Asakusa Culture and Information Centre Taylor's University

1. SOLUTIONS TO HOMOLOGOUS TOWER
TYPOLOGY USING STACKING
MACHIYA AS AN APPROACH IN
RETRACING
VERNACULAR IDENTITY IN A
JAPANESE METROPOLITAN CONTEXT
IN ASAKUSA CULTURE TOURIST
INFORMATION
CENTER (ACTIC).

2. Introduction
to Japanese
Architecture
History

3. After the WWII, the main
Japanese cities were
completely destroyed.
They then started from
“ground zero”, and the
real reconstruction began
only after 1948
Since then, Japanese
architecture has
consistently produced some
of the most influential and
extraordinary modern and
contemporary design.
Due to the lack of city
master planning
overpopulation occurred.
Resulting in the widespread
devastation of Tokyo and
other cities in Japan which
then brought an urgent need
for new housing, and the
single family house.

4. Traditional qualities
of Japan such as the
simplicity, lightness,
openness and aesthetic
values were
rediscovered through
Modernism after
Japan’s defeat.
It relied on the use of
ingenious construction
and untreated natural
materials to build a
sort of refined
extension of nature: a
concentration of
nature's own kind of
beauty.

5. In the present day,
Japanese architecture
has been influenced
by the second wave of
modernisation in the
postwar period.
Modern Japanese
architecture evolved
from Tokyo, which was
rebuilt after World
War II. Western
concepts, invariably
still hold sway, for
they are now as much
a part of Japan as
its ancient
traditions, but they
are not a confinement

6. Japan’s first skyscraper
opened its doors in 1968.
Before that, strict regulations
prohibited tall buildings due
to the ever-present danger of
earthquakes.
Back then, skyscrapers
symbolised a new-found
confidence that Japan had made
it back to the world stage as a
The Kasumigaseki Building
represents the transformation
of Japan’s post-WWII economic
policy from an inward-looking
model to the much-revered and
copied export-led growth: the
dawn of the Japanese Century
was upon the world.

7. The Japanese have
changed their
architectural styles
through the years.
Their culture is
beautiful and
interesting. If a
person were to look
at Tokyo, he would
probably see a modern
city.
By looking at these
examples the person
would be able to tell
that these buildings
and streets have been
westernised to
improve their cities
and help them with
certain issues.
Tokyo SkytreeTokyo Tower
Hachiko Square

8. The Japanese manipulated the western
architectural style to fit their
culture’s needs. For example the
Japanese use their space saving
technology with modern Western
buildings.
The Japanese changed to westernised
architectural styles due to
earthquakes (natural disasters),
World War 2, the humid climate, and
fire.
But yet, they still maintain their
historic buildings like shrines,
temples, palaces and castles which
need to be renovated periodically.
They are also working on rebuilding
historic buildings that have been
destroyed by natural disasters.

9. Before Japan was westernised, most of
the buildings were made out of wood,
stone and paper.
These buildings were then influenced
by Chinese architecture. The Japanese
grasped Chinese style, but changed it
in a way that suited their culture.
This is the reason a lot of people
get confused between Chinese and
Japanese buildings.
Chinese architecture Japanese architecture

10. During the Edo Period most of the Japanese
people lived in farmhouses.
Also during this time people lived in
townhouses which were for merchants and
craftsman. These townhouses were mostly
typically close to a castle or a high ranking
nobles house.
A typical townhouse had its store in front,
the living quarters behind, and a storehouse
(kura) in the back.
Storehouses were fire-insulated with earthen
walls to protect valuable goods from the
threat of fire.
Townhouse
Storehouses

11. However the Meiji Period was the first time that Western architecture influenced
Japan. It was at that time that the Japanese started to build their buildings with
bricks like the Western buildings.

