AA report yaw

1. Asian Architecture [ARC 60403 /2234]
PROJECT PART B: CASE STUDY
RE-ADAPTATION OF TRADITIONAL SUPERSTRUCTURE INTO
A MODERNIZED JAPANESE PALACE, KYUDEN TO MAINTAIN
ITS LOCAL IDENTITY
TOKYO IMPERIAL PALACE, KYUDEN
STUDENT NAME & ID: AFIQAH ZAHRA BT ZAINOL RASHID (0315867)
AMEER FARHAN BIN RAMLAN (0319304)
NIK AFIQ AMADI BIN NIK ABDULLAH (0317749)
NUR ZALIQAL BT ZAHER (0317121)
NURIN BINTI ABDULLAH (0318596)
NURINA AIDA BT GHIZAN (0320035)
LECTURER: MS IDA MAZLAN
SUBMISSION DATE: 15 NOVEMBER 2016, TUESDAY

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RE-ADAPTATION OF TRADITIONAL SUPERSTRUCTURE INTO A
MODERNIZED JAPANESE PALACE, KYUDEN TO MAINTAIN ITS LOCAL
IDENTITY
TABLE OF CONTENT PAGE
1.0 Abstract………………………………………………………………………3
2.0 Research Framework………………………………………………………4
3.0 Introduction
3.1 Tokyo Imperial Palace – Kyuden………………………………….5
3.2 Architectural Style of Kyuden………………………………………6
4.0 Timeline and History
4.1 History of Japanese Palace Architecture…………………………7
5.0 Architectural Aspects of Kyuden
5.1 Traditional Characteristics vs Modern Characteristics…............11
5.2 Disadvantages of Applying Modern Characteristics…………….13
6.0 Modification of Kyuden’s Superstructure
6.1 Post and Beams
6.1.1 System of Joinery…………………………………………14
6.1.2 Methods of Preservation…………………………………15
6.2 Wall
6.2.1 Choice of Materials……………………………………….16
6.2.2 Aesthetics………………………………………………….17
6.3 Roof
6.3.1 Roof Structure……………………………………………..18
6.3.2 Choice of Material…………………………………………19
7.0 Conclusion……………………………………………………………………21
8.0 References……………………………………………………………………22

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1.0 ABSTRACT
Japan, although a secluded island, it was tied to the international realm,
especially after becoming a major commercial, industrial, and technological
pioneer in the '60s. The increasing bonds between Japan and the western world
affected Japanese society as well as the local architecture. The development of
Japanese architecture after ‘70s, however, was a continuation of the neo-
modern movements. Thus, postmodernism in Japan appears to be less a
stylistic movement and more a change in cultural adaptation that fundamentally
affected modernism. With the loss of depth in Japanese traditional architectural
theory, buildings have lost their own uniqueness after it has been replaced. In
the age of globalization, the architects' challenge remains not only to preserve
national identity while establishing personal style, but also to consider
environmental concerns that have become prominent in architecture of the new
century.
Our chosen building, Tokyo Imperial Palace, Kyuden has definitely been
influenced by the western. The notable Japanese traditional features such as
timber framing structures and system of joinery are mostly absent in the building
simultaneously affected on its local identity and aesthetically. Its identity has
been changed throughout the reconstruction over the years and the significance
story that the building holds is not as prominent as it used to be. Therefore, this
research will emphasize on the uses of Japanese traditional elements in
adapting the modernized building to its original site context and maintaining its
local identity. As the neighboring buildings have been designed with Japanese
traditional style, the concept of adaptation will be applied on this issue in
maintaining its originality. A deeper analysis will be carried to capture the
importance of applying traditional architecture in local building.

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2.0 RESEARCH FRAMEWORK
Research Questions:
Question 1: How does the site context affects the architectural style of Kyuden
as one of the Japanese Imperial Palace?
Question 2: What are the architectural aspects (traditional vs western) that
influenced the design of Kyuden?
Question 3: What are the disadvantages of combining traditional and western
architectural style?
Question 4: What are the dominant elements that causing Kyuden losing its
local identity?
Question 5: What are the modifications that can be applied to Kyuden to
sustain its local identity?
Question 6: How does the choice of materials used in Kyuden affect its
functionality, aesthetically and identity?

