Asian Architecture - Case Study Paper

1. Case Study Paper
ASIAN ARCHITECTURE (ARC60403/ARC2234)
Solutions to Homologous tower typology using staking Machiya as an approach
in retracing vernacular identity in a Japanese Metropolitan context in Asakusa
Culture Tourist Information Center
by
Andy Heng Wee Xiang 0327152
Lee Czen Shing 0317832
Ryan Kerry Jee Jin Yiing 0317832
Sharon Lim Yu Jung 0313377
Tan Wen Hao 0319923
Tang Pei Kei 0318545
Tutor: Miss Alia

2. TABLE OF CONTENT
1.0 Abstract
1.1 Abstract
1.2 Objectives
1.3 Methodology
1.4 Limitations
2.0 Introduction
3.0 The Japanese Architecture Principle of OKU and Wabi-Sabi
4.0 Overview of Machiya
5.0 Site Interpretation
5.1 Laws, Regulations & Policies & Heights & Setbacks Factors
5.2 Surrounding Context
6.0 Retracing Vernacular Identity of Machiya in ACTIC
6.1 Height
6.2 Form
6.3 Material
7.0 Recommendation & Discussion
8.0 Conclusion
1
2
3
3
4-5
6
7-15
16
17-18
19-23
24-28
29-33
34
35
9.0 References
36-37

3. 1.1 Abstract
This research paper oriented to discover the solution of stacking Machiya against
homologous tower typology in retracing vernacular identity in a Japanese metropolitan
context of Tokyo. In Tokyo, buildings are correspondingly losing their identity in an
accelerating pace although being raised from a richly cultured background such as the Shoin,
Edo, Shogunate era and more. Taking the precedents of international style and Modernism,
templates are aptly being copied and placed in the vicinity, as a testimony of their power and
affluence. But, this movement is critically erasing the roots of their identity, especially in
architecture, which is one of the most proficient language in reflecting the epoch of a city.
In order to dissect the issue comprehensively, Kengo Kuma's Asakusa Culture
Tourism Information Center (ACTIC) is studied, as it is the the region's most demonstrated
vernacular polemic that act against the current of anonymous Modernist towers. Thus, he
dwells into the underlying charm of traditional Japanese architecture, from the humble
Machiya, which means "townhouse", whereby the residents make a living from and live in
since centuries ago.
From a single Machiya, where the essence of vernacular Japanese architecture is
extracted. He took a new approach in stacking these Machiya into tower, whereby each floor
is different in every floor plan, elevation and section, introducing an organic relationship
between form and function. Moreover, each floor is designed specifically to the targeted
function along with a well-proportioned floor to ceiling height to frame specific views
towards Asakusa. Materials and textures are selected in relation to the surrounding
neighbourhood and reflecting the principles of Wabi-Sabi. Hence, it can be conclude that by
revitalizing and redefining Machiya, a new tower typology that respects the vernacular
identity without compromising the modern needs is established.
1

4. 1.2 Objectives
This research paper targeted to identify the solutions to homologous tower typology using
stacking Machiya as an approach in retracing vernacular identity in a Japanese metropolitan
context in reference to ACTIC. As the result of the research paper, the following questions
are addressed:
1. Why the vernacular Japanese architecture had been eroded throughout the development of
cities in Japan and what is the result of this paradigm shift?
2. What is the embodiment of Vernacular Japanese Architecture? Why is Machiya is
considered as an answer in retracing vernacular idendity design in Japan?
3. What is the vernacular identity of Machiya?
4. How does these identities of Machiya be assimilated into Asakusa Tourist Information
Center (ATIC)?
5. Responding to this concept of stacking Machiya, what are the resultant outcomes in terms
of organic relationship of form and function, floor height proportion and materials and
textures in ATIC after incorporating the identities of Machiya?
6. How does this new tower typology improves the address for vernacular identity design?
2

