Table of contents

Abstract - 2

1.0 Introduction

1.1 Introduction to Building - 4

1.2 Questions - 5

2.0 Traditional Japanese Architecture and the use of Nature

2.1 Introduction to Japanese Architecture - 6

2.2 Nature in Japanese Architecture - 7

2.3 Closer look at the design elements – 7

2.4 Effectiveness of the Elements in Ventilation and Illumination - 10

3.0 Natural Elements in Azuma House

3.1 Introduction to the Use of Natural Elements in the Azuma House - 12

3.2 The Effectiveness of the Azuma House in Natural Ventilation and Illumination - 14

4.0 How does the use of such elements make the user feel? - 15

Conclusion - 17

References - 18

4.1

1

Abstract

The purpose of my study is to investigate the use of natural elements present in Japanese

Architecture and in the Azuma House. These natural elements provide a means of ventilation and

illumination and has been a staple in such architecture. Therefore, it is important to identify the

effectiveness of such natural elements and the ways in which these elements can be modernised

and adopted into contemporary architecture.

In order ensure the validity of my information and research, I refer to multiple resources from

internet articles, interviews and books, regarding the use of natural elements in Japanese

Architecture and the thoughts and vision Tadao Ando held during the creation of the Azuma House.

In order to obtain a greater understanding of the topic at hand, I have looked at the Celluloid Jam by

N Maeda Atelier located in Yokohama, Japan, and traditional Japanese homes as a means of

providing a broader range of the use of natural elements in traditional and contemporary buildings.

Through these case studies I have developed a better understanding of the ideals that come from

Japanese Architecture and how Tadao Ando has adopted these ideals and principles in creating the

Azuma House, in which he designs an inner courtyard similar to traditional buildings designed in the

style of Shinden-zukuri, in which symmetrical spaces are placed to form inner gardens that help

blend the building in with the overall site. However, Tadao Ando, does this to a certain extent,

however omitting the concept of blending in, and instead uses it as a method to create a contrast

from the general surroundings in an attempt of providing nature in a site that otherwise would not

have. However, with the Celluloid Jam, the incorporation of nature becomes more intangible and

this can be seen as a modern adaptation of the ideas and philosophies of the use of nature in

Japanese Architecture. Instead of a direct response to the nature that surrounds the Celluloid Jam,

Maeda attempts to create a structure which flows together with the land though not mimicking it.

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When compared to the use of natural elements used in traditional Japanese houses, one can see the

more literal approach, such as Shoji walls that are used to provide open walls that allow ventilation

as well as natural sunlight to enter these spaces and the use of natural materials such as wheat and

wood. As you can see, this development from the traditional to the contemporary, seems to lose the

more functional aspects of the ideals and properties of Japanese Architecture in attempt of creating

poetry. This may be due to the development of technology and how the rapid modernization and

ease of living provided by said developments tend to omit the need for such strategies and with this

reliance in technology has made our species, as a whole - weaker.

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1.0 Introduction

1.1 Introduction to Building

The Azuma House, designed by Japanese Architect, Tadao Ando, is among one of his earliest

projects. Located in a small neighbourhood in Sumiyoshi, Osaka, the Azuma House was completed

sometime in 1976. It’s flat and robust concrete façade is a major contrast to the surrounding

buildings where the Azuma House is located, which, at that time, were traditional wooden Japanese

style houses. Tadao Ando fancies himself to be an anarchic architect, in the sense that he strives to

go against norms in conventional architecture, choosing to design more bold and eccentric buildings.

The Azuma House is symmetrical in its overall design with a centralized courtyard wedged in

between two blocks of spaces, both split into two floors. The purpose of this courtyard is mainly

used for ventilation and lighting, but it is also used to expose the occupants to nature as much as

possible. This is because in order to move from one of these spaces to the other, one would have to

traverse through the courtyard. According to Tadao Ando, this was intentional as his goal for the

Azuma House was to incorporate nature into the lives of the occupants of the Azuma House. Located

in this courtyard is also a sky bridge that connects the two first floor spaces together and the only

staircase leading to the first floor, both of which aren’t sheltered. This helps enforce Tadao Ando’s

vision of the Azuma House.

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Figure 1: Floor Plan of the Azuma House with the entrance on the left and the courtyard located in the center.

