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Japanese Architecture
Japanese architecture, the built structures of Japan and their context. A pervasive
characteristic of Japanese architectureand, indeed, of all the visual arts of Japanis an
understanding of the natural world as a source of spiritual insight and an instructive
mirror of human emotion.1
1

http://www.britannica.com/EBchecked/topic/719164/Japanese-architecture

The formative period

The terminology and chronology used in
describing
pre- and protohistoric Japan is generally agreed
to be that
of a Paleolithic, or Pre-Ceramic, stage dating
from
approximately 30,000 bce (although some
posit
an
initial date as early as 200,000 bce); the
Jmon
period (c. 10,500 bcec. 3rd century bce),
variously subdivided; the Yayoi period (c. 3rd
century bcec. 250 ce); and the Tumulus, or Kofun, period (c. 250
710
ce)
Japan has an interesting variety of buildings
that exhibit different architectural forms
from humble farm houses to grand imperial
palaces. Architectural styles have evolved
from
pre-historic to modern times. Early native
designs were exposed to
strong influences from the Asian mainland,
imported
styles
were
subsequently
adapted
to suit local tastes, and recent history saw the introduction of
Western architecture into Japan.
JOMON PERIOD
The Jomon Period lasted from around 13000 BC to 300 BC.
The inhabitants of Japan at that time were mainly
gatherers, fishers
and hunters. Dwellings were built directly over an earth floor with a wood foundation and
a thatched straw roof. Inside the house, the floor may have been hollowed in, which is
why Jomon Period houses are often called "pit dwellings". The Sannai Maruyama
Archaeological Site in Aomori is one of the best places to see an entire village of Jomon
Period houses. Some local history museums also exhibit Jomon dwellings.
YAYOI PERIOD
Following the Jomon Period, the Yayoi Period lasted from around 300 BC to 300 AD. The
period is characterized by the start of widespread rice farming, resulting in the
appearance of permanent settlements with bigger populations. Communities became
organized in villages as a whole, with areas demarcated for granaries, storehouses and
living quarters. Houses, especially the granaries, were built on stilts to keep away mice.

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Structures such as village fences and watch towers appeared. The Yoshinogari Historical
Park in Saga Prefecture is an excellent place to see a Yayoi Period settlement.
(http://www.japan-guide.com/e/e2111.html)
1. Prehistoric period
2. Asuka and Nara architecture - The most significant contributor to architectural
changes during the Asuka period was the introduction of Buddhism. New temples
became centers of worship with tomb burial practices slowly becoming outlawed.
3. Heian period - Although the network of Buddhist temples across the country acted
as a catalyst for an exploration of architecture and culture, this also led to the
clergy gaining increased power and influence. Emperor Kammu decided to escape
this influence by moving his capital first to Nagaoka-ky and then to Heian-ky,
known today as Kyto. Although the layout of the city was similar to Nara's and
inspired by Chinese precedents, the palaces, temples and dwellings began to show
examples of local Japanese taste.
4. Kamakura and Muromachi periods - During the Kamakura period (11851333) and
the following Muromachi period (13361573), Japanese architecture made
technological advances that made it somewhat diverge from its Chinese
counterpart. In response to native requirements such as earthquake resistance and
shelter against heavy rainfall and the summer heat and sun, the master carpenters
of this time responded with a unique type of architecture, [16] creating the Daibutsuy
and Zenshy styles
5. Azuchi-Momoyama period - During the AzuchiMomoyama period (15681600)
Japan underwent a process of unification after a long period of civil war. It was
marked by the rule of Oda Nobunaga and Toyotomi Hideyoshi, men who built castles
as symbols of their power.
6. Edo period - The Tokugawa Shogunate took the city of Edo (later to become part of
modern day Tky) as their capital. They built an imposing fortress around which
buildings of the state administration and residences for the provincial daimys were
constructed.
7. Meiji, Taisho, and early Showa periods - Early Meiji Architecture was initially
influenced by colonial architecture in Chinese treaty ports such as Hong Kong. In the
Taish and early Shwa periods two influential American architects worked in Japan.
The first was Frank Lloyd Wright who designed the Imperial Hotel, Tokyo (1913
1923) and the Yodok Guest House (1924), both of which used locally quarried ya
stone.[42] Wright had a number of Japanese apprentices under his tutelage, such as
Arata Endo, who constructed the Kshien Hotel in 1930.
8. Colonial architecture 9. Late Showa period - After the war and under the influence of the Supreme
Commander of the Allied Powers, General Douglas MacArthur, Japanese political and
religious life was reformed to produce a demilitarised and democratic country.
Although a new constitution was established in 1947, it was not until the beginning
of the Korean War that Japan (as an ally of the United States) saw a growth in its
economy brought about by the manufacture of industrial goods

