP or fibreglass reinforced
plastic. The walls are a ‘laminate of FRP sandwiching translucent thermal insulation
sheeting’44
while thin FRP beams are used for the exterior walls and at the back of the
house.45
As a material it is unusual to find it used in construction but here it was
chosen by the architect for its resemblance to bamboo because of its creamy green
colour. (Fig.11). The translucency of the plastic as well as the insulation material in
the centre gives the house a certain softness and lightness. Additionally it also creates
light effects reminiscent of traditional shoji screens by allowing light to permeate the
exterior. Kuma believes that the plastic fibres can be similar to the texture of rice
paper or can be said to resemble bamboo groves.46
The flexible ground floor space acts as a living room, kitchen, dining area and
photographic studio which can also be converted into a tea ceremony room with
tatami mats or a party space if needed. (Fig.12). The bedroom and bathroom are
located on the second floor, while the rooftop acts as a terrace. The basement works
as an independent apartment for the photographer’s mother and similar to traditional
Japanese dwellings, the heaters, storage and other services are cleverly concealed in
alcoves and recesses.47
43
Freeman, The New Oriental Style,201. 44
Ibid. 201. 45
Ibid. 201. 46
Ibid. 202. 47
Nose, Design: Japan. 99.
31
Figure 10: The exterior of the Plastic House in Tokyo designed by Kengo Kuma
32
Figure 11: The thin FRP or fibreglass reinforced plastic beams used for the exterior
walls, were chosen by the architect for it’s resemblance to bamboo.
Figure 12: The flexible ground floor space acts as a living room, kitchen, dining area
and photographic studio.
33
Kuma’s innovative Plastic House, with its unusual use of synthetic plastic yet
unmistakable link with the past, proves that modern materials can be used in a pure
and honest way to express traditional Japanese design principles. The result is an
unique house which satisfies the client’s needs by demonstrating ‘simple rather than
decorative beauty.’48
The Natural Way - Case Study Two: Engawa House
In Chapter Two we examined the relationship between interior and exterior spaces in
a traditional context. It is interesting to note that this is an element which also
manifests itself in many contemporary Japanese dwellings. One such example is the
Engawa House by Tezuka Architects which demonstrates the interconnection of
interior and exterior spaces. Completed in 2003, the house gets its name from the
traditional engawa veranda which was an exterior hallway along the garden side of a
Japanese house and was used to soften the division between outside and inside spaces
to prevent a rigid separation between the two. Thus the name itself hints at this inter
relationship.
Engawa House was built for a young client who needed to adapt the space to
accommodate his growing family as well as his ageing mother. This type of multi
generational living is a typical Japanese phenomenon and one which requires careful
planning to allow privacy as well as shared space.50
Shaped like a rectangular box, the
house is simple in form and clad in vertical strips of timber with a glass façade along
one side. Traditional Japanese elements are incorporated within the interior. The
house is divided by screens, which are shorter than full height to allow ventilation of
the space through the high clerestory windows that line the street façade. (Fig.13). It
is a simple and minimal layout which allows the home to remain a single space. The
house has a distinctly private façade along the street while the open façade on the
opposite side embraces communal living. (Fig.14).
48
Freeman, The New Oriental Style, 201. 50
Yuki Sumner, Naomi Pollock and David Littlefield, New Architecture in Japan. (London: Merrell,
2010).188.
34
Figure 13: The private street façade of the Engawa House.
Figure 14: The open rear façade of the Engawa House.
35
Figure 15: The glazed sliding doors that open the house almost completely to the
small garden.
36
The central core of this design is the small garden that lies between the new house and
the mother’s house. Visually and socially, it links the two families and acts as an
essential third space within the design. The concealed steel beam supports nine large
sliding doors which allow one side to open up almost completely to the garden
space.51
(Fig.15). This again hints at traditional methods of construction but with a
modern material. Engawa house is an ideal blend of old and new with the natural
environment playing a key role in the design.
There are countless interpretations of traditional Japanese design elements and
materials in modern minimum dwellings. The two houses detailed above are merely
examples of how old and new can be successfully blended together through materials,
structure and design principles. We will now look further afield to how Japanese
design has influenced the Western World.
Go West – Japanese Influence on Western Society
With the arrival of the 20th
century came the exchange of ideas and communications
between the Eastern and Western worlds. As previously discussed this had a
significant impact on design in Japan. However it was also important in the
development of the Modern Western world. In contemporary architecture, both
functional and aesthetic Japanese influences became sources of design inspiration.
Kyung J. Lee believes that this influence is mainly apparent ‘in terms of simplicity,
flexibility, modularity and emphasis on the beauty of unaltered natural structures.’54
From our research we know that Lee’s listed elements such as simplicity and
flexibility are core principles of Japanese design. There were many architects and
designers whose works exhibited Japanese influence and who helped to spread the
ideas throughout Western society. For this study we will just very briefly mention two
prominent figures who incorporated this approach to Western design: Frank Lloyd
Wright and Tadao Ando.
51
Ibid. 188. 54
Kyung J.Lee, The Western Adaptation of Shoji: An Eample of Eastern Influence in Contemporary
Design, http://www.dyd.com.ar/biblioteca/selecciona110.html.