12. After World War 2 the Japanese
changed their architectural
style because of the effects of
the war. They wanted to improve
their cities with modern
architectural technology to
help recover their country.
Materials like steel and
concrete structures which
contrasted strongly with
traditional styles were used.
This resulted in a great
difference between the
appearance of new, modern
landmarks and more traditional
residences and small
businesses.
While important pre-war
buildings, such as the Wako
Department Store, Tokyo
Station, Akasaka Palace, and
the Bank of Japan had been
designed along European
classical lines, post-war
buildings adopted an efficient
“unadorned box” style.”
Wako department Store
Tokyo station

13. Conclusion
The Japanese have been through a lot of changes in their architectural style. They were
influenced by Chinese and Western architectural styles. During the Meiji Period
westernising was just starting to happen in Japan.
The big cause that pushed Japanese to westernised architecture was because of World War 2.
After the war the Japanese had to rebuild their cities. Another reason was reliability of
the modern buildings and their ability to stand against earthquakes.
Instead of using wood and stone on their buildings they used steel and concrete structures.
However modern Western buildings could not stand larger earthquakes, so the Japanese found
another way to improve their buildings. They became the pioneers on making buildings resist
earthquakes.
Westernised architectural styles did affect Japanese, but they improved it and without them
we wouldn’t know how to make buildings that could withstand earthquakes.

14. Overview of
Machiya

15. The Important Eras
1. Heian Era (794-
192)
Beginning with Heian-
Kyo平安京, then Kyoto
was founded as new
capital by Emperor
Kanmu.
2. Muromachi Era (1392-
1573)
A new military government
was established at the
site of Heian-kyo.
3. Beginning of the
Meiji Era
Kyoto’s position as
nation capital and
imperial seat ended.
4. Modern Era (1968~)
Japanese cities were
brought with new materials
affecting the design of
the traditional machiya.

16. Heian Era
“There are several examples of houses in rows
that line the streets and clearly do not belong
to upper class architecture. It is among scholars
generally agreed upon that these house were the
first germs of machiya house and that the
inhabitants probably were the first few commoners
in the city.” - Machiya: Architecture History of
Kyoto Town House

17. Machiya is a commoners house at the
beginning. These merchant houses called
kyo-machiya, meaing Kyoto-style-machiya
(Kyo: National capital, To: all)
Machi 町 = cho 町 in Japanese.
In the Heian bo-jo system, 1 cho = 32
ko 户 (household).
Refering to the map, the capital was
formally divided into units called bo-
jo 坊条.
9 major east-west streets called jo 条
1 jo 条 = 8 bo 坊
1 bo坊 = 16 cho 町
1 cho 町= 4 lanes each with 8 gates,ko
户, the smallest unit of Heian-kyo.

18. - Shops along Kyoto street play
different roles; Commercial spaces,
public gathering and etc.
- Most urban space (Heian period) was
reserved for houses or official
structures of the aristocracy.
- But the aristocrats did not leave
spaces in the city plan for
dwellings.
- As a result, merchants came in
during the day and set up temporary
platforms, stalls or booth to do
their business.
- These structures eventually become
huts including small shop spaces.
- Sometimes, the aristocrat couldn’t
occupy a whole block due to fires or
decrease in power, they would rent
land to merchants and permanent
commercial presence gradually
developed. Kyo-machiya was born.

19. As their
business
prospered, they
rented or
bought the
adjacent land
behind their
stores from the
owners and
built their
dwelling houses
and workshops.
In this way,
early Mise
spaces were
extended deep
backwards for
dwelling,
workshops,
storage and
finally,
Machiya was
formed.

20. Muromachi Era
- Decline of Heian Era and chaos of
Muromachi Era, causes public order
deteriorated. Thus, Kyoto citizens
had to become responsible for their
own defense.
- A new urban unit known as cho-nai 町
内 was born as the square, open block
layout of the “bo-jo system” was
vulnerable to attack. The
communities within the gated block
formed self governing associations to
organize their defense. From the
bonds formed during these hard times
emerged a tradition of strong and
independent neighborhood that exists
to this day.

21. - The building within the protected neighborhoods had official fronts as shops and a community space
both inside the house and in the backyard. At the same time, these shops shared a well in their
common backyard. This is a peculiarity of machiya architecture even now.