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10.Early Heisei period - The Heisei period began with the collapse of the so-called
"bubble economy" that had previously boosted Japan's economy. Commissions for
commercial works of architecture virtually dried up and architects relied upon
government and prefectural organisations to provide projects.
Although Tadao Ando became well known for his use of concrete, he began the
decade designing the Japanese pavilion at the Seville Exposition 1992, with a
building that was hailed as "the largest wooden structure in the world". He
continued with this medium in projects for the Museum of Wood Culture, Kami,
Hygo Prefecture (1994) and the Komyo-ji Shrine in Saijo (2001)

Shrines
In ancient times, Shinto ceremonies were held outdoors at temporarily demarcated sites without
buildings. Later, temporary structures were used which eventually got replaced by permanent shrine
buildings housing the deity. Early shrine buildings predate the introduction of Buddhism and reflect
native Japanese architecture styles.
Typology of Shrine Architecture
When the smallest wayside structures are included, the number of "shrines" in Japan
reaches an incredible number. The majority of sanctuaries at shrines of intermediate and
smaller size are built in either the nagare-zukuri or Kasuga-zukuri styles, including the
misedana adaptations of those styles, but in the classes of larger shrines, particularly
those in the class of provincial "first shrines" (ichinomiya) or above, individual shrines
tend to display unique architectural styles and arrangements of buildings. This variety
represents another significant departure from the architectural styles found in Buddhist
temples and residential dwellings. The following is a description of the major architectural
styles currently found at Shinto shrines:

(1) Primitive shrines without honden

The shrine miwa Jinja in Sakurai, Nara Prefecture is devoted to the divine mountain
Miwa-san, and one area at the remote end of the Hall of Worship (haiden) is considered
taboo to human entry. Mt. Miwa is called a shintaizan (kami-body-mountain), one of
numerous "divine mountains" found in various areas of Japan. Until the modern era, the
shrine Isonokami Jing was likewise characterized by a taboo area at the rear of the
haiden, but in the Meiji period the area was surveyed, and in 1913, a sanctuary (honden)
was newly constructed.

(2) Shinmei-zukuri
An architectural style found at the Grand Shrines of Ise and its environs, its regional
estates (mikuriya), locales particularly influenced by the Ise cult, and shrine sanctuaries