37
Frank Lloyd Wright (1867 –1959)
Frank Lloyd Wright, the great American architect, is one of the most celebrated
modern architects who built more than four hundred buildings in his lifetime
including offices, hotels, schools and museums. According to various sources,
including author Neil Levine who completed the first detailed analysis of the
architect's entire career, Frank Lloyd Wright’s fascination with Japan began in the late
1880’s with the collection of ukiyo-e which were Japanese woodblock prints. This
interest developed further with his first visit there in 1905. Although Wright often
credited the Japanese arts as having an influence on his work, it is now also thought
that vernacular Japanese architecture had a significant influence on his approach to
design. With its adaptable interiors of tatami mats and shoji screens as well as the
inter connection between interior and exterior spaces, Wright in a sense found
verification of his own organic design principles in that of the traditional Japanese
buildings.55
Wright later lived for six years part time in Tokyo, during which time he designed
amongst many other buildings, the Imperial Hotel, a building which he considered to
be one of his most significant works. The hotel had a H shaped courtyard plan with a
series of small interior courtyards that allowed access to the backbone of public areas.
Wright’s hotel is said to incorporate many fundamental Japanese design elements
such as his system of sunken, terraced and roof gardens. (Fig.16). The designer
himself had wanted to respect Oriental tradition as well as demonstrating how
Japanese traditions could be reinterpreted with modern construction methods. 56
Karen Severns, a filmmaker and author who along with her husband made a film
about Wright’s life in Japan, has said that ‘Without Japan there may have been no
second golden age for Frank Lloyd Wright.’57
She is referring to the influence of
Japanese design on Wrights later works in America.
55
Karen Severns and Koichi Mori, Magnificent Obsession: Frank Lloyd Wright’s Buildings and
Legacy in Japan, http://magnificent-obsession.org/en/wright_japan_e.html. 56
Neil Levine, The Architecture of Frank Lloyd Wright (London; Princeton University Press, 1997)
116 -120. 57
Severns and Mori, Magnificent Obsession.
38
Figure 16: The exterior of the Imperial Hotel with its many terraces and courtyard
gardens.
39
His Prairie houses exhibited many Japanese elements such as the interdependence of
nature and the home, layout of interior spaces and use of timber frame construction.58
Unquestionably Frank Lloyd Wright can be considered a prominent figure in the
spread of Japanese design. His fascination with Japan led him to incorporate
traditional elements which have since been imitated helping to spread the influence of
Japanese design in Western society.
Tadao Ando (1941 – Present)
The Japanese architect Tadao Ando was greatly influenced by the work of Frank
Lloyd Wright, Louis Kahn and Le Corbusier, as well as the characteristics of
traditional Japanese architecture.59
Primarily self taught, Ando travelled around Japan
and abroad sketching and observing before setting up his own practise in his native
Osaka.60
One of his best known early works was the Azuma or Row House in Sumiyoshi
which was completed in 1976 and has since made him world famous. Built in exposed
concrete with an open courtyard, the small rectangular house became a prototype for
his architecture and was a successful solution to the issue of modern dwelling in an
overcrowded Osaka. The two storey house was built on a very narrow plot of land and
consisted of three rectangular volumes. (Fig.17). Two of these volumes were enclosed
interior living spaces which were separated by a central open courtyard which was a
crucial element of the house’s circulation system. (Fig.18). In the Row House, Ando
wished to ‘introduce nature into the simple geometric form and to endow the spaces
with complexity through changes in light.’61
(Fig.19). This novel approach advocated
a co-existence with nature and was to become a characteristic of his architecture.
Ando’s method drew inspiration from the traditional Japanese principles of
incorporating the natural environment as well as natural light.
58
Daniel Treiber, Frank Lloyd Wright (Switzerland; Birkhauser Architecture, 2008) 134. 59
Mirko Zandini, Tadao Ando Architectural Monographs, No. 14.(London; St Martins Press, 1990) 6-
9. 60
Ibid. 6-9. 61
Ibid. 8.
40
Figure 17: The Azuma Row house in Osaka, situated on a very narrow strip of land.
41
Figure 18: The open central courtyard of the Azuma House.
42
Figure 19: The open air bridge and outdoor steps in the Azuma House.
It was through Ando’s innovative approach to modern buildings that the rest of the
world began to appreciate the immense potential traditional Japanese principles had
for contemporary design. Ando’s architecture has a strong universal appeal and his
insightful incorporation of nature and light in concrete buildings has had a massive
impact on Western design in urban centres.62
Conclusion
This chapter investigated the development of contemporary Japanese dwellings with
reference to traditional materials and principles. By giving two strong examples it
illustrated how the merging of old and new techniques could be extremely successful.
The second half of the chapter focused on the Western picture and discussed the
growth of Japanese influence abroad with particular reference to two key figures,
Frank Lloyd Wright and Tadao Ando. It illustrated how their works may have
influenced contemporary designers and helped to spread Japanese design principles
worldwide.
Now that we have identified emerging trends in contemporary Japan as well as
investigating the influence of their design principles worldwide, we will now look at
the Irish design scene. The final chapter will focus on the Ballagh house in Dublin’s
inner city which illustrates Western adaptations of Japanese influences. Displaying
many of the characteristics of traditional Japanese dwellings, this case study will give
us a relevant context for this thesis in contemporary Ireland.
62
Ibid.10. 64
Shane O’Toole, Tadao Ando: Creating Dreams, Dublin http://archiseek.com/2007/tadao-ando-
creating-dreams-dublin/.