5. 1.3 Methodology
In facilitating the validity of this research, literature reviews based on various
resources are carried out. First is via printed sources such as books and journals as these
sources have a relatively validity as compared to other sources. The book Makeru Kenchiku
is referred as is written by architect of the building, Kengo Kuma himself, thus it gives more
insight of what he wish to establish in his architecture theory. Besides, interviews and
lectures from online course via e-learning platform EDX, which is in partner with University
of Tokyo, named UTokyo004x Four Facets of Contemporary Japanese Architecture: Theory
are reviewed. This is due to the relevance of Kengo Kuma as one of the course staff in this
lecture series who explores the contemporary Japanese architecture from the first generation
of Modern Architects until the fifth generation of today.
Besides, secondary sources such as online reviews and webpage are also studied. This
is due to the high accessibility and proximity to the source, especially depictions, drawings
and images.
1.4 Limitations
Main limitation is the accessibility to the site itself due to its location in Tokyo, Japan,
thus site visit are not done to grasp first hand interpretation and analysis of ATIC. Thus, the
understandings are based on secondary observations and findings. To overcome this
limitation, the research is done with multiple cross-check of different sources to improve the
validity.
Besides language barrier is also encountered. Some of the information from Japanese
resources constitutes of English translations, which might have the risk of inaccurate
translation.
3

6. 2.0 Introduction
Since Yayoi Era, Japan held a strong Vernacular identity, with architecture reference
towards the principle of Wabi Sabi and Oku constructed out of wood, stone and paper and
sharing influences from Chinese architecture. During the Edo Period most of the Japanese
people lived in farmhouses as well as Machiya, the townhouse, regarded as the emblem of
vernacular Japanese architecture.
During Meiji Era, Open Door policy invited Western architecture into the once
fortified land. Modernization pikes until the advent of World-War II, whereby cities are
destroyed and from "ground zero", reconstruction began. But in this blank canvas, instead of
retracing their roots, Japanese adhered to the well-established Modernism and International
style, which bland anonymous influences are strongly evident today. However, in 1990s,
with the strike of Post-Bubble Era, whereby inflation proved that previous architectural
practices of Modernism is no longer sustainable. This is the point whereby Japanese
Architects started to break away from past constrains of the vague identity of International
style which eroding the identity and sculpting a sterile built environment and develop into
their new way of redefining architecture, which Kengo Kuma is one of them.
4

7. Figure 2.1 Timeline of the evolve of Japanese architecture.
5

8. 3.0 THE JAPANESE ARCHITECTURE PRINCIPLE OF OKU & WABI-SABI
Japanese is a nation who pays extra homage and respect to nature, whereby in their
beliefs, all life starts from the benevolence of God bestowed in nature. Thus, nature is
regarded as sacred, whereby teachings are learnt and inspired from. From nature, they learnt
about the beauty of Oku, the celebration of vacant space, depth and vacancy of unrevealed
whole & Wabi-Sabi, the embrace of things imperfect, raw, ephemeral and incomplete, just as
how nature rejuvenates itself after cycles of life, death and rebirth. With this in mind, perfect
imperfections brings beauty, where space of imagination and thoughts left, praise and
admittance on mankind's limitation embraced, ephemeral beauty celebrated, and glorification
of Almighty's perfection simply reminded, in the imperfections of mankind.
6

9. 4.0 OV
during t
spaces.
commer
vulnera
associat
which i
citizens
Early M
Anatom
VERVIEW
Machiya (
the day and
These str
rcial in time
able to atta
tions to org
is the pecul
s rent or bou
Mise (exhibi
my of Machi
OF MACH
town house
d set up tem
ructures ev
e. Cho-nai w
ack. The c
ganize their
iarity of M
ught adjacen
it) spaces w
iya
HIYA
e) is a com
mporary stal
entually be
was born as
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achiya arch
nt land behi
were extende
mmoners hou
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ecome huts
s the square
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These shops
hitecture eve
ind their sto
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use at the b
h, transform
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e open block
he gated b
shared a w
en now. A
ores to build
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ming the stre
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Fig
Ma
Merchants
eet into com
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workshops, s
ure4.1 Anatomy
achiya
came in
mmercial
rmanent
em” was
overning
backyard
ered, the
orkshops.
storage.
of
7

