Meiji, Taisse, and Seva of the Early Periods
Architectural project: Mount Fuji Architects Studio
Location: Tokyo, Japan
Plot area: 162.69 sq.m.
Building area: 78.76 sq.m.
Total area: 80.45 sq.m.
Year Built: 2009
This house was built for several months in a residential area in the northern part of Tokyo, on a gentle hill. Located at the top, with a narrow path leading to the house, the house is a prime example of the original Japanese approach to construction, architecture and design. Japanese architects managed to distinguish the house from the gray urban surroundings and expand the building, moreover, vertically, not horizontally. The approach to the house and he himself seems to be spinning upward in a spiral.
Japanese architect KAZUYA SAITO 
and his creation “Shimouma House” in Tokyo.
Here it is minimalism in architecture in all its glory, the house is an absolutely regular parallelepiped with a single cutout near the entrance. There is a terrace on the top, a balcony on the second floor. Everything is very compact and functional - see the enclosed building sections.
Japanese architecture
From Wikipedia, the free encyclopedia
Japanese architecture ( , Nihon kenchiku ? ) originated in prehistoric times from simple pit houses and shops that were adapted to the needs. Influence from the Han Dynasty China and Korea witnessed the emergence of more elaborate grain shops and ceremonial tombs.
Second, it was then that Japan went through a period of intense Westernization in order to compete with other developed countries. Originally architects and styles from overseas were imported to Japan, but gradually the country taught its architects and began to express their style. Returning architects from research with Western architects introduced the International Modernism style in Japan. However, it was not until after World War II that Japanese architects made an impression on the international stage, primarily with the work of architects like Kenzo Tange and later with theoretical movements such as Metabolism.
Prehistoric period
The prehistoric period includes the Jomon, Yayoi and Kofun periods, stretching from around 5000 BC to about 5,000 BC. before the beginning of the eighth century AD.
During the three phases of the Jomon period, the population was mainly with some primitive farming skills and their behavior was mainly determined by changing climatic conditions and other natural stimulants. Early dwellings were dugouts, consisting of shallow pits with tamped floors of earth and grass roofs, designed to collect rainwater by storing cans. Later in the same period, colder climates with more rainfall led to a decrease in population, which fostered interest in the ritual. Concentric stone circles first appeared around this time.
During the Yayoi period, the Japanese began to interact with the Chinese Han Dynasty, whose knowledge and technical skills began to influence them. The Japanese began to build raised floors like granary warehouses, which were built using metal tools such as saws and chisels that began to appear around this time. Reconstructed in Toro, Shizuoka is a wooden box made of thick planks entered in the corners of a log house style and is supported in eight directions. Thatched roof, but, unlike the usually hipped pit dwelling, it is simply a V-shaped pediment.
The Kofun period is marked by the appearance of many chamber mounds or mounds ( Kofun literally means "old mounds"). These are believed to have been influenced by similar mounds in Korea. Early in the period, the tomb known as the "keyhole Kofun"Or Zenpo-Koen Kofun (Front of the coffins by the yen ? , Lit. Square in front, round in the back of the old tomb-mound), Often used the existing relief, shaping it and adding anthropogenic ditches to form a characteristic keyhole shape, i.e. circle interlocking with a triangle. Access was via a vertical shaft, which was closed after the burial was completed. There was a room inside the chamber for a coffin and serious goods. The mounds were often decorated with terracotta figures called haniwa... Later, during the period of the kurgans, they began to be located on a flat surface and their scale increased significantly. Among the many examples in Nara and Osaka, the most notable is Daisen Kofun Designated as the tomb of the Emperor Nintoku. The tomb covers 32 hectares (80 acres) and it is believed to have been decorated with 20,000 haniwa numbers.
Towards the end of the Kofun period, tomb burials faded as Buddhist cremation ceremonies gained popularity.
Asuka and Nara architecture
The most significant contribution to architectural changes during the Asuka period was the introduction of Buddhism. New temples became centers of worship with tomb burial practices gradually becoming outlawed. In addition, Buddhism brought to Japan and we worshiping the idea of permanent shrines and gave Shinto architecture much of its true vocabulary.
Some of the earliest surviving structures in Japan are Buddhist temples established at this time. The oldest surviving wooden buildings in the world are at Horyuji, southwest of Nara. The stadium was built at the beginning of the 7th century as a private temple of the Crown Prince Shotoku.It consists of 41 separate buildings, the most important of them, the main worship hall, or Kon-do(Golden Hall), as well as a five-story pagoda), Stand in the center of an open area surrounded by a covered monastery ( Cairo). Kon-do, Chinese-style worship halls, a two-story structure of post-and-beam construction, topped with irimoya, Or hip-gabled, ceramic tile roofs.