The overall size of the Azuma House isn’t too massive as well, being only approximately 34 meters

square in its total building area, it fits snuggly into its 57 square meter site.

1.2 Questions

In order to help keep my study on track, I have proposed five questions that I aim to answer

as I progress along with this paper. The following five questions are;

Question 1: (Intro) What does it mean by natural elements in the context of Japanese Architecture?

Question 2: How effective is the incorporation of natural elements in terms of Lighting and

Ventilation?

Question 3: Comparison of the natural elements as used in Japanese Architecture and the Azuma

House.

Question 4: How do these factors affect the overall living experience of the user in terms of both

Japanese Architecture and the Azuma house?

Question 5: How can the current practices in Japanese Architecture and in the Azuma House be

utilised to help design sustainable buildings?

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2.0 Traditional Japanese Architecture and the use of Nature

2.1 Introduction to Japanese Architecture

Japanese Architecture, like most other types of architecture in the past, were based on

religion. Shinto, the primary religion of Japan, focuses on the idea of ‘Kami’, spirits that are found in

everything both organic and inorganic. Stones, trees, leaves, dirt and animals all have spirits with in

them and therefore, architects believe it is important in some way shape or form to appease them

with their architecture. That is why nature can be seen incorporated into Japanese architecture

often and is through this that we see and understand the importance of nature in Japanese

Architecture.

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Figure 2: Painting of one the more famous ‘Kami’, Amaterasu, the sun goddess.

2.2 Nature in Japanese Architecture

Besides the process of appeasing the ‘Kami’ of the land in which the buildings are being built

on, nature incorporated into Japanese Architect also shows itself in the form of the building and

design elements of most Japanese Buildings. While in other parts of the world, buildings tend to be

taller and aim to be high, with each new skyscraper being taller than its predecessor. On the other

hand, when looking at Japanese architecture, buildings tend to be wider and often times low lying.

This is partly due to the respect that Japanese Architects aim to give towards the respective ‘Kami’

and to blend in and be one with nature. Other design elements as well, such as;

A. Shoji Walls – Thin Paper Walls

B. Use of Natural Materials – Woods and Straw mats (Tatami)

C. Courtyard House – Openings in the centre of the house that allow ventilation and natural

lighting.

All these elements come together help bring the building closer to nature by essentially

amalgamating both built environment and natural environment in to a singular design.

2.3 Closer look at the design elements

2.3a Shoji Walls

Shoji Walls are paper walls that are held inside a wooden frame. These walls are modular

and can be moved around to open up rooms to make spaces feel bigger. Not only that, the Shoji

Walls can be opened to the outside to allow ventilation and natural daylight to enter into these

spaces. As I said earlier, this openness towards the outside is some of the ways of how Japanese

Architecture aims to be closer to nature.

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2.3b Natural Materials

The use of natural materials in Japanese Architecture was through the concept of blending in

with the environment, being in a state of harmony and balance with one’s surroundings. In his book

‘The Creators (1992)’, Daniel Boorstin explains, in his opinion, that Western Architecture is based on

the idea of using hard stone in order to stand out from one’s surroundings, while on the other hand

Japanese Architecture is about the seeing the beauty in its surroundings and using it as a strength,

incorporating as much of it to form a sense of harmony and balance.

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Figure 3: Shoji walls being opened to reveal the outside and allow wind and light through

Figure 4: The use of wood is very evident in traditional Japanese shrines.

This use of natural elements is more prevalent in older buildings, namely in Japanese shrines

and ancient Japanese castles, but it can be seen still being practiced in more modern designs, though

nowadays, other, more cost effective materials are in – favour.

2.3c Courtyard House

The courtyard house was, essentially, a house with small enclosed courtyard in the centre.

This provided a space that was open to nature, in which the residents of the building could use. It

provided the building with not only ventilation but light as well and the ability of being outside

without any of the worries and dangers of intruders. This closeness and being one with nature again,

helps enforce the idea of the importance of nature in Japanese Architecture.

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Figure 5: View of the inside courtyard in traditional Japanese homes.

2.4 Effectiveness of the Elements in Ventilation and Illumination

When looking at the aforementioned design elements used in Japanese Architecture, we can

see how they contribute in creating natural ventilation and illumination.