10. Figure 4.2 Development of Machiya
8

11. Figure 4.3 Form Analysis of MAchiya
9

12. Figure 4.4 Public & Private Analysis of MAchiya
10

13. Figure 4.5 Assymetry in Machiya
11

14. Figure 4.6 External Elements of
Machiya
12

15. Hisashi
The overhang roof located at the
front of Mise to provide shade and
shelter. The addition of this
horizontal element provides
compression and tone down the
sheer volume of the double-stories
Machiya, a reflection of the
Principle of Kei in, which means
respect to the site.
Degoshi & Koshi
Degosi, the slender vertical openings at
first floor improves ventilation introduce
natural daylight to the first floor. Koshi,
the Wooden Lattice Screen is the
indicative signage of the type of business
the Machiya is having. Besides their
functional use, these vertical elements
aids in the connection between roof and
floor by reducing the weight and
significance of wall. The verticality of
the building is disintegrated in par with
the idea of Jaku, in Wabi-Sabi which
emphasize tranquility, whereby the form
is staying down to earth all the time.
Figure 4.7 Degoshi & Koshi in Machiya
Figure 4.8 Hisashi in Machiya
13

16. Depth
Shoji Screen
Suggest the idea of Oku (as proposed by Fumihiko Maki). Oku means
a certain depth created by inducing vacancy through layering, whereby
it can invite people to move forward and search deeper. The Shoji
screen create this vacancy of veiling the bare interior to the exterior in
a vague silhouette and vice versa, in a diffused soft light. Facade is
usually the most proficient way of making a statement of a building’s
identity, but at here, OKU is the building’s image, soft, subtle and
vacant for imagination and interpretation to be infilled.
Figure 4.9 Shoji Screen in Machiya
14

17. Materiality
Timber, bamboo, earth and
Shoji paper as the most
profoundly adopted
material. These materials
depict a direct connection to
the nature, as extra homage
and respect are paid to
nature. The aging of the
materials reflect the idea of
Sei, which means purity in
Wabi-Sabi. Here, the traces
and marks left by time is
greatly appreciated, whereby
the beauty of time left is not
resisted or erased, but
celebrated.
Figure 4.10 Common materials in Machiya
15

18. 5.0 Site Interpretation of Asakusa, Laws & Regulations
5.1 Laws, Regulations & Policies & Heights & Setbacks Factors
Flanking the North side of the building of ACTIC (Asakusa District in blue), the
traditional and historical district of Asakusa mostly dates back to as early as since the Edo
Period where it depicts the traits of a Shitamachi neighborhood -small land sized-building
due to insufficient urban planning dating back to the Edo Period and whilst so the buildings
portray a lower skyline as building are of a smaller basis and lower heights small plot land
sizes, hence the buildings are indirectly generally narrow. These characteristics indirectly
shows that buildings within the district of Asakusa are of smaller scaled typology - smaller
commercial, residential or of mixed used.
While on the other hand, the district indicated in brown - the Kaminarimon District - a
developed and urbanized district where it is occupied with buildings that are not only for
commercial and residential but also as business and cooperate based buildings. Hence, the
building are of higher heights that could accommodate a higher occupancy. Thus, it
indirectly justifies the larger land plot sizes and wider buildings in Kaminarimon comparing
to that of in the historical Asakusa District.
Figure 5.1‐Diagram
indicates the location of
ACTIC (in red) and the 2
districts surrounding the
building, i.e. Asakusa
District (in blue) and
Kaminarimon District (in
brown).
16

19. 5.2 Surrounding Context
The unique context which actually comprises of 2 districts of Kaminarimon and
Asakusa, depicts two contradicting traits, where one showing a more modernistic, highly
highly urbanized buildings, where the other context shows a more humble, historical and
traditional traits of buildings.
Based on the image below, it directly shows the obvious differences of buildings
between 2 districts that are of either the historical and traditional traits (Asakusa District - left)
or the urbanized, modernistic essence (Kaminarimon District - right).
Figure 5.2‐Image shows a street elevation of the surrounding context of buildings nearing ACTIC that shows different traits and
characteristics.
17