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3.0 INTRODUCTION
3.1 Tokyo Imperial Palace – Kyuden
Tokyo Imperial Palace is the primary residence of the Emperor of Japan.
It is a large park-like area located in the Chiyoda ward of Tokyo which
consists of four main grounds – Kitanomaru, Imperial Palace Grounds, East
Garden and Kokyogaien. These four main grounds are lavishly contains of
historical buildings with surrounded with a water-filled moat. It is historically
to provide a preliminary line of defence and also act as sewerage.
Kyuden, is a two-storey above ground and 1 storey below structure which
used for both receiving state guests and holding official state ceremonies.
The access to the inner ground however is very restricted. Access further
inside is limited only two days of the year, which is during New Year’s
greetings by Their Majesty and during Emperor’s birthday.
By referring to Figure 1,
Kyuden (shaded) is situated
in Imperial Palace Grounds
which is in the centre of
Tokyo City. It makes sense
from a historical
perspectives whereby Edo
Castle would have been the
focus of the city of Edo (now
referred as Tokyo).
Figure 1: Map of Tokyo Imperial Palace

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3.2 Architectural Style of Kyuden
Originally, the main buildings of the Palace grounds including
Kyuden were severely damaged by the fire of May 1945. Then, the
Tekenaka Corporation reconstructed it in a modernist style with clear
Japanese architectural references as such as the large, gable-hipped
roof, columns and beams. Today’s palace consists of multiple modern
structures of steel-framed reinforced concrete structures produced
domestically, with two stories above ground and one story below.
Even though Kyuden (Figure 2) is
known as one of Japanese’s
traditional and historical palace but
due to the site where its located
has affected the architectural style
of the building. It is situated in the
centre of developing city, Tokyo
whereas the region is sprouted
with modern skyscrapers and
densely surrounded with high-rise buildings, up to 20 stories.
Apart from the form of the buildings, height, compression and spatial
hierarchy that are most likely resembles the traditional palace of
Japanese architecture – Kyuden however is designed with a ferro-
concrete of modern 20th century style, combined with limited Japanese
architecture details as to fit in into the site context.
Kyuden is often mistaken as a luxurious building with traditional designs
and colourful ornaments but it does not match such an assumptions.
This however, explains Research Question 1, in which site context is
undeniably effects the way of Kyuden was constructed.
Figure 2: Tokyo Imperial Palace -
Kyuden

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4.0 TIMELINE AND HISTORY
4.1 History of Japanese Palace of Architecture
It was heard that the first Japanese palaces were built around the
11th century, but most of those which can visited are from the 16th and
17th centuries. This period and more precisely, the Edo Period (staring in
1600) is considered the Golden Age of Japanese palaces. Kyuden was
built during this area.
Figure 3: Timeline of Japanese Palace Architecture
Figure 4: The evolution of the ‘main idea’ caharacteristics of
Japanese palace architecture

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Fortification during Heian period (794 – 1185) were built entirely out of
wood and were predicated largely on earlier modes which is by Chinese
and Korean examples. They were commenced to become more
immensely to accommodate more sizably voluminous armies and to be
conceived as more permanent structures. This mode of fortification
developed gradually from earlier modes and used throughout the wars of
the Heian period (770-1185). Palace complexes became fairly elaborate,
containing a number of structures, some of which were quite intricate
internally, as they now accommodated as residences, command centres,
and a number of other purposes.
The size and form of palace continues developing during Sengoku Period
(1185 – 1333). The commencements of the shapes and styles now
considered to be stereotypical "classic" Japanese palace design emerged
at this time, and palace towns were additionally appeared, grew and
developed. Despite these developments, though, for most of the Sengoku
period palace remained essentially more sizably voluminous, more
intricate versions of the simple wooden fortifications of centuries earlier.
Moving on to during Azuchi-Momoyama Period (1586 – 1600) where the
palace was located on a plain, rather than on a densely forested
mountain and relied more heavily on architecture and manmade
defenses than on its natural environment for auspice. These features,
along with the general appearance and organization of the Japanese
castle, which had matured by this point, have come to define the
stereotypical Japanese castle.
Edo period (1603 – 1868) palaces however, were no longer had defence
against outside forces as their primary purpose. Rather, they