The use of Shoji walls in promoting natural ventilation and illumination works very well, as

its modularity allows for a much better control of the temperature inside the house and the overall

luminosity of the space. This lessens the need for the use of mechanical methods of ventilation and

illumination. Cost wise too, Shoji walls are cost effective, being only made of paper and wood most

of the time.

The use of the internalized courtyard as well, in order to create a space which can aid in the

process of natural ventilation and illumination has been proven to be effective and is still used in

modern architecture. Most notably the Toronto Courtyard House by Peter Tan and Christine Ho Ping

Kong of Studio Junction, located in Toronto.

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Figure 6: Another example of an opened Shoji wall to allow light into the space.

Figure 7: The inside of the Toronto Courtyard House

Figure 8: The outside of the Toronto Courtyard House

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3.0 Natural Elements in the Azuma House

3.1 Introduction to the Use of Natural Elements in the Azuma House

Now that we have a general understanding of how nature is incorporated in Japanese

Architecture, let us take a look at how Tadao Ando, develops these concepts and apply them in the

Azuma House.

When looking at the Azuma House, we must understand the vision and concept of Tadao

Ando at the time when conceiving the Azuma House. Tadao Ando’s vision for the Azuma House, was

to design a building in which nature was a daily routine of the occupants of the Azuma House’s lives,

where in order to move from one space to the other, the user would have to go through the

courtyard in the centre. Its use of concrete and the way the Azuma House was designed was to shun

the surrounding buildings around it, making the only view in the house, a view of the sky.

Even though Tadao Ando claims to rebel against the norms and standards, he does draw

some inspiration from traditional Japanese Architecture. One in particular, is the courtyard style of

planning that is widely used in traditional Japanese Architecture. There is no denying that the Azuma

House follows this style of planning with the open courtyard in the centre and how all the other

spaces all face this one open space. Idealistically both may appear different at first glance, but they

fill a similar role - a space that is meant for bringing its occupants closer to nature and used as a tool

to aid the building in both natural ventilation and lighting.

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Figure 9: The courtyard located in the Azuma House

Another design element in which Tadao Ando has drawn inspiration from and adapted to a

more modern rendition, is the symbolical representation of Shoji walls through the glass curtain wall

facing into the courtyard on all four spaces of the Azuma House. Both being modular and both

serving the purpose of allowing light and wind to pass through and to make the spaces or rooms feel

larger than they actually are.

Figure 10: Glass Wall in the Azuma House

Figure 11: Example of Shoji Wall

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3.2 The Effectiveness of the Azuma House in Natural Ventilation and Illumination

We now know how Tadao Ando has adapted the design elements used by Japanese

Architecture in pursuit of blending both the built medium and the natural one, however, now it’s

time to look at how effective the Azuma House is when it comes to natural ventilation and

illumination.

First thing we will look at would be ventilation. This may come as a surprise but there are no

forms of mechanical cooling and heating employed in the Azuma House. All forms of heating and

cooling are through the design of the Azuma House and through the use of material. Through the

introduction of the central courtyard, the Azuma house uses the stack effect in order to remove

rising heat. Cross ventilation cannot occur due to the way the building is situated and the fact that

Tadao Ando does not create any forms of openings in the elevations of the Azuma House. However,

this design choice might be intentional as the of cross ventilation opens the Azuma House to its

surroundings more so than using the stack effect would and would otherwise, defeat Tadao Ando’s

concept of separating the house from its surroundings.

Through the incorporation of the glass walls, Tadao Ando has create a big surface in each

room in order to allow light to enter the spaces. However, because of the way the glass walls are

situated, facing the internal courtyard, it is not as effective at allowing light throughout the day. This

serves a problem as there no other openings in which natural lighting can occur due to Tadao Ando’s

design.

All in all, Tadao Ando’s design seems to work, but due to his idea and concept of sheltering

from one’s surroundings, the Azuma House isn’t as effective as it could be. Certain design choices

that could’ve been made to significantly improve the overall effectiveness of the Azuma House’s

natural ventilation and illumination had to be forgone.

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4.0 How does the use of such elements make the user feel?

Another aspect of my research, is to analyse the end user experience in which these

elements provide. In our current age, one of the key factors when it comes to designing buildings is

the overall experience the end user receives. It is a main driving factor in which all architects aim to

provide. Therefore, I feel it is important to analyse the overall atmospheric qualities as well as how

convenient or inconvenient these design elements are.