20. Figure 5.3 Timeline and influences of surrounding context towards ATIC.
18

21. 6.0 - Retracing Vernacular Identity of assimilation of Machiya into ACTIC
6.1 Height
The brief given was a 40m Culture Tourist Information Center tower, situated at the
Nakamise-dori crossroad. According to the Tokyo building-law, the floor area ratio of a
commercial building should not be more than 80% of the site area. Surprisingly, instead of
maximizing the full lot, Kuma-san only utilized 65%, showing his intention of Makeru
Kenchiku, meaning defeated architecture, whereby buildings shall be the background for
human and nature. By not overpowering the site while considering for the area of setbacks
and pavement, the decision results in cutting down of the floor area and compensating it back
to the height.
Thus, Machiya is brought back as an identity of the Shitamachi culture (traditional
neighborhood). The essence of Machiya of ‘forms follow function’ is redefined, creating
functional spaces that suits current needs. The outcome is an unprecedented stacking series of
Machiya as a tower typology, to give focus to each space specifically where users have
unique experience of each floor as a polemic against conventional tower with a function-
follow-form interior layout.
Figure 6.1 Building site is at
corner lot of Nakamise‐dori,
with building size took
consideration of minimum
setback
19

22. Oku can be traced in the strategy in counterweighing the downside of sheer height
which gives a sense of overpowering by the use of vertical louvers, arranged and permutated
at four sides of façade showing the beauty of unseen and unexpressed, as being one of the
core values. The facade is reminiscent of koshi or degoshi wooden lattice and bamboo reed
screens in Machiya. With the airiness of louvers, sheer weight reduced and visual lightness
induced, as Jaku, the state of being tranquil and calm, represented by ‘emptiness’ or in this
case, the ‘lightness’ of the louvers. The verticality of louvers stretches and elongates the
façades, to remind the user the function of the building as a tower, not as individual Machiya.
Figure 6.2 &3 Site specific brief results in stacking Machiya of ACTIC. The architect had to stick to a 40m height proposal but at
the same time takes on a rather vernacular approach
20

23. The height of ACTIC stands a pivot role in the relation to the adjacent Kaminari-mon
and Senso-ji temple due to its strategic location of the crossroad overlooking the historical
site. When given such a prominent site, the gesture of Kei (respect) is strongly shown, which
it bows down towards Senso-Ji. Although its high legibility, it remains in a human-scale, as
one wanders through Senso-ji gate, Nakamise-Dori market street, eventually ACTIC at the
welcoming Machiya-like entrance without experiencing any stark contrast of visual
truncation due to its well-defined scale-and-proportion of the stacking Machiya that toned
down its apparent height and weaves the pedestrian flow smoothly to the context.
Figure 6.4 the vertical louvers help
elongate and lengthen the height of
façade visually and aesthetically.
21

24. Figure 6.6 Before the cultural and tourist
center was built, other than the street, one
couldn’t find any legible landmarks through
the skyline of Asakusa and can easily lost in
the sense of place.
Figure 6.7 Asakusa Culture and Tourist Center
act as a ‘signboard’ to the visitors creating a
focus and brought back the vernacular
identity of Shitamachi neighborhood. The
building is visible enough to visually connect
the visitors from the street and lead them all
the way to the center, going in and
understand the history and background of the
Asakusa district, fully explained the intention
of the architect.
Figure 6.5 A welcoming entrance with
lowered human‐scale as a warm gesture of
greeting.
22