Heian
Although a network of Buddhist temples throughout the country acted as a catalyst for the study of architecture and culture, it also led the clergy to gain increased power and influence. Emperor Kammu decided to escape this influence by moving his capital first to Nagaoka-Kyo and then to Heian-ke, known today as Kyoto. Although the city's layout was similar to bunks and inspired Chinese precedents, palaces, temples, and dwellings began to show examples of local Japanese taste.
Heavy materials like stone, building and clay were abandoned as building elements, with simple wooden walls, floors and partitions becoming common. Native species such as cedar ( sugi) Were popular as interior decoration due to its outstanding grain, while pine ( matzo) And larch ( aka matsu) Were common for structural purposes. Brick shingles and type of cypress called hinoki were used for roofs. It was sometime during this period of a hidden roof, a uniquely Japanese solution to drainage problems, was adopted.
The increase in the size of buildings in the capital has led to architecture dependent on columns regularly spaced in accordance with horizon, Traditional measures like size and proportion. Imperial palace Shishinden demonstrated a style that was the forerunner of the later aristocratic-style building known as Shinden-zukuri... The style is characterized by symmetrical buildings placed as weapons, which are defined by an inner garden. This garden then used borrowed landscapes to seemingly blend with the broader landscape.
A prime example of the living Shinden-zukuri Architecture Ho-o-do (Phoenix hall ? , Phoenix Hall, completed 1053) from Byodo in, the Temple in Test southeast of Kyoto. It consists of a main rectangular structure flanked by two L-shaped wing corridors and a tail corridor, set at the edge of a large artificial pond. Inside, one gold image of Amida (c. 1053) is set on a high platform. Raigo (Descent of Amida Buddha) paintings on wooden doors Ho-o-do is often considered one of the earliest examples of the Yamato-e, the Japanese style of painting, because they contain representations of the landscape around Kyoto.
During this time, the architectural style of Buddhist temples began to influence that of Shinto temples. For example, like their counterparts the Buddhist Shinto shrines began to paint normally unfinished wood with a characteristic cinnabar red color.
During the latter part of the Heian period, there were the first documented performances of folk houses in Minka Style / shape. It was characterized by the use of local materials and labor, being mostly built of wood, with packed earthen floors and thatched roofs.
Kamakura and Muromachi period
The Kamakura period began with the transfer of power in Japan with the imperial court of the Kamakura shogunate. During the Genpei War (1180-1185), many traditional buildings in Nara and Kyoto were damaged. For example, Kofuku-ji and Todaiji- was burned by Taira or Shigehira of the Taira Clan in 1180. Many of these temples and shrines were later rebuilt by the Kamakura shogunate to consolidate the shogun 's power.
Although less complex than during the Heian period, architecture during the Kamakura period communicated simplicity due to its connection with military order. New residences used Ultimate juice a style that was associated with buildings surrounded by narrow moats or forts. Defense became a priority, with buildings grouped under one roof rather than around a garden. Gardens of the Heian period houses often became polygons.
After the fall of the Kamakura shogunate in 1333, the Ashikaga shogunate was formed, taking place later in the Kyoto Muromachi area. The shogunate's proximity to the imperial court led to rivalry in the upper levels of society, which was fueled by the trend towards luxury goods and lifestyles. Aristocratic houses were adapted from simple Ultimate juice Style reminds earlier Shinden-sukuri style. A good example of this ostentatious architecture of Kinkaku-ji in Kyoto, which is adorned with lacquer and gold leaf, in contrast to its otherwise simple structure and simple roof bark.
In an attempt to curb the higher grades, Zen masters introduced the Tea Ceremony. In architecture, it was promoted by design chashitsu(Tea at home) to a modest size with simple details and materials. The style informed residential architecture with lighter, more intimate buildings relying on thin rafters and columns with sliding interior partitions fusuma and external sliding walls shoji... While woven grass and straw tatami Rugs first appeared during the Kamakura period and are often thrown all over the floor. During the Muromachi period, they began to be regular in size and to be snug against each other. Usually size Chashitsu is 4 1/2 mats in sizes.
In the garden, Zen principles were replaced by water with sand or gravel to produce a dry garden ( Karesansui) As one Ryoan-ji.
Azuchi-Momoyama
Clean lines of civil architecture in Edo influence sukiya residential architecture style. The private Katsura Palace and the Shugaku-in Imperial Villa on the outskirts of Kyoto are good examples of this style. Their architecture has simple lines and decor and uses wood in its natural state.
At the very end of part of the period hard fall kōtai, The law requiring daimyōs to maintain housing in the capital was canceled resulting in population decline in Edo and a commensurate decrease in income for the shogunate.
Early Meiji, Taise, and Showa
Towards the end of the Tokugawa Shogunate, Western influence in architecture began to manifest in buildings related to military and trade, especially naval and industrial sites. After the Meiji Emperor was restored to power (called the Meiji Restoration), Japan began a rapid process of Westernization which necessitated the creation of new types of buildings such as schools, banks and hotels.
