Final asian architecture

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: 29 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

3
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 TIMELINE AND HISTORY
3.1 History of Japanese Palace of Architecture
It was heard that the main Japanese palaces were worked around
the eleventh century, yet the vast majority of the individuals who can visit
are from the 16th and 17th century. This period and all the more definitely,
the Edo Period (starting in 1600) is viewed as the Golden Age of
Japanese palaces. Kyuden was worked amid this zone.

Figure 3.0: Timeline of Japanese Palace Architecture

Figure 3.1: The evolution of the ‘main idea’ caharacteristics of
Japanese palace architecture

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Fortification amid Heian period (794 – 1185) was constructed altogether
out of wood and was predicated to a great extent on prior modes, which
is by Chinese and Korean examples. They were started to wind up more
immensely to oblige all the more sizable voluminous armed forces and to
be considered as more lasting structures. This method of fortification
grew progressively from before modes and utilized all through the wars of
the Heian period (770-1185). Castle buildings turned out to be genuinely
detailed, containing various structures, some of which were very mind
boggling inside, as they now suited as homes, command centres, and
various different purposes.
The size and type of castle conitues amid Sengoku Period (1185 – 1333).
The beginnings of the shapes and styles now thought to be cliché "great"
Japanese royal residence configuration rose, and castle towns were
moreover showed up, developed and created. Notwithstanding these
advancements, however, for the vast majority of the Sengoku period royal
residence remained basically more sizable, more multifaceted renditions
of the straightforward wooden strongholds of centuries prior.
Proceeding onward to amid Azuchi-Momoyama Period (1586 – 1600)
where the royal residence was situated on a plain, as opposed to on a
thickly forested mountain and depended more vigorously on engineering
and artificial resistances than on its indigenous habitat for support. These
elements, alongside the general appearance and association of the
Japanese chateau, which had developed by this point, have come to
characterize the cliche Japanese palace.

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Edo period (1603 – 1868) palaces be that as it may, were no longer had
safeguard against outside powers as their basic role. Rather, they suited
basically as rich homes for the majestic families and specialists and to
ensure them against laborer uprisings and other inward insurgences.
Despite the fact that there were now and again, confinements on the size
and decorations of these castles, however the Emperors attempted
however much as could reasonably be expected to use their palaces as
representations of their intensity and riches. The general architectural
style did not transmute much from more military times but rather the
furniture and indoor arrangements could be very extravagant.
In the middle of Edo Period and Modern time of Japan, there was period
called Meiji Period (1868 – 1912) where Japan began to fuse with
western architecture. In this time of insurgency where the utilization of
steel, cement and glass were connected.
Figure 3.2: The Kyuden shortly after its completion in the late 1800s

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In the Modern period of Japan (1868 – Present), a significant number of
the rest of the palaces in Japan today are recreated, some of them made
basically of concrete and planned just to represent or take after the
flawless wooden structures. Propelled innovation and different
composition are utilized. Nevertheless, all palaces alongside various
destinations of verifiable or significant nature, are fore battled under a
progression of laws declared for that indication.
In view of Figure 3.3, Figure 4 and clarifications above, Kyuden, for sure,
an impeccable case, of royal residence that was made amid Meiji Period.
Despite the fact that it was initially worked amid Edo Period yet it was
then reproduced amid later times which coming about it to plan in
Figure 3.3: Images of old Kyuden palace, during old
Meiji era that was destoryed during WWII

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modernist style comprises of the mix of customary and advanced
qualities.
4.0 INTRODUCTION
4.1 Tokyo Imperial Palace – Kyuden
Tokyo Imperial Palace is the main living place of the Emperor of Japan. It
is an expansive park-like range situated in the Chiyoda ward of Tokyo which
comprises of four primary grounds – Kitanomaru, Imperial Palace Grounds,
East Garden and Kokyogaien. These four principle grounds are sumptuously
contained historical buildings,encompassed with a water-filled channel.
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 to
facilitate inside is
constrained just two days of
the year, which is amid New
Year's greetings by Their
Majesty and amid Emperor's
birthday.
By referring to Figure 4.0,
Kyuden (shaded) is
arranged in Imperial Palace
Grounds, which is in the
focal point of Tokyo City. It
bodes well from an authentic
point of view whereby Edo
Figure 4.0: Map of Tokyo Imperial Palace