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accommodated primarily as luxurious homes for the imperial families and
workers and to protect them against peasant uprisings and other internal
insurrections. Though there wereat times, restrictions on the size and
furnishings of these castles, but the Emperors tried as much as possible
to utilize their palaces as representations of their potency and wealth.
The general architectural style did not transmute much from more martial
times but the furnishings and indoor arrangements could be quite lavish.
In between Edo Period and Modern era of Japan, there was period called
Meiji Period (1868 – 1912) where Japan started to incorporate with
western architectural designs. In this period of revolution where the use
of steel, concrete and glass were applied.
Figure 5: The Kyuden shortly after its completion in the late 1800s

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In the Modern era of Japan (1868 – Present), many of the remaining
palaces in Japan today are reconstructed, some of them made primarily
of concrete and designed only to represent or resemble the pristine
wooden structures. Advanced technology and diversed architectural are
used. Nevertheless, all palaces along with a number of sites of historical
or natural consequentiality, are forfended under a series of laws
promulgated for that purport
Based on Figure 3, Figure 4 and explanations above, Kyuden, indeed, a
perfect example, of palace that was created during Meiji Period. Even
though it was originally built during Edo Period but it was then
reconstructed during later eras which resulting it to design in modernist
style consists of combination of traditional and modern characteristics.
Figure 6: Images of old Kyuden palace, during old
Meiji era that was destoryed during WWII

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5.0 ARCHITECTURAL ASPECTS OF KYUDEN
5.1 Traditional Characteristic vs. Modern Characteristics
To answer Research Question 2, Kyuden consists of both
Japanese traditional and western characteristics. One of the traditional
characteristics that was applied into the building is timber as the choice of
material. Wood/Timber is used as the some part of the structures,
ceilings, finishes and decorations. The wooden ceilings and interior walls
are finished with wood that are covered with traditional writings.
Besides that, another traditional element implement into Kyuden is the
movable partition wall that are called ‘Fusuma’. This can also be shown in
Figure 7. It allows the internal configuration of a space to be customized
for different types of occasions. Beautiful floral paintings are used as
decorations as it is one of the common Japanese traditional aspects and
every of the paintings has its own story, Figure 8.
Figure 7: Timber finishes in interior of Kyuden

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Unfortunately, Kyuden consists of mostly western characteristics
rather than traditional. The most prominent one is the super-structures of
Kyuden: walls, post and beams, flooring and roof. The walls of Kyuden
are made out of steel-framed concrete. Kyuden’s interior (Figure 9) has a
mixture of traditional and western. For example, the flooring of the lobby
are built with black granite, marble and pine wood while the floors of the
public rooms are covered with parquets and carpets. A large crystal
chandelier that is hanged from the coved brightly covered ceiling also
contributes to the western characteristics. Lastly, the interiors are filled
with western influenced furniture such as the high chairs, high tables and
heavy curtains.
Figure 8: Paintings of
Kaede (maples) - left
drawn by Houshun
Yamaguchi and Sakura
(cherry) - right drawn by
Meiji Hashimoto
Figure 9: Images of interior of
Kyuden (current) with modern
decorations and style

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5.2 Disadvantages of Applying Modern Characteristics
By implementing modern characteristics into a traditional and
historical building causing the palace, Kyuden losing its local identities.
The characteristics are only specified into superstructure elements as
such, post and beams, walls and roof.
Post and beams which were steel-constructed in Kyuden is
probably one of the huge flaws of the construction. Not only that it is
costly but it is also susceptibility to rotting. Some posts are on the exterior
of the palace expose to outside air and rains which allows the structural
elements to rot over long periods of time.
The steel structured wall however results in the losing of strength
at high temperature during winter. For a building which sits in the country
of seasonal temperatures, this is something very unfavourable for the
occupants of the palace, Their Majestry, workers and visitors to be in the
building as they cannot feel warm being indoors.
Moving on to the modernised roof structure in Kyuden. The biggest
draw backs to having a concrete roof, is leak detection. Once it gets a
leak, user may never find it. The water can travel for hundred of feet
before becoming evident. The main disadvantage is also cost. Forming,
pouring, and supporting a concrete roof will typically be more expensive
than wood frame construction.