22. Meiji Era
- The transfer of the
capital brought the
Kyoto area many civil
wars and big fires
which destroyed the
central area.
- The reconstruction
after the war lasted
to the end of the
Meiji Period. Most of
the machiya houses
and temples were
rebuilt in the 19th
and 20th centuries
from the wood left
over from the fires.

23. Modern Era
- Machiya were
not burned down
in WWII in
Kyoto because
Kyoto was no
longer the
capital but
Tokyo and other
four biggest
cities in Japan
were burnt out
during the war.
- Therefore, the
traditional
town style of
Kyoto continued
from Heian-kyo
and the Kyoto
people managed
to keep the
style until
today.

24. Characteristics of Machiya
A. LAYOUT:
The layout of Kyo-machiya
is more likely similar. It
composed of a front ridge
for shop area and back
ridge for dwellings. There
are entrance area and a
court garden between both
ridge. A main garden and a
warehouse are located in
the deepest space. The
entire space is composed
by the earthen passageways
and residence area
(tatami-rooms) putting
them together with line
placement from a front
towards the back.

25. Hibukuro (smoke
shaft)
A stairwell
located above
the earthen
passage allowing
smoke and ash to
escape from the
cooking area.
Skylight is also
installed in the
roof or high up
on the wall to
allow sunlight
into the
passage.
Toriniwa (earthen
passage)
A narrow earthen
pathway which
connects from the
front to the back of
kyo-machiya.
Genkan (entrance hall)
A traditional Japanese
entryway areas for
machiya. Upon entry
shoes are usually
removed before
entering. Its is like a
threshold before
entering the building.
Misenoma (shop area)
One of the unique
characteristics of kyo-
machiya is the combination of
work and living spaces. This
is the place where the people
sell their products to the
Tsuboniwa (courtyard garden)
Located between the front shop and
dwelling, it provides pleasant
view to the occupant.
Zashiki (reception room)
The purpose of this room is to
receive important guess. The
decoration in the tokonoma, alcove
changed according to the season to
welcome the guest.
Kura (storehouse)
Usually distinctive
square structures
with straight,
thick, white
plaster and clay
walls, dark tiled
rood and small
upper windows. The
structure is
usually fire-
resistant helped
save the family’s
fortune of pottery,
lacquerware, kimono
and scrolls when
fire threatened.

26. HibukuroMisenoma Genkan Zashiki
Toriniwa Tsuboniwa Kura

27. B. Exterior Features:
Tiled roof : The more popular pattern of
the roof of kyo-machiya is the Ichimonji,
an overlapping tiles that creates a wave
like pattern on the roof.
Shouki-san : Also known as Zhong Kui, a
figure of Chinese mythology who
traditionally regarded as a vanquisher of
evil beings. In some Machiya, the statue is
being built on the hope to expel the evil
spirit.

28. Mushiko-mado : It is a simple vertical lines of window
providing ventilation and lightings. It was said to be a
device of the predecessors to provide lights and fire
prevention. The name “mushiko” derived from “mushi-
kago” which means a box of insects. It evokes the
atmosphere where one expect to hear the insects voices
at any moment.
Wooden lattice window , De-goshi : It is one of the main
features of traditional machiya. Wooden lattice, koshi,
vary according to the function of the store . For
example, the thread shop lattice was finer and farther
spaced admitting more light for the dyer to better
distinguished colour and needlework.
Large door, O-do & Small door, Kuguri-do : Entrance to a
machiya is through one or two sliding door that face the
street. Kuguri-do was for the family members or
deliveries while the O-do was reserved for special
occasions and guests.

29. C. Architectural Space
1. Dimness
- The inside of kyo-machiya is dim as both sides are separated from the neighbouring
houses by wall. The deep space inside captures the light from the main street at the
front and the inner garden at the back.
- The latticework, paper screens, reed blinds and other devices make the inside of the
house dim.