25. From the interior of the building, each floor frames different views according to its
function. By having this, the context is the picture and the building is the frame, which offers
views of the skyline that changes every moment. At 6th
floor, the theatre offers visitor a view
to the prominent Kaminari-mon market street and the Senso-ji temple. With a height of 40m,
it offers the perfect glance of the street and visual connection between inside and out. It
serves as an guardian that gives full attention to the context, unfolding the unseen stories of
the throbbing city from a higher ground.
Same goes to the rooftop café at 8th
floor, the balcony overlook the Sumida River and
Tokyo Skytree on the right and Asakusa commercial district on the left, giving visitors a
panorama of the Tokyo skyline, a reminder of how far they had ventured through the history.
Thus, height is no longer a show of prominence, but a resemblance of Kei (Harmony).
Figure 6.8 Visitors can have a nice view of the Kaminari‐mon at
the theater.
Figure 6.9 a view of skyline on the eighth floor overlook the Sumida
River and the Tokyo Skytree.
23

26. 6.2 Fo
modern
discipli
hence t
engaged
Therefo
(Japane
Edo atm
orm
Asakusa is
nized distri
nary frame
the stacking
d at a perso
ore, Machiy
ese tradition
mosphere in
Figure 6.8 &9 C
Notice the simi
s packed w
ct after W
ework of to
g Machiya.
nal level, so
ya style is a
nal neighbo
n a metropol
Comparison of faç
ilarities of roof fo
with internat
WWII. To
ower typolo
It is a des
omething th
dapted in th
orhood), ma
litan.
çade from Asakus
orm, verticality an
tional style
retrace the
ogy, is rede
sign that ev
hat lives in e
his building
aking locals
sa Culture and To
nd openings.
e high-rise
e vernacul
efined as "a
very Japane
every soul -
g to help ret
s or visitors
ourist Center to a
to keep pa
ar identity
a stack of
ese would a
- the root of
trace the “S
s feel a sen
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ace with th
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f traditional
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dings" –
and feel
l houses.
” context
nging of
24

27. (refer to
differen
the alte
roof of
an atriu
the two
dimensi
materia
one of t
Figure 6
of the b
balconi
The tower c
o diagram)
nt floors, th
ernative floo
6th
floor fo
um and in-d
o roofs, so
ion of Sei (C
The materi
al which exp
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6.2.1 The photos
building, highligh
es.
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stacked to
hat embrace
ors facing d
orm steps in
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that the ex
Clarity).
ials are kep
press the fun
gnificant fea
above shows the
ting the open caf
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ogether to c
e Oku (asym
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pt minimal
ndamentals
ature of Mac
e isonometric
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achiyas; Hir
create asym
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rspective vi
purpose room
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m can be e
to emphasi
of spatial l
chiya.
Figure 6.2
ATTIC and
raya, Shimo
mmetrical pe
his resulted
iews toward
m of 7th flo
om which th
experience
ize the org
ogic – spati
.2 The photos ab
d also its correspo
otaya, Souni
erspectives
d in placem
ds the landm
oor. First an
he visitors c
exactly fro
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bove shows layou
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ikai and San
towards ou
ment of balc
marks. The
nd second f
can feel the
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t function of eac
Machiya examples
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pitched
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h floors of
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25

28. is a dis
choreog
Guggen
pedestri
exterior
horizon
Figur
of ma
The horizon
stinct Mach
graphed thr
nheim Mus
ian friendly
r seamlessly
ntal flow on
e 6.10 &11 The o
aterial in retracin
AC
ntal circulat
hiya, giving
rough a spi
seum in N
y spot, th
y to the int
each floor
organization and
ng vernacular feat
CTIC
Figure 6.12 hori
circulation from
tion of Mac
g different
raling ribbo
New York.
e intention
terior witho
is realized.
arrangement of m
tures in Kengo Ku
izontal circulation
first floor to roo
chiya can al
and unique
on walkway
As the si
n of weavi
out interrupt
material is more
uma’s works. Left
n is kept and form
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e experienc
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ach floor
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26