43
Chapter Four:
Ireland’s Own – The Ballagh House
44
The influence of Japanese design can be seen throughout the Western World and
Ireland is no exception. Considering the work of international architects previously
mentioned in this chapter it certainly has made a lasting impression on Irish
architecture and design. One can see references to Japanese principles in many
contemporary dwellings throughout the country. An excellent example of such a
building is the home of the Irish artist Robert Ballagh which according to many
including architectural writer Shane O’Toole, was influenced by Tadao Ando’s Row
House in Sumiyoshi.64
Located in Dublin’s Broadstone, the award winning project
was completed by Boyd Cody architects in 2002 and is a perfect example of the
adaptation of Japanese principles in a contemporary Irish setting.
Three is a magic number
Over the years, Robert Ballagh and his wife Betty had come into ownership of No’s 3,
4 and 5 Temple Cottages along a row of period terrace houses in Dublin 7. Their
vision was to knock the adjoining three houses into one creating the perfect home for
their retirement. According to architect Dermot Boyd this set a very exciting
challenge, one which was not restrictive but open to design and interpretation.65
The
architects identified the distinct nature of the three houses and wished to keep the
memory of each within the overall plan. They kept as much of the original structure as
possible and followed the natural proportion of the three houses by dividing the new
house into six parts. The only room to break from this structural grid was the living
room which occupies the ground floor of two of the houses. (Fig.20). As requested by
the owner Robert, the existing façade and the rear wall were retained, while the
central part was reinvented in a ‘very modern language.’66
It was the desire of both
the architects and the client that the new contemporary addition complemented and
followed the natural proportion of the old existing structure. (Fig.21).
65
Dermot Boyd, Interview by author, Dublin, November 23, 2001 66
Ibid.
46
Spatial Layout
The design of the Ballagh house was divided into six pieces which relate differently to
each other both in plan and in section. This ‘spatial matrix’ which divided the house
like a puzzle was what drove it as a concept according to architect Dermot Boyd.69
Allowing the interconnection of space and the discovery of different architectural
volumes is a known characteristic of Japanese houses. A desire to see through to one
space while inhabiting another was an important element for the architects who
wanted the small house to work like a ‘magic box’ with a sense of spatial
exploration.70
A more obvious reference to Japanese architecture and the inter-relationship between
interior and exterior spaces was the courtyard. As discussed in Chapter Two the
courtyard was a key element in the traditional Japanese house which provided a
connection with the outdoors as well as light and fresh air. The original idea of a
courtyard came from Robert’s initial sketches for the house and was inspired by
Japanese architecture as well as old Roman houses and Spanish architecture. Robert
himself ‘hates ostentation’ and wanted to include a concealed garden where the front
doors open onto a hidden oasis. The courtyard was placed at the centre of the back
wall and the living spaces grew into a U shape around it.71
Inspired by traditional
Japanese design principles, the courtyard and terrace were ‘a means of opening up the
house to the natural environment.’72
The glazed sliding screens blurred the dividing
lines between outside and inside and allowed interconnections from both a visual and
spatial point of view. The courtyard also allowed the living spaces to be ventilated
naturally. Although not seen as an area to be heavily used it did provide circulation
space and grew into a rich interior garden once the Ballaghs made it their own.
(Fig.22).
Natural light is another central element to the Boyd Cody design philosophy and is a
critical component in every one of their designs. In the Ballagh house, the addition of
69
Boyd, Interview by author, Dublin. 70
Ibid. 71
Robert Ballagh, Interview by author, Dublin, December 15, 2001. 72
Ibid.
47
expansive glazing allowed as much light in as possible. The courtyard opened up the
central space and drew the light into the house where the rooms were positioned to
make the best use of natural light. The main bedroom was designed to welcome the
morning sun while the evening sun filtered though to the study downstairs.
Meanwhile the west-facing terrace above was a sun trap ideal for a morning coffee.
(Fig.23). The use of a large acid etched glass panel at the rear also catches the sun
rising over the top of the house and acts as a great mirror reflecting light back into the
courtyard. This surprising effect was not predicted but was a pleasant outcome for
both the architects and the client.73
The original front doors of Number 4 and Number
5 act as shutters with glazed doors placed behind them. These acid etched screens
resemble traditional shoji and allow the light to filter through when the wooden doors
are opened.74
Material Simplicity
A great love of simple materials is a common link between Boyd Cody architects and
the traditional Japanese design philosophy. For the Ballagh house the architects chose
materials which were readily available and complimented the existing house yet
reinvented it in a modern way. Selecting from a limited palette of materials, the idea
was to play down the use of materials and in a sense bring it ‘back to minimalism’.75
The entrance hall was lined in plywood and is essentially a wooden box, similar to a
Japanese box puzzle which then leads into the fluid living spaces with connecting
views and openings. (Fig.24).
Concrete, glass and iroko wood are found throughout the house and also illustrate the
multi-functional uses of the architects choice of materials. A concrete bench, for
example, runs along the back wall to form the kitchen worktop before becoming a
series of steps in the courtyard and finally a desk in the studio. According to Boyd,
this came from an idea that something could grow out of the floor and has been
compared to the Loch Ness Monster on occasion. Here the concrete provides a strong
visual link between the different areas.
73
Boyd, Interview by author, Dublin. 74
Ballagh, Interview by author, Dublin. 75
Boyd, Interview by author, Dublin.
48
Figure 22: View of the interior courtyard garden.