30. 2. Depth
- Kyo-machiya are narrowly
isolated by the closed walls of
the neighbouring houses and spaces
with narrow frontage and large
depth.
- The narrow frontage and deep
depth is not a result of tax
assessment practice but Kyoto was
once populated with merchants and
tradesman who desired street-
facing storefronts. This resulted
in plat shaped like thin strips.
- The nature brightness of the
inner garden ahead of the dim
space and the gradual change from
dark to light from the inside
outwards strongly emphasize on the
directionality towards the inside
depth.

31. 3. Spatial Connection
- Connection between interior
and exterior spaces.
- At the eave space as an open
space for connecting the inside
and outside, the entire width of
the tatami floored rooms is
fully open to the garden,
diverting one’s gaze from the
inside the rooms to the
landscape in the garden by the
eaves that stretch out from the
veranda space, emphasizing the
connection to the garden.

32. 4. Asymmetry
- The basic space of a kyo-
machiya is configured in
double spaces, earth-
floored passageway and
tatami-floored residence
and furthermore,
asymmetry is apparent in
the configuration of both
spaces. .
- The space of the main
tatami-mat rooms
(zashiki) and the inner
garden are emphasized
asymmetrically by the
building elements, the
alcove and shelves in the
tatami and the open
veranda that extends from
these rooms in the inner
garden.
Open veranda on
left side of
inner garden
Alcove and shelf as
asymmetry elements
right side of the room

33. Vernacular
Identity of
Machiya

34. Forms

35. Form
The principle of Form Follows Function is
clearly shown, whereby Machiya, of single
detached houses, which the front portal that
faces the streetscape functions as shoplots,
with Mise, the stall (which means to let
people see in Japanese) and the rear are
extended deeper to accommodate daily life of
the family.

36. Public and Private
Can be seen in the plan, with the
Engawa circulating at the center,
that provides a gradient of
demarcation.

37. From plan view, the nature
of Oku can be traced,
whereby, the asymmetrical
plan induced a tortous
zigzag approach, which
heighten the excitement of
curiousity and embrace the
beauty of imbalance,
imperfect as celebrated by
Wabi Sabi.

38. 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.

39. 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 Wabi-Sabi,
which means respect.

40. 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.

41. Spatial Connection
Engawa
Is the verandah gaping the
interior and exterior of
machiya, usually fringing the
inward building boundary, as a
Machiya is never a house whereby
tenants’ privacy is revealed
publicly. The gradation of
boundary gently weaves the
building with the site, by
creating sequenced flow that
slowly dissolve from a public
vicinity into privacy. This
shows the value of Wa in Wabi-
Sabi, a constant harmony.

42. Assymetry
Circulation
In reference to Oku concept,
the circulation is designed
in jagged routes, which never
reveals the entire view of
the end of the building, to
enrich the spatial experience
of within a tight
longitudinal plan.

43. 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,
whereby in their beliefs, all
life starts from the
benevolence of God bestowed in
nature.

44. From nature, they learnt
about the beauty of Wabi-
Sabi, the embrace of
things imperfect, raw,
ephemeral and incomplete,
just as how nature
rejuvenates itself after
cycles of life, death and
rebirth, to 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.

45. Retracing of
Vernacular
Identity of
Machiya in
ACTIC

46. Form &
Function
Relationship
Floor Height
Proportion
Materiality &
Texture

47. Similarities

48. FORM
Geometric structure formed by the intersection of different
planes projecting, creating asymmetric perspectives from every
point of view. With a similar buildings surrounding vertical
orientation, the Centre for Tourism and Cultural Information
reduces vertical impact thanks to the movement of their
facades, accompanying his eyes from the ground up, encouraging
the viewer to observe the characteristics unique to each floor.
This reverberated the traditional Machiya, whereby the
verticality is surpressed as Jaku in Wabi Sabi which emphasized
tranquility, whereby the form is staying down to earth all the
time.

49. KANSO (SIMPLICITY)
ACTIC is very minimalistic with
its clear form and repetition of
slats.
SEIJAKU (TRANQUILITY)
The repetition of the slats
create a sense of calmness within
the space the slats filter light
into the space creating a play of
KANSO (SIMPLICITY)
Provides a interval for
connecting the inside and the
outside environment.