In the context of Japanese Architecture, the use of such materials creates a sense of

harmony between man and nature. The balance that Japanese Architecture strives to achieve

creates an environment of peace and serenity, through the use of Shoji walls and courtyard style of

planning. The use of natural materials gives a warm atmosphere and overall homeliness towards it

all and it creates and overall positive experience to the end user.

However, when looking at the Azuma House and how the use of such elements will affect

the user, it starts to look a little bit iffy. The idea of providing a space of nature that must be

traversed in order to go from one space to the other, as a means of forcing the user to experience

nature as much as possible at home, sounds great in theory. However in practice, this takes away

the sense of choice by making it compulsory, and is very inconvenient, if not mildly, to the end user

as they are forced to face the elements if they were to attempt to leave their room to go to the

kitchen and get a snack.

The use of materials, as well, though effective in keeping temperatures at a steady rate

during winters, does not feel very welcoming. And although the use of wood for the flooring helps

provide a sense of warmth to each space, it doesn’t capture the same warmness experienced in

traditional Japanese Architecture.

Overall, when comparing the end user experience, one must understand that Tadao Ando’s

intentions were never to create an environment that was comfortable to live in, if anything, it was

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meant to be purposefully uncomfortable. And when comparing that to the minimalistic lifestyle of

Japanese people and the concept of zen and peace, clearly there is going to be a massive difference

in overall comfort and end user experience. In our current day and age, in which we use mechanical

methods in order to cool our buildings in order to achieve comfort, Tadao Ando uses the design of

the Azuma House in order to break from the norm and introduce a new way of inhabiting a space.

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Conclusion

Through my case study and the analysis of Japanese Architecture and the Azuma House, the

design elements that were used by both parties can be used intermittently in order to create

sustainable designs. Both have effectives design choices that will remain effective for many years to

come. Whether it be the use of courtyard style of planning or the use of shoji walls (in the case of

Japanese Architecture) or glass walls (in the case of the Azuma House) in order to decrease the need

for mechanical ventilation. The constant adaptation and development of the old techniques can only

lead to new and interesting forms and strategies.

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References

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architecture/

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2016, from http://www.treehugger.com/green-architecture/after-2000-years-courtyard-houses-

are-all-rage-again.html

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Retrieved 24 June 2016, from https://en.wikiarquitectura.com/index.php/Azuma_House

4.0 Azuma Row House by Tadao Ando | Designing Architecture to Purposefully Make People Feel

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5.0 Boorstin, D. (1992). The creators. New York: Random House.

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TRADITIONAL HOMES | Facts and Details. Factsanddetails.com. Retrieved 28 June 2016, from

http://factsanddetails.com/japan/cat20/sub129/item687.html

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12.0 Row House | ArchiTravel. (2016). ArchiTravel. Retrieved 24 June 2016, from

http://www.architravel.com/architravel/building/row-house-azuma-house/

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References – Images

Figure 1: https://cristinaolucha.files.wordpress.com/2013/05/azuma.jpg

Figure 2: http://www.ancient.eu/uploads/images/981.gif?v=1431036092

Figure 3: https://upload.wikimedia.org/wikipedia/commons/e/e1/Takamatsu-Castle-Building-

Interior-M3488.jpg

Figure 4: http://www.timetravelturtle.com/wp-content/uploads/2013/05/Japan-2013-1658_web-

lrg.jpg

Figure 5:

https://s-media-cache-ak0.pinimg.com/736x/46/59/24/46592491502b9041352329bd2420e202.jpg

Figure 6: http://www.cherrytreedesign.com/assets/img/max/shoji-tearoom-window-

treatments_max.jpg

Figure 7: http://www.houseporn.ca/media/uploads/blog/Studio_Junction_Courtyard_House_06.jpg

Figure 8: http://www.junctioneer.ca/wp-content/uploads/2008/12/the-courtyard-house-2.jpg

Figure 9: http://4.bp.blogspot.com/_zbAB3Q264wY/TDIcqgaVBsI/AAAAAAAAAKs/3IrfKw1ussY/

s1600/Azumahouse-courtyard.jpg

Figure 10: http://payload.cargocollective.com/1/1/34308/1856322/upstairs6_905.jpg

Figure 11: http://blog.cherrytreedesign.com/wp-content/uploads/2014/01/japaneseroom.jpg

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