49
Figure 23: Photo taken from the terrace shows the glazed master bedroom as well as
the acid etched glass panel to the right of the photo.
50
Figure 24: Photo of the plywood entrance hall.
51
Figure 25: View from the studio into the courtyard and kitchen showing the use of
concrete in the three spaces.
52
By allowing surfaces to run through glazing it reads as one continuous space
throughout, creating a powerful spatial dialogue. The use of concrete for the different
elements allows both visual and spatial inter-connection throughout. (Fig.25).
‘Detail defines Space’
The attention to detail is critical in the Ballagh House, both from the point of view of
Robert as an artist and the architects who are self confessed fanatics when it comes to
detail. As Dermot Boyd emphasised, detail is ‘never an additional thing, always a
reduction thing.’77
This reference to the minimalistic style of the house as well as a
true use of materials and simplicity of constructional finishes reminds us of the honest
and unaltered natural beauty of traditional and contemporary Japanese dwellings. For
Robert, this attention to detail was ‘incredibly important yet so hard to achieve’.78
The
finishing of elements such as the shadow gap beneath the walls was crucial for both
the client and the architects. This detail eliminated the need for skirting boards and
created the appearance of a hovering wall. Just as in the minimalist dwellings of
traditional Japan, minor details such as these were of the utmost importance.
Conclusion
This chapter focused on the Irish architectural scene and identified a contemporary
Dublin dwelling which exhibits many characteristics of the Japanese design
principles. A clear relationship between interior and exterior spaces and simplicity of
materials are just some of the elements which link Temple Cottages to the Japanese
style. Whether these were mindfully or subconsciously chosen, the Ballagh House is a
clear example of Western adaptations of Japanese influences, right on our own
doorstep.
77
Boyd, Interview by author, Dublin. 78
Ballagh, Interview by author, Dublin.
53
Conclusion
54
As global population swells, the number of people living in urban areas is set to
increase dramatically. With the world’s largest urban areas already experiencing
staggering growth, this poses an exciting challenge for designers and architects to
achieve more with less space.79
Clever solutions are increasingly necessary to
maintain human health and environmental quality, as well as social and economic
stability. This research investigated the idea of a compact city as a suitable model for
sustainable living in an increasingly populated world. The Japanese city of Tokyo is
one of the world’s largest urban areas and is a prime example of a compact urban
metropolis. We have gained a greater insight into this concept by looking in greater
depth at the city of Tokyo and the art of living compactly. Having examined the
historical and economic reasons for the development of Tokyo, it is clear that many
cities around the world are in similar states of growth. Hence, this urban Japanese
example established a background for the thesis and gave focus to our research.
With a clearer understanding of the backdrop to Tokyo and the characteristics of the
city, my research moved to the novel ideas and solutions the Japanese found to
maximise the livability of their necessarily small homes.Through the study and
analysis of traditional Japanese housing design we identified common characteristics
such as shoji and fusuma screens, tatami mats as well as the strong link between space
and human scale. This helped to identify the layout of traditional homes as well as
discovering the tools for adaptable homes which have influenced the contemporary
design scene. We also investigated the strong connection between interior and exterior
spaces and the significant role that nature plays in native Japanese homes. Garden
spaces such as courtyards and tsuboniwa were important elements for introducing the
outdoor world into traditional Japanese dwellings. Along with this was the idea of
shakei which was borrowed landscape or scenery. The combinations of the above
elements ensure that nature remains firmly rooted at the heart of the Japanese
philosophy.
The analysis of native Japanese traditions and principles established a strong starting
point from which we could appreciate how the ideas of minimum dwelling evolved to
those we see in modern day Japan. We focused in particular on fresh adaptations of
79
Gary Hustwit, ‘Urbanized’, http://urbanizedfilm.com/about/. Accessed 4th
January 2012.
55
the traditional principles and elements with specific reference to two dwellings in
contemporary Tokyo. The first example, ‘The Plastic House’ examined the
reinterpretation of materials and demonstrated how a modern material such as plastic
could link the traditional principles with the contemporary design world. The second
example, ‘The Engawa House’ focused on nature’s influence and the relationship
between interior and exterior spaces while accommodating the modern family unit.
These compelling case studies are clear evidence that traditional Japanese design
solutions can be successfully applied to the modern minimum dwelling. They also
illustrate that there are many different ways to link the past and present. Evidently,
traditional Japanese design solutions can be successfully applied to the modern
minimum dwelling, and past and present can coexist in a complementary way.
The influence of Japanese design on Western society was an important element of this
research as it attempted to ascertain if Japanese principles have worldwide
application. We focused on two key figures responsible for this development; the
internationally renowned architects, Frank Lloyd Wright and Tadao Ando. Frank
Lloyd Wright was an extremely influential architect worldwide so it was particularly
relevant to acknowledge the Japanese elements in his work, most noticeably the
Imperial Hotel in Japan. The Japanese architect Tadao Ando is a key figure in
demonstrating the potential of traditional Japanese principles in contemporary design.
His Azuma Row house was the main focus for this research as it exhibits many of the
Japanese characteristics already discussed and is a primary example of a compact
urban dwelling. The works of the above architects and the future architects they
influenced serve to illustrate the widespread success of these Japanese principles.