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6.0 MODIFICATION OF KYUDEN’S SUPERSTRUCTURE
6.1 Post and Beams
6.1.1 System of Joinery
The fundamental characteristic of Japanese architecture is the
wooden post-and-beam structure. Kyuden’s post-and-beams in
Figure 9 are wooden but they are built as one. Instead of being
nailed together as applied on Kyuden currently, it should be
modified into the traditional Japanese post-and-beam that consist
of a system of joinery in which the structural members meet at
right angles and are joined by designates of mortise-and-tenon
(Figure 11) connections utilizing wooden wedges and pegs to
secure the joints.
Figure 10: Kyuden's entrance with wooden
post-and-beam structure

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6.1.2 Methods of Preservation
Where long members are required, spliced connections with
wedges and pegs are used to join shorter lengths of wood together.
This structure should be “reversible”, in that it can be
disassembled and reassembled without damage to the members.
With modifying the post-and-beam into this kind of structural
characteristic, it is possible to adopt the technique of “repair with
dismantlement” which is mundane in the conservation of buildings
in Japan. By having the post-and-beam built as one as it is now, it
is harder to be repaired and the whole beam has to be replaced
instead. This proved an ideal way to mitigate any damage from
mold and insects while preserving the economic benefit of the
most durable parts of the palace.
Figure 11: Traditional Japanese mortise-and-tenon joints

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6.2 Wall
6.2.1 Choice of Material
Based on Figure 12, Kyuden is built with steel-framed structure
and concrete walls which were majorly influenced by western
architecture and has lost the originality of its materiality. In a
country where devastating earthquakes are almost as common as
devastating typhoons, having concrete wall is dangerous and
impractical. It should be modified into the rudimentary system of
the Japanese traditional frame structure that is known as “rigid-
frame structure”. This rigid-frame structure is constructed to resist
the bending moment at each joint, but in effect the overall system
acts as a flexible structure which sanctions a certain degree of
flexure and to sway in replication to lateral external forces. This
would be very practical type of system in an earthquake-prone
country such as Japan. The metal fasteners should be modified
into timber or at least installed in well-cured wood and protected
from contact with air because metal fasteners cannot rival the
longevity wood. Additionally, regular stress over time will result in
metal fatigue.
Figure 12: Kyuden's steel-framed concrete wall

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6.2.2 Aesthetic
The walls should be timber to sustain its traditional domestic
materiality and for aesthetic values. Besides that, based on
Japan’s condition of climate, in imperfectly cured wood, they can
be loosened by seasonal shrinkage and expansion of the
surrounding material, and when exposed to the air they are subject
to rapid oxidation in Japan’s humid climate. However, traditional
wooden construction can fight mold by raising the building above
ground level and leaving walls mostly open so that air could flow
freely under, around, and through the entire interior space. Since
relative humidity can be high even in winter, there is an abundant
air flow even when shut to the outside elements that can flow
through the spaces between the wooden walls. All of this modified
walls will help the ventilation to make the palace fairly comfortable
in summer. Conversely, wood gains in strength as the wood ages
and individual cells harden. Calculations show that wood can be
more structurally sound centuries after their initial construction. In
general, wood gains in strength for 200–300 years after being cut.
Strength gradually declines after that point, but only after about a
thousand years will a properly cured timber structure be reduced
to the strength it was when it was originally logged. In addition, in
Figure 13: Traditional Japanese wooden walls