50. HEIGHT
Within the eight-story building, one can
distinguish elevational permutations of
silhouettes of vernacular dwellings Japan:
Machiya (town house). As a composition of
stacked layers, Kuma takes what would otherwise
be a fragmented accumulation and its facade
conceals long vertical members, a
reinterpretation of the traditional lattice
facades which carries the representation of the
Koshi and Degoshi of traditional Machiya,
emphasizing the principle of Jaku .

51. SHIZEN (NATURALNESS)
Juxtoposition of ACTIC (new) against the
Nakamisedori (old) opposite the street
Traditional Machiya house form stacked
vertically relates contextually to
Asakusa’s old Edo atmosphere timber slats
reference to traditional Japanese
architecture main material

52. MATERIAL
Its construction is a mixture of steel, wood and
glass. Lamas cedar shade each of the four double
glazed curtain walls of plants, spaced
differently, depending on the shading or privacy
required by the interior rooms.
The inner surfaces of the building are also
coated with various woods, wavy, horizontal on
the east wall of the second floor, hiding
drawers, or oak boards in soils, known as Edo
Chiyogami, dating back to the Edo period of
Japan, 1603-1867 although originally made of
paper.
Timber is celebrated for its value of time,
which is praised in Wabi-Sabi, whereby it ages.
Glass is a representation of Shoji paper in
modern era, whereby it allows clear view but
also reflects the skyline which does not reveal
the interior completely, in regard to the
principle of Oku.

53. YUGEN (SUBTLETY)
Slats can only be views from certain angles
and creates curiosity of what is hidden
behind.
WABI SABI (BEAUTY IN IMPERFECT)
Slats are made from Japanese cyprus is
proned to weathering as it is located
on the exterior facade.

54. PROGRAM & FUNCTIONS
Roofs not only divide the housing structure, but
determine the role of each. The shape of the
building reveals stratification levels and
functions, giving the city a landmark, a building
for culture and entertainment, which stands out
among its environment without breaking them and
maintaining continuity with the soul site. This
introduced an organic relationship between form and
function, whereby it is not just merely form
follows function as the traditional Machiya, but
beyond.

55. DATSUZOKU (BREAK FROM ROUTINE)
The space in between the rood and the floor
(Plants) are used to store HVAC Systems which is
unconventional and unique to the building form.
The method of 'particalization' is a break from
the normal because of the breaking down of a
material into smaller forms which creates a
sense of porosity which connect the inside and
outside. This porosity is reflective of the
principle of Wa, which means harmony, similar as
the traditional Engawa.

56. Dissimilarities

57. FORM
Typology: ACTIC falls under Asakusa district, which is a
Japanese metropolitan context with dense high-rise buildings.
The brief given for the architect was a “tower”, and in
order to fit in the tower typology, Kengo Kuma uses stacking
machiya to achieve the function of “tower” but at the same
time brings back the resemblance of Machiya houses into an
urban context.
Traditional Machiya  Stacking Machiya
(Tower typology and plot size)
ACTIC
Traditional
Machiya

58. Conventional tower ACTIC
Non-tower like building with tower-like function
( Breakdown of levels, 7 one-stories house)
Different from conventional tower, in ACTIC balconys directing to different
orientation can be seen at each floors and outdoor café at rooftop.
Site-specific brief results in adaptation of tower typology

59. MATERIAL
• Double glazed glass curtain wall is used in ACTIC as an
alternate to the paper wall (shoji) or bamboo wall in the
traditional Machiya. The architect wants the user to experience
the interior spaces as if one is in different machiyas, from
one floor to above. However, glass curtain wall is used on
façade to aware users of the surrounding and the fact that they
are in a Japanese metropolitan context.
• In each of the sloping roofs covering different levels steel
plate was used, differs from traditional Machiya roof material,
the baked-tile roof

60. PROGRAM & FUNCTION
Despite the Machiya
façade on the outside,
the interior of ACTIC
still obey to the modern
function of a tourist
information center, such
as Theatre, exhibition
hall, conference hall and
a café, contradicting to
the traditional Machiya
with residential as the
base function

61. Plant spaces are seen in ACTIC. Even though
stacking machiya makes the tower seems well
fitted in to site in terms of lightness and
verticality of bulding, one must not forget
the fact that ACTIC is still considered as
tower typology.
unprecedented plant spaces created by the
architect can be found as a result of
agalmalmation of machiya as a tower.