The research concludes by focusing on the Irish design world with a case study of a
modern minimum dwelling in Dublin’s Broadstone. This award winning
contemporary dwelling was designed by Boyd Cody architects and is said to have
been influenced by Ando’s Row House. On visiting the house, the influence of
Japanese principles was evident throughout. One of the most obvious features was the
inclusion of natural light, where even on a dull winter’s day the house was filled with
warm light as the winter sun filtered through the central courtyard. The Ballagh house
is minimalist yet homely with the attention to detail clearly evident throughout.
56
Both the courtyard and terrace have become outdoor living spaces which open up the
house in the summer time. According to the owner, Robert Ballagh, it is a ‘pleasant,
comfortable house to live in.’80
In my opinion, the Ballagh house is a perfect example
of the adaptation of Japanese principles in an Irish setting with features such as a
central courtyard, inter-connection of interior and exterior spaces and a simplicity of
materials.
In conclusion this study has examined traditional Japanese design principles and has
analysed their use in a modern context. The analysis of all facets clearly illustrates
that through re-interpretation and adaptation, traditional solutions can have relevance
in a contemporary setting. By using case studies both in Japan and in Ireland, I feel
the thesis has answered the research question – Traditional Japanese design solutions
can be successfully adapted to the modern minimum dwelling. In the words of
architect Dermot Boyd ‘we have to reinvent the Irish city and take it very seriously.’81
The research presented in this thesis confirms that these native Japanese principles
can be successfully applied to contemporary city dwellings and may hold lessons for
the future of urban living both in Ireland and worldwide.
80
Ballagh, Interview by author, Dublin. 81
Boyd, Interview by author, Dublin.
57
Appendices
58
Appendix A
59
Interview One: Ballagh House, Temple Cottages, Dublin
Dermot Boyd – Boyd and Cody Architects, 36 College Green, Dublin 2
Wednesday 23rd
November 2011
1. What was your initial reaction to the project and to the very specific site?
I was very excited by it. There were a number of points. Firstly, the clients Robert
Ballagh and his wife Betty, who unfortunately has just passed away, were really
interesting people. Also I was aware of Robert Ballagh’s work and the interest he
had in architecture. Robert himself also had architectural training for about 2 years
before he left architecture school. Then I’d been brought up to the house to have a
look and realized what the challenge was. The first house at Temple Cottages was
originally Betty’s where she grew up while the second they had bought I think in
the 1970’s when they had a family. And then it was through Robert’s work for
Riverdance that they could afford to eventually buy the third one. By buying the
third one, their view was to knock the project into one and make a dwelling for
themselves and for their retirement. So it was an exciting challenge in that way,
which can be one of the best projects.
2. Did you feel the spatial restrictions were a problem or a design opportunity?
Would you have preferred more freedom?
I think you will always have restrictions but everything is open to design and open
to interpretation. What is interesting also is the client’s ambition for the project
and can you give them that desire they have. So sometimes clients are realistic and
then sometimes clients aren’t so realistic in terms of what their needs are and what
space they have. In some ways that’s where you have to sort of temper the design.
For me the design stance is beyond the client and in some ways beyond the
architect, driven by context and site conditions. So no I didn’t see it as restrictive.
There were some complications with it, for example the retaining wall at the rear
of the site which created some difficulties but nothing too untoward.
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3. The house has been described as “ultra minimalist”. Would you agree or how
would you describe the style of the house?
I don’t have a problem with the term ‘minimalism”. However it has become
stylistic, it’s a way of determining style rather than determining intention. So I
would say the house is minimalist on some level as it uses that language. ‘Ultra
minimalist’, for me probably not, it could be more minimalist!
Also there was an issue with Robert; I suppose being an artist and then
understanding the kind of spaces we made and the kind of spaces that he liked
which were finely detailed and simple. Let’s say spatially I couldn’t describe it as
minimalism as it is quite complex, but in terms of its finish, yes. For example the
bright orange kitchen we put in could be considered a play on the minimalist
language. Also the relationship between outside and inside which goes back to
Japanese architecture is a minimalist idea.
4. The original terrace exterior of the house was retained. Was it difficult to
keep the proportion of the interior space relevant to the shell of the houses?
We saw it as being three distinct houses and wanted to maintain that. What was
important for us was that the memory of each house existed within the plan. The
only room to break that was the main living room which took up two ground
floors of two houses. So you enter into Number 3 which you could describe as
being the service part of the building and then you move into Number 4 which at
ground floor is really just part of the living room and dining room and then an
open courtyard. When you start to look at it you’ll see it is made up of six pieces.
And then these six pieces start to relate to each other differently in plan and
differently in section. At the rear of Number 3 we placed the studio, for Betty
primarily, a courtyard to the centre and then the kitchen. And then on the floor
above that we put in a west facing terrace, a void over the courtyard and then
Betty and Robert’s master bedroom which looked east. If you look at the plan, the
back rear wall of the house was retained as well. Essentially the front of the
existing houses we kept and the back we reinvented in a very modern language.
But that really gets back to the point about what the client’s ambition is.
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You know, they want a living room of a certain size, for the modern day house
and you say we can do that but we will be knocking the middle wall to do this.
You have to be quite ambitious about what you can achieve.
5. It has been said that the “rooms layer and look through to one another,
rather like a Japanese box puzzle”. Was the fluidity of space important in the
design? Did you want to have connecting views between each space?
Yes, absolutely. If you are working, as we were, with very small houses what we
like is that it becomes like a magic box. You know, the sense that they all inter-
relate and you only see space through space for example from the voids to the
higher terraces and the courtyard through to the kitchen and living room. Yes all
these inter-relationships are important. For me it is an exploration of architectural
space where there may be glazing between it but you can see through the space
and in some ways you can also imagine the space beyond. These inter-connections
were really important.
