Eastern Asia (Japanese) architecture

This elegant Buddhist temple, reflected in an ornamental pond on the west bank of the Uji River, was originally a grand villa bestowed upon a powerful local nobleman. Completed in 1053, the central Phoenix Hall—so named for its roof adorned with two mythical birds—houses a striking gilded wooden statue of Amida Buddha, sculpted by the renowned artist Jocho.

The structure of the Phoenix Hall is meticulously designed to evoke the image of a multi-storied building as depicted in Buddhist sutras. It resembles a stylized phoenix, featuring wing-like corridors on both sides with gabled roofs and raised eaves, along with a tail corridor at the rear. The pair of phoenixes perched atop the central roofline are classified as National Treasures, adding to the hall’s cultural and historical significance.

The Japanese garden represents an interpretation and idealized conception of nature, rooted in Buddhist notions of quiet contemplation. Essential elements of a Japanese garden include water, plants, stones, waterfalls, trees, and bridges, with their precise arrangement and immaculate presentation being crucial factors in creating a harmonious environment. There are five key types of Japanese gardens: the Strolling Garden, Natural Garden, Sand and Stone Garden, Tea Garden, and Flat Garden.

Architecture is intimately connected with these gardens, emphasizing the relationship between built structures and natural landscapes. In this context, the garden becomes a journey, where the experience of traversing the space is as significant as the destination itself, encouraging reflection and a deeper appreciation of nature.

One of the seven great temples of Nara, Todai-ji was established in the eighth century as a center for Buddhism, which had recently been introduced from China. Its architecture reflects the grand scale of Buddhist architecture from China’s Tang Dynasty, particularly evident in the size of its Daibutsuden (Great Hall) and the large, heavy roof supported by a complex bracketing system.

The present Daibutsuden, while still impressive, is significantly smaller than the original, which was destroyed by fire twice. Despite this, it remains the largest wooden building in the world under a single roof and houses the Great Buddha, a monumental representation of the Buddha that symbolizes the temple’s importance in Japanese Buddhism.

The influence of Buddhist temples is apparent
in the multi-story gate and the covered corridors.

Munemon: two posts one story, e.a, Enshou temple. Nara Prefecture.

Yatsuashim: eight posts. one story. Ishiyamadera Temple, Shiga Prefecture

Romon: eight twelve posts, two stories, one roof, e.g. Todaiji Temple, Nara City.

Nijumon: eight or twelve posts, two stories two roofs, e.g. Chionin Temple, Kyoto City.

The entrance to the compounds or most maior Shinto shrines consists of a Buddhist style gate, e.g. Heian Shrine, Kyoto City.

The Kagura-den complex at Naiku, Ise Jingu, serves as a venue for sacred dances and music performances. Unlike the other shrines on the grounds, which are constructed in the kirizuma style featuring thatched gable roofs, the Kagura-den features a hipped-and-gable roof, known as the irimoya style, adorned with copper shingles. This architectural distinction not only enhances its aesthetic appeal but also reflects the unique cultural and religious significance of the performances held within the complex.

The main sanctuary at Naiku is a raised rectangular structure, three bays wide and two bays deep, constructed from hinoki (Japanese cypress) harvested from a forest preserve deep in the mountains. The unpainted wood undergoes a gradual color change over its 20-year lifespan, shifting from golden brown to gray.

One of the most striking features of the sanctuary is its large roof, thatched with the stems of mountain reed. The roof ridge is supported by two free-standing pillars sunk directly into the earth, following the hottatebashira style used in earlier Jomon and Yayoi elevated storehouses. The walls rest upon heavy pillars that support the raised floor, which is surrounded by a graceful veranda equipped with a handrail.

Beneath the center of the floor stands a sacred post, above which the sacred mirror is housed in a container resting on a stand. The entrance is positioned in the middle of one of the long sides, a design known as hirairi. To maintain visual harmony, the roof thatch narrows as it rises, echoing the tapering form of the massive pillars that support the ridgepole. At each end of the roof, the roof poles cross and extend outward to form chigi (forked finials), which helps balance the substantial outward slope of the roof.

The Nagare style is the most common type of post-Buddhist shrine, characterized by its distinctive architectural features. In this style, the entrance is located on the long side, similar to the Shimmei style, but with the roof extended over the steps to provide shelter for worshippers. This design not only enhances the aesthetic appeal of the shrine but also offers a functional space that protects visitors from the elements as they approach to pay their respects. The Nagare style exemplifies the seamless blend of practicality and beauty in traditional Japanese architecture.

The most important building in Ninomaru Palace, on the grounds of Nijo Castle in Kyoto, has a large tokonoma at the end, with staggered shelves and decorative doors to the right. To the left of the tokonoma is a built-in desk. The raised floor is where
the shogun sat with his guests when he visited from Edo.

The Jo-an Teahouse in Uraku Garden, located in Inuyama City, is a National Treasure constructed in 1618 by Oda Uraku, a disciple of the renowned tea master Sen-no-Rikyū. Built in the San “grass hut” style, the teahouse showcases unique architectural features such as window openings covered with vertical bamboo slats, allowing light and air to filter in. The lower portion of one wall is adorned with old calendars, adding a touch of history and character to the space.

Another distinctive element is the natural pole at the corner of the hearth, which enhances the organic feel of the structure. Additional interesting features include a crawl door and a triangular wall adjacent to the entrance, contributing to the teahouse’s intimate and inviting atmosphere, embodying the principles of traditional Japanese tea culture.

