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A08308

ESEMPI DI ARCHITETTURA

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DirettoreOlimpia NiglioUniversità degli Studi eCampus

Comitato scientificoTaisuke KurodaKanto Gakuin University, Yokohama

Rubén Hernández MolinaUniversidad Jorge Tadeo Lozano, Bogotá

Alberto ParducciUniversità degli Studi eCampus

Enzo SivieroUniversità Iuav di Venezia, Venezia

Alberto SpositoUniversità degli Studi di Palermo

Comitato di redazioneSara CacciolaUniversità degli Studi eCampus

Giuseppe De GiovanniUniversità degli Studi di Palermo

Marzia MarandolaUniversità degli Studi di Roma “Tor Vergata”

Alessio PipinatoUniversità degli Studi di Padova

Bruno PeluccaUniversità degli Studi di Firenze


ESEMPI DI ARCHITETTURA

La collana editoriale Esempi di Architettura nasce per divulgarepubblicazioni scientifiche edite dal mondo universitario e dai centridi ricerca, che focalizzino l’attenzione sulla lettura critica dei proget-ti. Si vuole così creare un luogo per un dibattito culturale su argo-menti interdisciplinari con la finalità di approfondire tematiche atti-nenti a differenti ambiti di studio che vadano dalla storia, al restau-ro, alla progettazione architettonica e strutturale, all’analisi tecnolo-gica, al paesaggio e alla città.


Twelve houses restored in Japan and Italy

edited byTaisuke KurodaOlimpia Niglio


Copyright © MMXIARACNE editrice S.r.l.

[email protected]

via Raffaele Garofalo, 133/A–B00173 Roma

(06) 93781065

ISBN 978–88–548–4184–0

I diritti di traduzione, di memorizzazione elettronica,di riproduzione e di adattamento anche parziale,

con qualsiasi mezzo, sono riservati per tutti i Paesi.

Non sono assolutamente consentite le fotocopiesenza il permesso scritto dell’Editore.

I edizione: luglio 2011

Patronage

Fondazione Romualdo del Bianco, Firenze, ItaliaInstitutional Member of the ICOMOS

Cover:Graphic image by Olimpia Niglio and Taisuke Kuroda, 2011

Architectural restoration: a comparison between Japan and ItalyTranslated from the Italian by Tom Muirhead


A cultural petition is an ethical ac-

tion that moves and justifies the human activities; for this reason it

doesn’t need any explication. The preservation needs rise from

its satisfaction.

O.N., Florence, March 2011

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INDEX

7 ARCHITECTURAL RESTORATION: COMPARISON BETWEEN JAPAN AND ITALY Olimpia Niglio 17 TYPOLOGY OF RESIDENTIAL ARCHITECTURE IN JAPAN Taisuke Kuroda COMPARISON AMONG ARCHITECTS 27 HANKAI HOUSE Katsuhiro Miyamoto

39 MARIAROSA HOUSE

Vito Corte 59 HOUSE AT AYASE Manabu Naya, Arata Naya 69 RENOVATION OF A TABIÀ Francesco Loschi, Giuseppe Pagano, Paolo Panetto 91 IRIYAMA HOUSE Akira Kanehiro 103 RESTORATION OF SMALL VILLAGE OF TRADITIONAL STONE HOUSES

"TRULLI" FROM 1848 Aldo Flore, Rosanna Venezia

123 NAGAYA AT TATEISHI

Taisuke Kuroda, Naoko Kuroda


133 MATRIOSKA HOUSE Marco Imperadori 149 KYUDO-GAKUSYA Yoko Chikazumi, Shinichi Chikazumi 161 TURIN: RESTORATION AND RENOVATION OF A BAROQUE PALACE IN THE FORMER "CONTRADA DI DORA GROSSA" Franco Cucchiarati 175 TAKANE HEIGHTS Shigeru Aoki 185 CONTEMPORARY RULES FOR RESTORATION OF A NINETEENTH

CENTURY URBAN PALACE IN VICENZA Chiara Visentin, Francesco Bortolini 203 BIOGRAPHY


The restoration of architecture in a nation is a project strictly con-nected to its culture, its society, as well as to the weather conditions and to its political and economic background. The contemporary cul-ture, in particular, has developed an awareness of the fact that the main purpose of the conservation of monuments and landscape is not only protecting the matter of social well but also its intrinsic values, strongly connected to the sense of belonging to the place. The necessi-ty of searching these values comes from the need of knowledge of the different cultural references that permit to man to direct his choices as concerns conservation and safeguard compared to popular areas of in-terest apparently of less importance but vivid from the cultural and so-cial point of view. And this is the birth of the relationship between values and needs connected to the demand of transformation of urban and housing contexts.