6. There is a strong focus on incorporating natural light in the design. Was this
a very important element in the initial concept? Do you feel that it has been
successful in its application?
Light for us is absolutely critical to every design, especially living in a country
where convenience of light is limited. I enjoy sunshine; I enjoy light and being in
rooms where I don’t have to switch on artificial lighting. When you look at the
existing house, we didn’t want to change hugely the proportion of that. So if you
look at the façade you find that most of the original windows are retained. The
existing house is dealt with in quite a traditional way where there’s a difference
between solid and void. The addition at the rear is very much about void and
large sheets of glass and getting as much light in as possible. It was very
important to us that natural light would come in. What was interesting and which
we didn’t really predict was the effect of the large glazed acid-etched panel at the
rear which opens onto a set of flats behind. Once the sun came over the top of the
house it actually hit the glazed panel and reflected down into the space.
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That was something we hadn’t really anticipated where it acted in some ways like
a large mirror when the light poured in and bounced back into the courtyard. We
were quite pleased with that. There are always things in architecture and design
that you cannot predict and that was one that worked out well. What we were
interested in doing with the glazing was maintaining privacy for the Ballagh’s
from the flats at the back so that they weren’t being overlooked.
7. Were there any worries about privacy or excessive glare?
No. We always integrate blinds into the house. We have never had clients
complaining about glare. One thing we are also quite keen on is cross ventilation.
What was interesting about this house was at the front of the house the Ballagh’s
always used to sit out on the front step. So what we wanted to do with the living
room was to allow the two existing doors that were there to open back against the
wall to reveal two windows behind that were acid etched and glazed. This
allowed the south light to pour into the room and cross ventilation through to the
courtyard. Unfortunately these doors are never really opened or used by the
Ballaghs.
8. Robert Ballagh has said “Instead, on a normal street someone might leave a
door open and, passing by, you would have a glimpse into a magnificent
courtyard. The oasis is on the inside. It turns the whole thing around,” he says.
“It’s the Japanese way.” How important was the concept of a courtyard?
Was the location of the courtyard an important consideration?
Yes I think for us the courtyard was primarily a technique used so that we could
illuminate both the kitchen and the studio and also ventilate them naturally. So
then the courtyard became a space which you could step into from the living
room. I don’t think we ever saw the space as being heavily used. We saw the
terrace above the studio as somewhere they would use and they did get chairs and
sit out for their morning coffee. What Robert is talking about, and what is actually
true, is when the Ballaghs got it they made the courtyard a sort of inward garden.
It became more lush with plants, and so on, as they took it over and made it their
own.
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In Asian architecture obviously that’s very important, where insular spaces break
up the plan and various spaces start to be revealed. I couldn’t say it was the central
core of the design. Probably the spatial matrix, the six parts like a puzzle was what
drove it as a concept rather than saying that the courtyard was the beginning and
end of the project. In terms of location, if you think about the six pieces and you
pull the central one out it allows the other two to be lit and ventilated and so on.
Also there was that visual connection across the living spaces.
9. Japanese houses had a strong spiritual and physical link with the natural
environment. Was the courtyard a way of connecting interior and exterior
spaces?
Yes. If you look at the drawings you’ll see the surface runs through. We had a
granite flag on the floor which ran from the courtyard into the studio and into the
kitchen where the worktop is constructed from it like a Loch Ness monster which
weaves through. So you can see in a way that the space can also read as one space.
You could say it’s like the back yards of the houses, a continuous surface that runs
through. What we like is that you start with a very strong idea like the central
courtyard, and then by allowing surfaces to run through glass and so on things
become connected both visually and spatially.
10. It has been said that you have a great love of materials. What influenced your
choice of materials for the Ballagh house? Why was wood used throughout?
Yes we do have a love of materials. I suppose the key thing for us and something
that we’ve been discussing recently is that we work with materials that are readily
available to us. For this house it was about bringing it back to a version of what it
was in itself. In a way it was a simple house, brick faced, plaster walls inside and
originally timber floors and stone floors. We wanted to use materials that
compliment that but maybe reinvent it for the modern age. We also use a
restricted palette of materials. We’re not interested in constantly adding materials
through. It’s always about playing down the use of materials so in that way back
to minimalism I suppose. For example there’s an iroko floor and then beside it an
iroko door.
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In that house we wanted to make a hall that was different, as before you used to
enter the house straight into the Ballagh’s living room. So we decided to make a
plywood box hall. What was nice for us was that you could make a kind of
container that you walk into and that was your front hall and then that container
opened up. So you came into this room where you didn’t quite know where the
door was and then there would be a door into the living room and a door which
led to Betty’s studio. So yes materials are very important to us. We quite like
materials that will do a number of things, for example brick can be a floor or form
a wall.
11. Was the use of concrete significant in creating a visual connection between
the spaces? “A concrete bench that moves across the back wall to form a
worktop in the kitchen, the steps to the courtyard and a desk in the studio.”
Why was concrete the chosen material?
The concrete came from the idea of something that grew out of the floor. It was
the desk for the studio, then a series of steps in the courtyard and finally the
kitchen worktop. So we enjoyed the fact that this material as concrete could do all
of these functions and in a way became one element that ran through.