62. CIRCULATION
In traditional Machiya, the
arrangement of spaces is adjacent
to each other, and shoji act as
both partition and opening, all
spaces are on same level, maze-
like.
In ACTIC the architect brings the
original state of machiya
circulation into each spaces.
However, to replace shoji, the
partition wall or the informal
steps that rises from ground act
as “wayfinding” that aids user
in vertical circulation, or to
called moving from floors to
floors.

63. Solved
Conventional
Issue of Tower
Typology in
ACTIC

64. Form &
Function
Relationship
Floor Height
Proportion
Materiality &
Texture

65. Form &
Function
Relationship:
Inter-
relatable &
Spatial
Experience

66. - Main form is a result of stacking
several Machiyas into a continuous
geometrical tower
- vertical timber cedar louvers on
each facets are spaced out
differently to reduce overall
visual impact and also according to
each interior needs of privacy.
- The presence of interior sloped
timber joists roofs allows users to
be able to trace the intersection
between the ceiling and the floors
above
- chamfered slated facets to adapt to
on site T-junction
- forms are conglomeration of both
traditional and contemporary due to
its strategic location that shares
both traits and while its function
are contemporarily defined.

67. Information Lobby & Foreign
Exchange 1F & Tourist Information
2F
- a continuous flow of space -
double volume
- public typological function,
hence the openness
- a continuous flow of interior
stair well that circulates an
indoor atrium, enhance the
presence of the sloped ceilings

68. Multipurpose Hall 6F
- tiered terraces implemented onto
the irregular slope slant that is
form due to stacking
- has attached mansard mezzanine
- taking advantage of the slope roof
hence allowing it to function as a
theatre

69. Plant Spaces
- functional spaces which
are born in between the
two stacked floors
- spaces which function
to store mechanical
services and equipment
- recessed and hidden
within the core to
enhance stacking

70. - floor height are in direct relevance
with the interior function of the space
- public and privacy of the interior spac
determines its height
- relationship with its context (view
framing)
Floor Height
Proportion:
INTER-RELATABLE
HEIGHT & SPACES

71. Information Lobby &
Foreign Exchange 1F &
Tourist Information 2F
- a double volume floor to
ceiling height
- to enhance openness and
approachability
- public function
Office & Group Tour Support
3F
- a normal volume space with
a standard floor to
ceiling height
- private function which are
mainly for staffs and
management
Multipurpose Hall 6F
- sloped & slanted mansard
- suited towards the space
functioning as a theatre
(typology)
- high to low view which is
in relation with the
context views
- tiered views and
perspectives

72. Relationship with its context
- framing different views and
perspectives from different
heights
- spacing and openings in
fenestrations varies with regards
to the context
- higher heights of different
facets of each elevation of the
building
- Lower facets provides direct
interaction with the urban
streets within proximity of the
building
- Higher outreaching facets
functions as vantage points
towards the Senso-Ji

73. Spatial quality &
gradation
Elimination of strong and
visually impactful
materials
Small, thin, lightweight
Precedented by nature
Primitive & simple
Materialit
y &
Texture

74. Timber louvres
- depict the
traditional
Japanese
construction
- usage of
natural cedar
wood
- contemporary
definition
and portrayal
of Koshi
Glass
- eliminatio
n of
visually
heavy
materials
- glass
carved
with art
motifs
dating
back to
Edo period
a direct
depiction
of Edo-
Chiyogami
- substitute
for paper
in between
timber,
OKU

75. Reference List:
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