There is another important theme connected to all these aspects: the change of life conditions in present society that determines a change in the relationship between conservation and fruition of the singular monuments and of the historical part of the city in its complex, in oth-er words, the relationship between pre-existence and contemporary. On these assumptions the book Twelve houses restored in Japan and Italy focuses on restoration projects of historical urban contexts, where the theme of living produced changes, influenced different in-tervention methods and functional choices without changing the sign of history. The book wants to introduce restoration projects comparing different cultural realities and architectonical methods that characte-rized the present situation in Italy and Japan. The experiences described in the book notice an interesting sharing among the different methods of restoration.

Florence - Yokohama May 25, 2011

Olimpia Niglio, Taisuke Kuroda


7

Architectural Restoration: a comparison between Japan and Italy

Olimpia Niglio

It is on proper diagnosis and progno-sis that the future of our discipline (which in the present interdisciplinary development we are increasingly fre-quently calling “heritology”). Andrzej Tomaszewski, Florence 2009

Whether it be the maintenance of artistic, architectural, or environ-mental assets developed in the past, or more generally any form of knowledge, the conservation of cultural heritage pursues constructive objectives to the extent that it enables each society to freely manage their own cultural interests and to exercise their own capabilities, for the development of their own knowledge, in respect of the ethical val-ues that distinguish their particular epoch and, consequently, the par-ticular design paradigms of that epoch. For this reason the criteria adopted for conserving historically important architectural assets are bound to be affected by the nature of the social problems, and their re-lated aspects, in the human ecosystem in which those assets are found. For that reason we need to address the problem of how to analyse, in


Twelve houses restored in Japan and Italy 8

different contexts and in different countries, the bases on which these points of reference are founded, since they are the motivating force that generates the criteria for intervention; they establish the strategies that gradually become consolidated practice for carrying out restora-tion work. Although in today’s world economic values are becoming more and more globalised, my considerations here are intended to show that the conservation of cultural assets is a complex issue that seems, instead, to be propagating a range of differentiated assessments and approaches. Reflection is therefore needed so that we can acquire knowledge of these complex types of human behaviour, their motiva-tions, and the objectives they pursue, and compare them as we find them in different cultural contexts: matters whose implications go much wider than can be fully discussed at this particular time. These present observations report my findings in relation to the conservation of architectural assets as I have experienced it whilst teaching and re-searching in different countries. Cultural Postulates Today, at a time when the conservation of cultural heritage tends to be approached in a narrowly specialist, circumscribed way, we no longer find that there is any single valid or univocal response either in terms of theoretical background or in the practical, operational field. What we have come to understand is that the conservation of movable, fixed or intangible assets pursues positive goals to the extent that it enables different human societies to live in relation to their own environment, and to exercise their own vital actions, as a function of the cultural values that characterise their own existence. This is because the meth-ods that are used to critically establish how to recognise a value are strongly influenced by the specific social, economic, political, and above all the historical context in which any particular society ac-quired its configuration. The requirement that we identify these values by way of an analysis that simultaneously takes account of all the fac-tors mentioned above, of the interferences between them and some-times their tendency to come into conflict, is born out of the need to refer to the real causes that make it possible for any social community to orientate and individualise its own decisions, thereby to give a spe-


Architectural Restoration: a comparison between Japan and Italy 9

cific meaning to its own life in the present and for the future. This means that a relationship between values and needs has to come into being, along with another related fundamental factor: knowledge of the different ways in which the changes in the life conditions in differ-ent societies, as they are now, came about in the past and are still hap-pening now: different ways of living together that can give rise to dif-ferent requirements when it comes to defining the relationship be-tween the conservation and the use of individual buildings or architec-turally important groups of buildings; all the more so in the case of buildings which, taken together, form the historic cores of cities; and from there, understanding the different forms that this relationship can take insofar as it relates to what existed before and the situation as we find it now. When we evaluated the different concepts on the basis of which dif-ferent cultures have developed different interpretations of the past, the various interpretations that derive there from can be taken as the basis for constructing theories as to what kind of action would be appropri-ate. These interpretations will also determine the different approaches to be adopted for safeguarding and conserving heritage, specifically architectural heritage. Analysing the methods and criteria for intervention that we encounter in the many social, cultural, economic and political realities that still today differentiate all the human societies that populate our planet, it seems to become clearer and clearer that the most important common denominator is the relationship between historic value and usable value. But this relationship is not based on fixed or unquestionable cri-teria; it is caught up in a continuous process of reinterpretation that closely connects to its cultural environment of reference, and thus to a cultural postulate. Every cultural postulate must be understood as an ethical act which is the driving force for human activities and at the same time, the justifi-cation for them. As such it can be analysed on the basis of the historic considerations that produced it, although of itself it does not require justifying references. The requirements for architectural conservation come from addressing and satisfying these postulates. In order to do so in concrete terms, a conservation project must firstly and fore-mostly acquire knowledge about the asset, including historical knowl-