12. I have read that you are “detail obsessives”! How important was the
attention to detail in the overall design? Is it more relevant in houses where
space is restricted?
Yes this was extremely important. We are probably detail obsessives. It comes as
well from working at a particular scale. Detail defines space. For me, an
understanding of what detail means and a demonstration of how something is
constructed is critical. If you think of Modernism ornament is detail. In terms of
that minimalist language what we start to do is reduce detail. It’s never an
additional thing; it’s always a reduction thing. For example, a shadow gap is
removal of an architrave or removal of a skirting board so you deal with it in a
different way. Also I think that in a lot of architectural schools and design schools,
people have lost the art of detailing and forget how important that is. These
decisions become critical when on site.
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13. Hidden storage in invisible spaces and sliding panels in walls is typical of
compact Japanese dwellings. How was the issue of storage dealt with in this
design? Was it important for you that the space was clean cut and
uncluttered?
Yes I suppose that was a trick that I learnt when I worked with John Pawson many
years ago. I enjoy the theory, as Louis Kahn says, of “served and servant spaces”
where if you possibly could have it you would have a room for a dressing room.
In the Ballagh’s we had enough room to put in a walk-in wardrobe. Primarily
when we do houses we build in all of the wardrobes. We would never be in a
situation where we haven’t built in enough storage space. So this for us is critical
in understanding that people have stuff. If you have somewhere to put the stuff
away the house looks neat. If you haven’t what do you do with it? For me, you
have to have a place where you can tidy stuff away. Living in a world without
chaos and also living in a house without chaos. It comes back to the sense of
Japanese Buddhism and a sense of peace and contemplation. It also represents
their culture and a particular idea of restraint as being a good thing and modesty as
being a good thing; a richness through modesty.
14. Did you want each space to have a specific use or was there a sense of
flexibility or adaptability in the overall design?
No. For this house we didn’t have enough room for that idea of universal space to
happen. This house was obviously bespoke in that it was built just for them. The
Ballagh’s were interested in having a house for their retirement and then that their
children could visit them. So there are two good sized guestrooms, the master
bedroom and bathroom, and then on the ground floor there is the cloakroom,
studio, living room and kitchen. So in the end of it all the house is not hugely full
of rooms. It was quite limited in what we could do.
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15. Do you feel that Japanese design has influenced contemporary Irish
buildings?
Yes I do. I’m interested in Japanese design. I think, in a way, there is a difference
between what is going on in the contemporary world of Japanese design and when
Japanese design changed the shape of modernism. I think, for me certainly,
Japanese design came through things like printmaking in the nineteenth century
which started opening up Japan as a place of cultural interest. Then you move into
architecture where I think Frank Lloyd Wright’s interest in Japanese architecture
was very important in terms of shifting western sensibility about rooms. He spoke
about ‘the destruction of the box’ where the box started to overlap and the rooms
started to overlap and then you started to explore the spaces in between and the
spaces that have eroded. Frank Lloyd Wright published all his works in 1918 and
then this was sent to Germany where Mies and various other architects picked up
this kind of new style which was very Japanese. Frank Lloyd Wright was
interested primarily in finding a new language, a new sense of style. So that led to
the idea that a space would be continuous in a way that room would link into room
and that you’re not designing one space after the other. And that is what interests
me about Japanese architecture. If you look at architects like Kazuyo Sejima, who
are around now, you can pick that up in their work. For example a building is
designed as one space which is divided through glazing and courtyards and the
like. I find it interesting how Western architecture, by adopting Japanese
architecture started to reinvent or reinvigorate itself. In a way they took
touchstones from the east and fed this into the International style. At the same
time Japanese architecture was being westernized by architects such as Tadao
Ando.
16. Do you think that we can learn from their design principals? Materials,
Light, Storage solutions, Relationship between interior and exterior etc.
Yes I think we can definitely learn from them. At the moment I am particularly
interested in their investigation of new materials. The sense of technology, say for
instance Toyo Ito’s work with Sendai Mediatheque and so on. I find their
experimentation with technology very interesting.
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17. It has been said that urban Japan holds many lessons about urban high
density living. Do you think that more people in Ireland are living in urban
areas and that housing design will need to adapt as a result?
Personally I’m very interested in urbanism of the city. I think we have to reinvent
the Irish city on many levels. For example, how we make public space, how we
develop infrastructure, how we make sure the transport links allow us to get to the
city. Even in a sense of how we tackle dereliction and issues like that at an urban
scale. For me the image of Japan is one big urban sprawl. Having never been there
myself, I can see the Japanese housing as being much smaller but maybe not
dense enough. The city centre is extremely dense and then you hit this low level
housing that seems to go on for miles and that worries me. I think we have to learn
to become city dwellers. I think that is a generational thing and for the next
generation it’ll be easier again. I feel inherently we are a rural nation and we are
living the rural life with a house and a garden and so on. So yes I do think we have
to reinvent the Irish city and take it very seriously. Actually we need to be quite
radical about it and I don’t think we are ever radical enough.
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Appendix B
69
Interview Two: Ballagh House, Temple Cottages, Dublin
Robert Ballagh - 3 Temple Cottages, Dublin 7.