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Castle would have been the concentration of the city of Edo (now alluded as
Tokyo).
4.2 Architectural Style of Kyuden
Initially, the main structures of the Palace grounds including
Kyuden were seriously harmed by the fire of May 1945. At that point, the
Tekenaka Corporation remade it in a modernist style with clear Japanese
building references in that capacity as the vast, gable-hipped rooftop,
sections and pillars. Today's palace comprises of various advanced
structures of steel-encircled
strengthened solid structures
created locally, with two stories
over the ground and one storey
beneath.
Despite the fact that Kyuden (Figure 4.1) is known as one of Japanese's
traditional and authentic palace yet because of the site where its found
has influenced the structural style of the building. It is arranged in the
focal point of a rising city, Tokyo, though the district is grown with cutting
edge high rises and surrounded with elevated structures, up to 20 stories
high.
Aside from the type of the structures, tallness, pressure and spatial
hierarchy order that are no doubt takes after the traditional palace of
Japanese architecture – Kyuden however is planned with a ferro-
concrete of advanced twentieth century style, joined with restricted
Japanese architecture subtle elements as to fit in into the site setting.
Figure 4.1: Tokyo Imperial Palace -
Kyuden

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Figure 5.0
Kyuden is regularly mixed up as an extravagant building with traditional
outlines and vivid decorations yet it doesn't match such assumptions.
This however, explains Research Question 1, in which site context is
undeniably effects the way of Kyuden was constructed.
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 were 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 woods that are covered with traditional writings.

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Besides that, another traditional element implement into Kyuden is the
movable partition wall called ‘Fusuma’. This can also be shown in Figure
5.1. 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.
Unfortunately, Kyuden
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 5.3) 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
Figure 5.1: Timber finishes in interior of Kyuden
Figure 1: Paintings of
Kaede (maples) - left
drawn by Houshun
Yamaguchi and Sakura
(cherry) - right drawn by
Meiji Hashimoto
Figure 5.2: Images of interior of
Kyuden (current) with modern
decorations and style

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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
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 are
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
buildings, as they cannot feel warm being indoors.
Moving on to the modernised roof structure in Kyuden. The biggest
drawbacks 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-shafts in
Figure 9 are wooden yet they are worked 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 6.0) connections utilizing wooden wedges and pegs to
secure the joints.
Figure 6.0: Kyuden's entrance with wooden
post-and-beam structure

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6.1.2 Methods of Preservation
Where long individuals are required, grafted connections with
wedges and pegs are utilized 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 6.1: Traditional Japanese mortise-and-tenon joints

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6.2 Wall
6.2.1 Choice of Material
Based on Figure 6.2, 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 6.2: 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
airflow even when shut to the outside elements that can flow
through the spaces between the wooden walls. All of these
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
Figure 6.3: Traditional Japanese wooden walls

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logged. In addition, in 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 extends out
and up from each side of the rectangular structure. Partway up two
of the shorter opposite sides are stopped and the remaining two
extend to the top where they are joined. Usually, the Irimoya style
roof was found used in temples and upper class houses (shoin) as
it is to show the power and wealth of the occupants. It is also
possible to find this type of roof on a farmer’s house. The
differences between those two are that the upper class Irimoya is
an addition of hisashi around the moya while the farmer’s Irimoya
is the result of openings under the ridgepole.
Figure 6.4:
Evolution
of
Japanese
roof
architectur
e

19
It would be impossible to build without an elaborate timber structure,
especially without access to metal braces and fasteners, as the
Kyuden roof is heavy and cantilevered. In country like Japan where
the need to resist typhoons is there, 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 6.5: Clear elevation view of Kyuden's wall
structure

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Figure 6.6: Images of interior roof of Kyuden
It is believed that metal fasteners are not as lasting as 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 poorly cured wood, they can be loosened by regular
shrinkage and expansion of the surrounding material, and when
exposed to the air they are quick to oxidize in Japan’s humid
climate.

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7.0 CONCLUSION
From the case study of Tokyo Imperial Palace, Kyuden, we were able to analyze
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 locals to the value of
traditional methods.

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/8.0 REFERENCES
1. The Imperial Family (2016). The Imperial Palace. Retrieved November 13,
2016, from http://www.kunaicho.go.jp/e-about/shisetsu/kyuden-ph.html
2. JAPANESE CASTLE HISTORY - Go Japan Go. (2016). Gojapango.com.
Retrieved 15 November 2016, from
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_Tr
aditional_Japanese_Architecture
7. Kohtz, A. (2016, October 25). Wood, Mold, and Japanese Architecture.
Retrieved November 13, 2016, from http://www.nippon.com/en/views/b02314/

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