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traditional Japanese wood construction, the timber structure is
almost all open to visual inspection. This means any water entry,
such as from a leaky roof, can be easily identified and dealt with
before mold has a chance to move in.
6.3 Roof
6.3.1 Roof Structure
Kyuden is reconstructed and completed in the year 1968 with steel-
framed-concrete designed in a modernist architectural style but
was still using the beauty of traditional architectural style as
references where large, gable-hipped roof called the irimoya style
was still used.
In the Irimoya style roof there is a side of roofing that elongates out
and up from each side of the rectangular structure. Partway up two
of the shorter opposite sides are stopped and the remaining two
perpetuate to the top where they are joined. The Irimoya style roof
was frequently used in temples and upper class house (shoin)
where it is to resemble majesty's power and wealth. It is also
possible to find irimoya roofs on a farmer’s house. There is a
distinctive difference in those two where the irimoya roof of the
upper class comes from the addition of hisashi around the moya
while irimoya roof of the farmer’s house is the result of opening
windows under the ridgepole, on the upper part of a hipped roof.
Figure 14:
Evolution of
Japanese roof
architecture

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The Kyuden roof is heavy and cantilevered where it would be
impossible to build without an elaborate timber structure,
especially without access to metal braces and fasteners. In
country like Japan where there is the need to resist typhoons,
these heavy roofs would ideally be supported with thick stone or
masonry walls.
6.3.2 Choice of Material
Japan is known for their extreme weather where it can either be
extremely freezing or scorching hot in the summer which then leads
to extreme degree of humidity in monsoon-marked weather. These
are the considerations that the Japanese architects had to consider
in applying their design. In general, proper ventilations are
necessary to the health of inhabitants in all buildings as it is to keep
out of “sick house” syndrome. For Kyuden, although it has been
reconstructed and using steel as frames, wood are still widely used
for its interior ventilation.
Figure 15: Clear elevation view of Kyuden's wall
structure

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It is believed that metal fasteners cannot rival the longevity of all-
wood joints unless installed in well-cured wood and protected from
contact with air. This is why wood was still used as part of the roof
materials. In imperfectly cured wood, they can be loosened by
seasonal shrinkage and expansion of the surrounding material,
and when exposed to the air they are subject to rapid oxidation in
Japan’s humid climate.
Figure 16: Images of interior roof of Kyuden

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7.0 CONCLUSION
From the case study of Tokyo Imperial Palace, Kyuden, we able to analyse that
Japanese traditional features as timber framing structures and system of joinery
in Kyuden’s superstructure which are mostly absent in the building
simultaneously affected on its local identity and aesthetically. However, through
certain modification that we would suggest as part of the solutions, we noticed
that those features may have improve the Japanese architecture’s identity which
people, both visitors and the locals will appreciate more.
Not only that the materials we suggested can be 100% locally manufactured, but
it almost manageable to blend in with the site context despite it is located in the
sub-urban city. Besides that, the re-adaptation of Japanese traditional
characteristics gives a great respect for culture and heritage, as it aims to
restore back what was once lost and educate visitors and locas to the value of
traditional’s methods.

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8.0 REFERENCES
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ph.html
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http://www.gojapango.com/travel/japanese_castles_history.html
3. nternational, A. (2016). Types and History of Castles - Japanese Castles.
Castlesandmanorhouses.com. Retrieved 15 November 2016, from
http://www.castlesandmanorhouses.com/types_07_japanese.htm
4. Mentzer, D. & Mentzer, J. (2014). Japon (1st ed.). [Sèvres]: CEESLI éd.
5. Roofs and Gables. (2016). Retrieved November 13, 2016, from
http://www.jcastle.info/resources/view/114-Roofs-And-Gables
6. Higashino, A. (2016). II - Basic Roof Forms, Structures and
Material. Roof Typology and Composition in Traditional Japanese
Architecture,3-4. Retrieved from
http://www.academia.edu/8291977/Roof_Typology_and_Composition_in
_Traditional_Japanese_Architecture
7. Kohtz, A. (2016, October 25). Wood, Mold, and Japanese Architecture.
Retrieved November 13, 2016, from
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