Rebuilt in 1810, is one of the smallest castles in Japan.

The houses in Ogimachi farm village feature steep thatched roofs known as Gassho (“hands folded in prayer”) style. Nestled along the Shogawa River deep in the mountains of Gifu Prefecture, Ogimachi Village boasts a rich tradition that dates back hundreds of years. While most Japanese farmhouses were once thatched, today only a few remain, making the preserved structures in Ogimachi a significant representation of this historical architectural style. The Gassho roofs are not only functional, designed to withstand heavy snowfall, but also contribute to the village’s picturesque landscape, reflecting the harmony between traditional architecture and nature.

Kurashikikan, the former town office, is a wooden structure designed in a pseudo-Western architectural style, currently serving as an information office. This two-story building features a sangawara buki tile roof and horizontal board siding. Constructed in 1916, Kurashikikan exemplifies the blend of Western influences with traditional Japanese elements, making it a noteworthy example of pseudo-Western style architecture in the region. Its design reflects the historical context of the time, showcasing the evolving architectural trends in Japan during the early 20th century.

The site ascends the slope through stone stairways, where visitors encounter a variety of buildings along the way, including the Omotemon Gate and the Karamo Gate, leading up to the Main Shrine. The overall plan is exceptionally complex, designed to evoke a specific psychological effect as one progresses through the space. The vibrant colors of the Yômeimon Gate, accented by an abundance of white, suggest that one is about to enter a sacred realm. This striking gate features decorations created by Kano Tanyu, Japan’s most renowned painter of the early periods, and is adorned with 508 colorful carvings, enhancing its grandeur and spiritual significance.

Minami-za is a modern Kabuki theater located in Kyoto, built on the site where Kabuki originated. This theater is the oldest working theater in Japan and traces its lineage back to a small playhouse from the Edo Period. The baroque style evident in its design is frequently employed in contemporary Kabuki theaters. Notably, the pitched roof, which is depicted in the interior of the woodblock print, has been transitioned to the exterior of Minami-za, giving the theater a distinctive and grand appearance that pays homage to its rich cultural heritage.

Tanabe Ryokan features a “conversation room” where guests can relax and enjoy tea prepared with hot water kept in a teapot hanging over the fire. This room incorporates elements of a traditional Shoin-style room, including a built-in desk. The building reflects the typical architecture of the region, characterized by latticed windows and sliding doors. This style of architecture was originally introduced from Kyoto by those fleeing the clan wars at the end of the Heian Period, representing a blend of cultural heritage and functionality that continues to be appreciated in contemporary settings.

After World War II, Japan experienced a rapid economic recovery, leading to a newly affluent population that began to travel, often in groups. Companies frequently chartered large buses to transport their employees to hot spring resorts, aiming to relieve stress and foster group solidarity, ultimately enhancing productivity. In response to this demand, inns expanded in size and began to offer party rooms for banquets and group entertainment.

As a result, modern ryokan hotels are typically constructed of reinforced concrete, which distinguishes them from traditional ryokan in both structure and appearance. This evolution reflects the changing needs and preferences of travelers while still maintaining a connection to Japan’s rich hospitality traditions.

The atrium in the Diamor Underground Shopping Center challenges the typical perception of underground spaces as dark and confined. With an abundance of natural light, unusually high ceilings, and wide passageways, it creates an inviting atmosphere. On either side of the passage, trendy fashion boutiques welcome shoppers, exemplifying the generous use of space in this public area.

Historically, buildings were often limited to three or four stories due to the risks posed by earthquakes and typhoons. However, modern engineering and construction techniques now enable the development of skyscrapers. Another effective space-saving solution is to utilize underground areas, allowing urban environments to expand vertically and horizontally while maintaining safety and functionality.

Central Square at Yebisu Garden Place in Tokyo is one of several “cities within the city.” Opened to the public in 1994, it occupies the former site of the Yebisu brewery. The complex features a diverse array of shops, restaurants, and bars, alongside offices, residential spaces, and museums, all designed to cater to the needs of both locals and visitors. This vibrant urban space seamlessly blends leisure, work, and culture, creating a lively community hub that reflects the dynamic nature of contemporary Tokyo.

Opened in 2003, Roppongi Hills in Tokyo is yet another example of a “city within the city.” At the heart of this redeveloped, park-like urban space stands the 54-story Mori Tower, named after the company and its president that developed it. The area is interconnected by walkways and gardens, linking residential, recreational, and office spaces, creating a harmonious blend of work and leisure. Roppongi Hills embodies modern urban living, fostering a vibrant community atmosphere while offering stunning views of the Tokyo skyline.

Osaka Dome, a multi-purpose building with a retractable dome.

The main building of the Tokyo Metropolitan Government offices, featuring its distinctive twin towers, rises 48 stories high. The tops of the towers are rotated 45 degrees, introducing a dynamic twist that breaks the symmetry and imparts a sense of movement to the structure. The building’s surface is elegantly composed of glass, granite, and marble, intricately woven into a rich and complex pattern, contributing to its modern aesthetic while reflecting the vibrancy of Tokyo as a metropolis.

The twin towers are part of an expansive “post-modern” plaza designed with the same materials and architectural style as the Tokyo Metropolitan Government offices. On average, around 6,000 people, predominantly tourists, visit the offices each day. In contrast, the twin towers of the Umeda Sky Building in Osaka are uniquely connected by a “floating garden” observatory, offering visitors stunning views and a distinct experience that combines nature and architecture in an innovative way.