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built throughout Japan since the Meiji period. Built of planed, unfinished woods, the style
is characterized by a gabled roof, entry on one of the eave sides of the building, straight
roofline without upward curvature at the eaves, linear construction, independent exterior
pillars supporting the ridge board, bargeboards (called chigi) that cross at and extend
past the ridge, and transverse sections of logs called katsuogi, placed at intervals along
the ridge. These features mark it in stark contrast to the Buddhist Golden Hall (kond)
architecture introduced from China, which featured tile roofing, a hip-and-gable or hipped
roof, complicated interlocking corbels beneath the eaves, and colored decorations. The
basic traditional elements of shinmei-zukuri derive from the form of Japanese architecture
transmitted since the tumulus (Kofun) period (ca. 250-500 C.E.). While this makes it
relatively "primitive" in form, the architectural design characterized by the Main
Sanctuary (shden) of the Grand Shrines of Ise is considered a pinnacle in architectural
design, judged by either ancient or modern criteria.
(3) Taisha-zukuri
A style found at the shrine Izumo Taisha and in its surrounding areas. Characteristics
include gabled construction with pedimented portico entry at the gabled end. Features of
the gable-end pillars and central "heart pillar" (shin no mihashira) suggest the archaic
nature of the style. The honden of the Izumo Taisha, in particular, is an immense
structure dwarfing the sanctuaries of other shrines even today, but as reconstructed from
Izumo myths and later legendary materials, it was apparently a much taller structure
when first built. Records from the Heian period claim that its height was 16 j, or about
forty-eight meters. While design plans have been drawn to reconstruct the structure's
original appearance, it appears somewhat unrealistic in scale.
(4) Sumiyoshi-zukuri
The style of the Sumiyoshi Taisha honden in Osaka. Characterized by gabled roof
construction with entry on the gabled end, the building's interior is divided into two
separate sections, front and rear. The roofline is relatively linear and other details are
austere, but pillars are painted vermilion and walls white. The overall shape of the
sanctuary resembles the unadorned structures called yukiden and sukiden of the ritual
palace (Daijky) built on the occasion of an emperor's enthronement rites, but no direct
influence between the two has been documented. The resemblance in styles, however,
suggests the great antiquity of the two forms.
The above styles are those that had appeared by the Nara period. From the Nara into
the Heian period, however, the general trend was for the rooflines of shrines to be given a
recurved contour or return as they swept down to the eaves.
(5) Nagare-zukuri ("Flowing Style")

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This style is typified by the honden of the Upper and Lower Kamo shrines in Kyoto
(today called the Kamo Wakeikazuchi and Kamo Mioya shrines). The style is characterized
by gabled roof, entry on the long (non-gabled) side, with the roof on the entry side
extended outward to form a swooping, full-width portico. The main roof is called the
moya, while the extended portico section is referred to either as a hisashi or khai. The
scale of the building is determined by the number of equally spaced "bays" (intervals)
between pillars on the entry side. For example, the Kamo shrine has three bays on the
entry side, so its style is referred to as "three-bay nagare-zukuri" (sangensha nagarezukuri). Nagare-zukuri is the most common style of shrine architecture, and can be found
nationwide. In a modification of the style, a separate room is attached in front of the
moya and covered by the hisashi. A relatively rare derivative style features a three-bay
main roof, but only a one-bay hisashi; this style is called kirizuma-zukuri.
(6) Kasuga-zukuri
A style represented by the shrine Kasuga Taisha in Nara, featuring gabled roof
construction with building entry on the gabled end, with a pent roof extending to cover
the entry stairway. Most shrines built in this style are the width of only a single bay at the
gable ends (called ikkensha Kasuga-zukuri), but in rare instances a three-bay type may be
found. Shrines built in this style are next in frequency to those of the nagare-zukuri type,
but most are found concentrated in the greater Nara and central capital environs (Kinki
region). When a diagonal rafter (sumigi) is added to help support the portico, the
construction is called sumigi-iri Kasugazukuri. Further evolutions of Kasuga-zukuri include
the irimoya-zukuri of the Kumano Hong Shjden, a style that should probably be
considered independently.

(7) Hachiman-zukuri
A style found at the shrines Usa Jing, Iwashimizu Hachimang and other Hachiman
shrines, involving two linked structures arranged fore and aft, each characterized by
gabled roofs with an entry on the non-gabled side. The front structure is called the
gaiden (outer sanctuary) and the rear structure is called the naiden (inner sanctuary);
together they form the honden (sanctuary) complex.

(8) Rynagare-zukuri ("Dual Nagare")

Here, the gabled structure of ordinary nagare-zukuri is modified with a full-width
extended portico roof, not only on the front (entry) side but on the rear side as well. This
style characterizes the sanctuaries at the main Itsukushima Jinja, and its auxiliary shrine
(sessha) called Mardosha, as well as the Matsuo Taisha in Kyoto and Munakata Taisha's
shrine Hetsumiya in Fukuoka.