29. The vertical louvers diffuse its verticality to emphasize the roof and floor, a reminder
of Wa, in harmony to the earth and sky besides paying tribute to Edo Chiyogami, originally
made of paper. They have the effect of demonstrating the density and transparency of the
space, reflecting Jaku (tranquility) in architecture. Due to the movement suggested by the
rhythmic facade, it engages with the site, carrying visual continuity from bottom up.
ACTIC blends to the site context by extracting the facade of the buildings around it.
Therefore, a perfect resemblance of critical regionalism and contextual architecture as a
mixture of traditional Machiya features on an unprecedented modern tower typology.
The tower is chamfered to a 45 degree slant, where the entrance faces the
Kaminarimon and Senso-ji to create a relationship between the building and the historical
context. The entrance of the tower are placed strategically along with the Nakamise-Dori axis,
which shows tribute from the postmodernism tower to the history.
Figure 6.13 The photo above shows the
used of traditional vertical louvers in
ATTIC.
Figure 6.14 The photo above shows the street elevation of ATTIC, which emphasizing the
similar façade design style of the nearby building.
27

30. The unprecedented stacking manner of Machiya inadvertently created some void
spaces in between the pitch roofs, which conventionally been regarded as problem. Kuma-san
ingeniously changes these peculiar void and adaptation it as HVAC space, which actually
eliminated the use of drop ceiling or room to accommodate mechanical equipment which
interrupts the swift circulation. From exterior one can barely noticed the plant spaces as they
were painted black as visual dominance is given to the stacking Machiyas. Here, "form" and
"function" does not overpower one another, instead they works perfectly together, giving
"form" and "function" a new organic relationship.
Figure 6.15The photo above shows the relationship between the historical site,
Nakamise‐Dori axis, Senso‐ji temple, Kaminarimon and ACTIC.
Figure 6.16The orientation of entrance facing
the zebra crossroad and ample area of
pedestrian pavement.
Figure 6.17 The photo above shows the void spaces
between stacking‐Machiya formed the plant spaces.
28

31. 6.3 Material
Timber is celebrated for its value of time, which is praised in Wabi-Sabi, whereby it
ages through time. Under the baptize of time, the Japanese cyprus fins will weathered, darken
and left the trail etched by time. The mild fragrance of timber gives the building a gush of
nature, amidst this concrete jungle, as a reminiscent of the Wa (Harmony). It is also a tie
between ACTIC to Kaminari-mon and Sensoji Temple, whereby they all sprouted and
nurtured from the earth. The brise-soleil of lama cedars shades the double glazed curtain wall,
on the street level, which can be touched and observed by pedestrian, as if the connection
between man and nature can never be parted.
Figure 6.18 The photo above shows the material used in the surrounding buidlings near ATTIC. 29

32. The interior wall of the building are cladded with larch and oak of different design
iteration such as horizontal trellis and origami-inspired folds. The veins of the timber joist
creates texture that runs along with the horizon to indicate directionality towards the exterior.
Figure 6.19 The photo above shows the perspective of the relationship between Kaminari‐mon,
Senso‐ji Temple and ATTIC.
Figure 6.20 The photo above shows the
material used in Kaminari‐mon and Senso‐ji
Temple.
Figure 6.21 The photo above showsdifferent spacing between the
cedar louvers.
Figure 6.22 The photo above showsthe wooden slats
only can be view in certain angle.
30

33.
Figure 6.23 The photo above showsthe light, thin material of
ceiling, also indicate the directionality in the space.
Figure 6.25 The photo (below) wavy pattern at the
East wall.
Figure 6.24 (Above)The photo aboveoak board in
the theatre space.
Figure 6.25 The photo on the
left shows the traditional
Japanese Chiyogami paper
pattern representing in
vertical wooden louvers.
Figure 6.26 The photo on the
left shows the traditional
Japanese Chiyogami paper
pattern representing in wavy
wooden board in the East wall.
Figure 6.27 Laid in warm timber, taking inspiration from
horizontality suggested by the joists and verticality by the louvers.
31