edge, so that this factual knowledge can then be used to determine what the requirements should be for conserving the asset and what methods should be used for implementing them. This concatenation of factors makes it possible to identify suitable criteria that can guide the procedures to be followed; thus the work can be carried out in respect of the principles laid down by the cultural postulates, as the motivat-ing force that drives the activities of all human societies. Every society is the bearer of its own cultural postulate which, since it is also an ethical act, is closely linked to the history and environment of that society, and therefore possesses an ecological meaning. It fol-lows that every conservation project must come into existence as eco-logical action. In that sense the conservation of cultural heritage, in any society, is one of the most important and indispensable references for the further enlargement of its scope; and in all societies, the teach-ing and training institutions have an essential role to play in that re-gard. In examining some real situations, the brief further notes that follow are intended to demonstrate the importance of this unbreakable link, as it exists in different societies. The two geographically and cultur-ally differentiated situations I have taken as my reference make it pos-sible to investigate the close interrelationship between knowledge of an asset and its conservation. Although my choice of these two par-ticular examples is coincidental in that it was the outcome of reflec-tions suggested by personal experience, neither does it seem merely casual. In fact in both settings, the cultural development that condi-tions the practice of architectural conservation has taken directions that were dictated by specific ethical principles and cultural postu-lates. For that reason they cannot be generalised, because they find their own motivations in the histories and environments to which they refer. Japan From what can be observed when we investigate projects that have been carried out in accordance with one of the approaches currently followed in the complex culture of the conservation of architectural assets as it is practised in Japan, a first series of considerations



emerges. It becomes evident that in Japan, the approach differs in sig-nificant ways from the regulatory principles that are taken as the basis for practice in a European setting. One of the first things that emerges from this comparison is that in Japanese culture, space is not only per-ceived as a physical entity, but more importantly in terms of its rela-tionship to the passage of time. The most well-known exemplification of this, and one that has much to tell us in terms of helping us to un-derstand Japanese philosophical principles and the criteria establishing the conservation approach to which these principles lead, is the cycli-cal activity of constant demolition and reconstruction carried out every twenty years at the beautiful Ise-Jingu Shinto shrine, in the city of Ise.

The suggestive schintoist sanctuary of Ise-Jingu in Ise

As elsewhere in Japanese culture, the definition of space at the Ise-Jingu shrine is based on the concept of MA or sense of place: that is, a way of perceiving space that varies from person to person and from



time to time, on every occasion in which they find themselves occupy-ing a particular place. From this we can infer that in Japan, the exis-tence of things does not correspond to any permanent physical reality; what prevails instead is experience of place, the poetic evocation of space in its beauty, which is linked to the nature contained in that the space, at the single moment in which it is perceived. So more than a desire to conserve physical material, the prevalent intention we find at the Ise-Jingu shrine is to transmit knowledge of construction tech-niques and of the skills needed to carry them out. This is of considerable interest for us in the West in that it accords pre-eminence to the transmission of knowledge about operational methods and criteria, in ways that has to a considerable extent now been lost here, ever since the West elected for the most part to base ar-chitectural conservation on approaches that analyse an existing asset as it is configured now. Another important aspect of conservation culture in Japan, of which we find confirmation at the Ise-Jingu shrine, is the awareness that the characterising feature of existence is change; a concept of imperma-nence that permeates all the philosophies and religions of the East; there is nothing in any of the fields to which we can refer (animate or inanimate, organic or inorganic) that could be defined as permanent. Inevitably, like all the rest of life, our material surroundings are des-tined to change, and are in continuous metamorphosis. So in the field of architectural conservation as is in everyday life, the impermanence of reality is a cultural postulate rooted in the principles on which the culture of Zen Buddhism is based.