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(9) Hiyoshi-zukuri
An unusual style represented by only three extant examples at the shrine Hiyoshi
Taisha in tsu. With a width of three bays on the long sides and two bays on the gable
ends, the structure has a main gabled roof extended in smaller flat portico roofs (similar
to gambrel roofs, but with reversed pitch) on the front and two gable sides. On the rear
side, the portico roof is recurved at the gable ends, forming a distinctive contour. Also
called Shtai-zukuri.
(10) Irimoya-zukuri
A hip-and-gable style roof formed from a main gabled roof with the addition of fullwidth pent roofs on all four sides. From the medieval period, it became possible to
construct roof styles without concern for specific floor plans, so that a sanctuary built with
a hip-and-gable roof was called an irimoya-zukuri style, regardless of the floor plan
involved. Typical examples include the sanctuaries of Mikami Jinja in Shiga Prefecture, and
Kitano Tenmang in Kyoto. At Kyoto's Yasaka Shrine, the sanctuary and hall of worship
were originally two separate neighboring buildings, but in the Heian period, both were
covered by a single hip-and-gable roof structure, resulting in the formation of an
immense hip-and-gable sanctuary. The floor plan and exterior shape of the Yasaka Shrine
are difficult to discriminate from Buddhist temple styles, and thus represent an extreme
point in the evolution of shrine architecture.
(11) Nakayama-zukuri
Found primarily around the city of Tsuyama in Okayama Prefecture, this shrine style
is characterized by structures with three-bay frontal width, hip-and-gable roof design, and
a karahafu (recursive-gable) portico on the gabled end. The name Nakayama is taken
from its most striking example, the Nakayama Shrine.
(12) Ishinoma-zukuri, Gongen-zukuri
The style like that found at the shrine Kitano Tenmang, where a hall of worship
(haiden) is located in front of the sanctuary (honden), and the two are joined by a low,
roofed passage called the ishi no ma (lit., "rock room"). This composite shrine structure
was initially used in the late-medieval Toyokuni Shrine (dedicated to the warlord Toyotomi
Hideyoshi), leading to its later adoption at the Nikk Tshg as well. The style came to
be called Gongen-zukuri since Tokugawa Ieyasu, the enshrined kami (saijin) at Tshg
was also referred to as "Tsh Daigongen" ("Eastern Light Great Avatar"). It should be
noted, however, that the term Gongen-zukuri is also sometimes extended to refer to any
shrine style characterized by elaborate ornamentation.

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(13) Owari-zukuri
A style typified by large shrines in
the Owari (Nagoya) area and
characterized by a composition of
multiple structures within the shrine
precincts, including (from front to back)
gateway, banpei (a screening fence),
haiden, saimonden ("liturgy hall"), a
passageway in the form of a
yotsuashimon (a deep gabled gateway
constructed by the addition of four
additional supporting pillars in front
and behind the central ridgesupporting pillars), tsuriwatar
(suspended passageway), and honden.
From both sides of the saimonden, a
veranda emerges to encircle the
honden. Smaller shrines in the region
also frequently adopt an abbreviated
form of the style. Extant shrines in this
style include agata Jinga, Owari
kunitama Jinja, and Tsushima Jinja.
(14) Misedana-zukuri
While conventional sanctuary
architecture usually includes both a
stairway on the front (approach) side
and a railed veranda, the misedana
("showcase") style eliminates the
stairway, and the veranda is reduced to a flat "shelf." Based on its appearance in the
evolution of sanctuary architecture, the style would appear to be an earlier, less
developed form. However, since it is normally used only for auxiliary shrines (sessha,
massha) and other smaller or more minor shrines within the precincts, it is usually
considered to be merely a simplified form of later developments. Most shrines in this style
are found with nagare, Kasuga, or gabled roofs

TATAMI MAT LAYOUT

HOUSE / TEA ROOM

TEA

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