34. black g
railings
which d
timber
through
transpar
exterior
Temple
3 types of
glass for the
s found in at
Glass redef
does not rev
fins, it refl
h, inspiring
rency. Besi
r and interio
e and Kamin
glass are u
e diagonally
trium as a re
fined Shoji
veal the int
ects the sur
people to s
ides glass c
or, which th
nari-mon.
used. The do
y shaped pla
eminiscent
paper, wher
terior direct
rrounding s
ee what is a
creates vag
he visitors c
ouble glazin
ant spaces a
of the Japan
reby it allow
tly, in regar
subtly in sli
around and
gue transitio
can feel the
Figure 6.28. 6.29
wooden joist on
Also the tradition
reeds resembles
ng glass cu
and the bam
nese Chiyog
ws clear vie
rd to the pr
ight fragme
inside us, a
on thus blu
e continuous
9, 6.30 The photo
Kaminarimon ga
nal Japanese Chiy
on the etched ba
urtain wall i
mboo-reed-e
gami door.
ew but also
rinciple of O
ents but als
a balance be
urring the b
s relationsh
os show the resem
te at the exposed
yogami paper pat
amboo reeds glas
is used on
etched-glas
reflects the
Oku. Worki
so let peopl
etween priv
boundaries b
hip with the
mble of the
d ceiling in ATTIC
ttern‐ Bamboo
ss railing.
facades,
s on the
e skyline
ing with
le to see
vacy and
between
e Sensoji
C.
32

35. and wa
smaller
of the
stones,
sequenc
Figure 6.3
Temple a
Figure 6.3
represent
Steel plate
all material
unit which
baked-tiles
showing W
ced pattern
31The photo abo
nd Kaminarimon
33 The photo abo
ting the same ess
roofs inter
creates a
h creates a s
roof of M
Wabi-sabi i
of light cho
ove shows the con
n to the ATTIC
ove shows the sh
sence of OKU in g
rsects and d
contrast be
sense of por
Machiya, tra
in praise o
oreography.
ntinuity of the Se
oji paper door th
glass.
divides the
etween them
rosity. The
aditionally t
of the beau
ensoji Fig
of
hat Fig
wo
Machiyas.
m, by brea
pergola roo
the wooden
uty of impe
gure 6.32 The pho
Asakusa, but not
Figure 6.35 & 6.3
traditional roof i
and rock to weig
gure 6.34The pho
ooden door which
The differe
aking down
oftop is a re
n boards w
erfection. T
ots above shows
t fully reveal the i
36 The photos ab
in Japanese using
gh down
oto above shows t
h looks similar to
ences betwe
n the buildi
einterpreted
weighed dow
The void c
the glass reflecti
interior space of
bove show the
g wooden planks
the traditional ko
the louvers used
een roof
ing into
d version
wn with
reates a
ng The skyline
ATTIC.
oshi
d in ATTIC.
33

36. 7.0 Recommendation & Discussion
From ACTIC, it is clear that certain style is not tenable to be the representation of a
nation's identity from a long run, no matter how great the scale is. Under the ultimate test of
time, height or scale can be easily surpassed as human are able to built taller and bigger as
time goes. Styles of any kind can be frankly translated and plunged to any plot of land in this
world, just as what architecture nowadays are heading towards. Instead what really matters is
the address of an architecture that truly reflects the Zeitgeist or sense of time in that particular
place, which serve the people well, just as the theory of "Makeru Kenchiku" (defeated
architecture) strives for. Perhaps the best definition for great architecture is always an
architecture embraced by and engages with the people, in a place they known as home.
34

37. 8.0 Conclusion
To conclude, this research paper discussed the solutions in terms of height, form
and material to homologous tower typology using stacking Machiya as an approach in
retracing vernacular identity in a Japanese metropolitan context in reference to ACTIC,
which shows a magnitude of rigorous thoughts behind the architect while designing a
building that place great attention to the surrounding context. From ACTIC, it shows the
great humility of a building, when given a prominent stage to showcase its uniqueness, it
reserves to stay subtly down to the earth and weave into the surrounding context gently as if
it had always been there.
35

38. 9.0 References
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