Early Meiji architecture was originally influenced by colonial architecture in Chinese treaty ports such as Hong Kong. In Nagasaki, British trader Thomas Glover built his own house in this style using the skills of local carpenters. His influence aided the career of the architect Thomas Waters, who designed the Osaka Mint in 1868, long, low buildings of brick and stone with a central pedimented portico. In Tokyo, Waters developed a commercial museum, believed to be the city's first brick building.
In contrast to Waters' neoclassical building style, Japanese carpenters developed a pseudo-Japanese style known as giyōfū mainly using wood. A prime example of this is the Kaichi Elementary School in Nagano Prefecture built in 1876. Master carpenter Tateishi Kiyoshige traveled to Tokyo to see which Western building styles were popular and incorporated them into a school with traditional building methods. Built with a similar method to traditional ( , lv (Warehouse ? ) A) Warehouses, wooden buildings plastered inside and outside include an octagonal tower of Chinese and stone-like quoins at the corners. Traditional namako plaster was used at the base of the walls to give the impression that the building stands on a stone base.
The Japanese government also invited foreign architects to combine work in Japan and teach new Japanese architects. One of these was the British architect Josiah Konder who went on to train the first generation of Japanese architects, which included Kingo Tatsuno and Tokuma Katayama. Tatsuno's early works were Venetian in style influenced by John Ruskin, but his later works, such as the Bank of Japan (1896) and Tokyo Station (1914), have a more fine art feel. On the other hand, Katayama was more influenced by the French Second Empire style, which can be seen in the Nara National Museum (1894) and the Kyoto National Museum (1895).
In 1920, a group of young architects formed the first organization of modernist architects. They were known as Bunriha, Literally “Separatist Groups”, inspired in part by the Dissenters of Vienna. These architects were concerned about reliance on historical styles and decorations, and instead encouraged artistic expression. They drew their influence from European movements such as Expressionism and the Bauhaus and helped pave the way for the introduction of the International Modernist style.
As in the Meiji era, experience from overseas was gained by Japanese architects in Europe. Among them were Kunio Maekawa and Junzo Sakakura who worked at the Le Corbusier atelier in Paris and Bunzō Yamaguchi and Chikatada Kurata who worked with Walter Gropius.
Several architects have built their reputations on public architecture works. Togo Murano, a Contemporary of Raymond, was influenced by Rationalism and designed the Morigo Seten office building, Tokyo (1931) and the Ube Public Hall, Yamaguchi Prefecture (1937). Similarly, the rationalistic modern architecture of Tetsuro Yoshida included the Tōkyō Central Post Office (1931) and Osaka Central Post Office (1939).
The launch of the so-called Imperial Crown Style ( teikan Yoshiki). Buildings in this style were characterized by the fact that they had Japanese-style roofs, such as the Tōkyō Imperial Museum (1937) by Hiroshi Watanabe. Increasingly militaristic governments insisted that large buildings be designed in "Japanese style" limiting the scope for modernist design for infrastructure work such as the Bunzō Yamaguchi 2 power plant for the Kurobe dam, (1938).
Late Showa period
In 1949, the winner of the Tange competition for the design of the Hiroshima Memorial Museum gave him international recognition. The project (completed in 1955) led to a series of commissions including the Office of Kagawa Prefecture Building in Takamatsu (1958) and Old Kurashiki City Hall (1960). During this time, both Tange and Maekawa were interested in the traditions of Japanese architecture and the influence of a local character. This was showcased at Kagawa with design elements from the Heian period merging with International Style.
Early Heisei period
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Although Tadao Ando became well known for his use of concrete, he began a decade designing a Japanese pavilion at the 1992 Seville Exposition, a building that was hailed as “the largest wooden structure in the world”. He continues with this medium in projects for the Wood Culture Museum, Kami, Hyogo Prefecture (1994) and the Komyo-ji Temple in Saijo (2001).
Two former Toyo Ito employees, Kazuyo Sejima and Ryue Nishizawa formed a joint partnership in 1995 called SANAA. They are known for creating light, transparent spaces that provide fluidity and movement to their occupants. Their Dior store in Shibuya, Tokyo, in 2001 resembles the Ito Mediatheka, with cool white acrylic sheets on the outer façade that filter light and partially reveal the store's content. Their dynamics of fluidity is evidenced by the Rolex Learning Center at the École Polytechnique de Lausanne Federale, completed in 2010. This building has an undulating plane of the floor of a set with a continuous concrete roof cladding, which was poured out in one go for two days. Plan how a biological cell is interspersed with tables and courtyards alike. In 2009 they designed the Serpentine Gallery Pavilion in London, which consisted of a reflective, floating aluminum roof supported by slender columns.
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