Wednesday 14th
December 2011
1. What was your vision for the house?
We had been living in Number 3, Temple Cottages since the nineteen sixties. It
had been Betty’s family home. Then when we got the chance we bought house
Number 4. We decided to do the conversion ourselves and by digging a hole
through the centre wall, we joined the two houses. When the opportunity arose we
also bought Number 5 and realized we couldn’t burrow through this time but
needed to do it properly and hire architects. We approached McCullough Mulvin
Architects who were too busy at the time so they recommended Dermot Boyd and
Peter Cody instead. We wanted a central courtyard in the house and I had drawn
up plans of this prior to meeting the architects. Our intention was to create more
space and bring light into the house.
2. The original terrace exterior of the house was retained. Was it important to
you that the original character was kept?
It was very important to us that the front of the house would stay the same. The
original front doors are still there with Number 3 used as the current front door
while the other two act as shutters with glazed doors placed behind them. The
original windows also remain the same.
3. The house has been described as “ultra minimalist”. Would you agree or how
would you describe the style of the house?
I suppose the house could be described as minimalist. The clean lines of the
structure have that language. I wouldn’t say it is ultra minimalist though as this
implies there is something inhuman about it. It is a much lived in space. We have
added our own touches with a mix of furniture such as the Le Corbusier dining
table and Mies chairs.
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4. It has been said that the “rooms layer and look through to one another, rather
like a Japanese box puzzle”. Did you want to have connecting views between
each space?
Yes we wanted connecting views between the different rooms. The courtyard links
the surrounding spaces and also has glazed sliding doors that allow the spaces to
open up. In a sense the living spaces grew around the courtyard. The Japanese
puzzle could refer to the plywood entrance hall which is a closed wooden box with
seemingly hidden doors opening into the living room and into the hall beside the
study.
5. There is a strong focus on incorporating natural light in the design. Was this a
very important element for you as an artist? Do you feel that it has been
successful in its application?
Yes it was very important to us that the new house would be bright and airy. The
courtyard was a way of opening up the house and drawing the light down so that it
would flood into the enclosed spaces. The rooms were positioned to make the best
use of natural light. The main bedroom is glazed along the east-facing side which
allows the morning sun to enter and fill the room. The roller blind can be used to
control the sun and also protects privacy. The study on the ground floor makes use
of the evening sun while the west facing terrace above it also attracts plenty of
sunshine.
6. You have been quoted as saying “Instead, on a street in an old part of an
Andalucian town someone might leave a door open and, passing by, you would
have a glimpse into a magnificent courtyard. The oasis is on the inside. It turns
the whole thing around.” How important was the concept of a courtyard for
you?
The vision for the new house started with the concept of a central courtyard.
However this turned out to be quite wasteful with a small narrow space behind and
to the front. So we decided to move the courtyard to the back wall and the house
formed a u-shape around it.
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We were inspired by the Moors when we visited Spain and North Africa. The idea
that the front door opens into a hidden space really intrigued us. I hate ostentation.
Huge Irish mansions in the countryside that exhibit wealth just don’t appeal to me.
It’s the Japanese way of turning it all around, for example traditional Japanese
houses are always plain on the outside. Also in Roman times houses were always
built around courtyards.
7. Japanese houses had a strong spiritual and physical link with the natural
environment. Do you feel your house captures this element?
The courtyard and terrace were a means of opening up the house to the natural
environment. The sliding screens leading into the courtyard act as an intermediate
between outside and inside. We have added plants and so on since we moved in.
For example the cast head sculpture in the courtyard is a replica of one of the
riverine heads found on the Custom House. It represents the River Lee in Cork and
is one of the fourteen keystones found on the façade.
8. It has been said that Boyd Cody architects have a great love of materials. Do
you like how wood and concrete are the main materials used throughout?
We were happy with the choice of materials and how they blended with the
original features. There was one thing we did change however. The courtyard
walls were originally grey plaster, a finish which matched the concrete steps and
stone floor. We found it dull and felt it wasn’t achieving what we wanted. It has
since been painted white which has made the space much brighter as the sun
reflects off the white walls and into the living spaces.
9. Glass is used throughout the house. Are there any issues with privacy or
excessive glare?
I must admit I was astonished at how successful the glass turned out to be. We
used double glazed units throughout and they really do work.
72
There are roller blinds throughout the house which prevent glare and also maintain
privacy especially for the master bedroom. We also put frosted film on the
bathroom door to ensure privacy from the flats behind.
10. How important was the attention to detail in the overall design? Is it more
relevant to you as an artist?
I think detail is incredibly important and so hard to achieve. I find that virtually no
builders in Ireland specialize in detailing which means that the finish is often less
than perfect. For example the shadow gap we used instead of skirting boards isn’t
as neatly finished in some parts as I would have hoped. I studied architecture for a
number of years and also spent some time working as a draftsman where the work
was incredibly detailed. Also as an artist, detail is very important in my work. It
may take longer but it is worth it in the end.
11. Is there anything which you would do differently?
We were really happy with how the house turned out. It is a pleasant, comfortable
house to live in. The only thing I might change would be the kitchen cupboards as
they’re placed quite high making it hard to reach things!
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Bibliography
74
Interviews
Boyd, Dermot, Interview by author, Tape Recording, Dublin, November 23, 2001
Ballagh, Robert, Interview by author, Dublin, December 15, 2001
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Freeman, Michael. The New Oriental Style. London: Thames & Hudson, 2006
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Pollock, Naomi. Modern Japanese House. London: Phaidon, 2005
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Zandini, Mirko, Tadao Ando Architectural Monographs, No. 14. London; St Martins
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