Kyoto, Shosei en Garden (photo A. Parducci)



Italy In Italy, the attitude to the conservation of architectural assets is pro-foundly different from Japanese approaches. In Italy, conservation culture is seen more in terms of ethical-cultural relationships that are strongly conditioned by dogmatically consolidated references. In aca-demic practice above all, there exist traditional established criteria that insist on classifying different methodological approaches that are evaluated as appropriate according to the greater or lesser extent to which they can be applied to the building to be restored. These meth-odological means of orientation are often differently rooted in differ-ent historic and geographical settings in which the practice of restora-tion - rightly - is based on how things are done in that particular place. But there is also often a tendency to fall into the bad habit of validat-ing one particular method rather than another by making recourse to explanations of theoretical type rather than to explanations that relate to the real issues inherent in the artefact to be restored. In Italy the entire experience of restoration has been focussed on amassing knowledge about the historically existing material; valid support for this approach has been contributed by the sciences. In It-aly, it is beyond doubt that the most important basis for every opera-tive action in architectural conservation is history, and that the practi-cal work must be carried out in accordance with “codes of practice” that take careful account of the historical and cultural situations that generated and transformed the object being restored. This approach is thus linked to what has been physically inherited from the past, even though this tends to be more in terms of formal interpretation than in terms of its actual substance. Such positions do not favour artisan-based approaches where the aim is to conserve traditional working techniques; nor can those positions do anything to foster a positive re-lationship between old fabric and new construction, as we find in some other places. What is more, the problem of Italy’s historic urban centres is analysed on the assumption that it is not possible to insert contemporary architecture into them. Recent experience in Italy, in-cluding in the scientific disciplines, has been underlining more and more that the restoration and conservation of historic artefacts must be closely linked to the values of art and science taken together, and that operational methods must align themselves with those values. But



since architectural restoration is in fact a process of architectural de-sign, as such it must be based on principles of creativity and knowl-edge. It must surely therefore be of interest that we investigate a new attitude according to which art and technique are more and more in-separable; it is becoming clear that a search is under way to identify interesting new approaches, particularly in projects where the opera-tional codes are less constraining.

S. Stefano in Sessanio: palace in the historical center; Parma: Auditorium; Roma: Ara Pacis (detail); Roma: Crypta Balbi (detail); Lucca: St. Peter's Church. (photo: O. Niglio)



Some conclusions The two examples thus briefly mentioned can be taken as a demon-stration of how the foundation for any true process of conservation is the cultural postulate. Each example presents a different methodo-logical approach, but they share a common denominator: the essential role of the cultural postulate that motivates them. This is fundamen-tally important for a revolution in design that ought to favour integra-tion of the conservation requirements in different societies with their own environment, their own technical development, and their own material needs. But no accredited version of their cultural postulates could be taken as an infallible guide for the conservation of their his-toric-environmental values. Instead, what is required is an appropriate intellectual sensibility which, respecting the requirements of the dif-ferent societies and the specific characteristics of the environment to which they belong, favours the definition of a correct policy for de-fending architectural heritage, each time in each place. Bibliografy ISOZAKI A. (1978), Ma: espace-temps du Japon, Festival d'Automne à Paris: cata-logue d'exposition, Musée des Arts Décoratifs, Paris. OKAKURA K. (2007), Lo Zen e la cerimonia del tè, Feltrinelli, Milano. NIGLIO O., KUWAKINO K. (2010), Giappone. Tutela e conservazione di antiche tra-dizioni, Plus University Press, Pise. GIANIGHIAN G., PAOLUCCI M.P. (2011), Il restauro in Giappone: architetture, città, paesaggi, Alinea Editrice, Firenze TOMASKEWSKI A., GIOMETTI S. (2011), The Image of Heritage. Changing Percep-tion, Permanent Responsibilities, Conference of the ICOMOS International Scientif-ic Committee for the Theory and the Philosophy of Conservation and Restoration, Edizioni Polistampa, Florence. Translated from the Italian by Tom Muirhead



Shinto priests walking beside the Ise Grand Shrine, Japan. Extract from In God’s Name by Gédéon and Jules Naudet.


17

Typology of residential architecture in Japan

Taisuke Kuroda

This volume presents cases that feature the renovation of the three types of Japanese traditional urban houses, Machiya (A. Kanehiro, “Iriyama house”), Nagaya (T. Kuroda + N. Kuroda, “Nagaya at Tatei-shi”), and Minka (M. Naya + A. Naya, “House at Ayase” and Y. Miyamoto, “Hankai house”). In addition, as the symbolical examples of contemporary Japan, two cases on the renovation of condominiums in reinforced concrete are presented (Y. Chikazumi + S. Chikazumi, “Kyudo-gakusya” and S. Aoki, “Takane Heights”). This text aims to exemplify the perspective of the residential architec-ture in Japan to understand better the idea behind these renovations as well as to set every work in the historical context to showcase its cha-racter.

Ancient - medieval era

Man is believed to have dwelled in the Japanese archipelago since the Paleolithic period (approximately 50,000-30,000 BC). Ancient people utilized the caves as their shelter. As the population increased, ancient people dug on the hillsides and built artificial caves as dwelling places. However, these houses did not remain be-cause they suffered forces of nature such as erosion.

1. Pit-house (reconstruction in Toro archeological area)


Twelve houses restored in Japan and Italy

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A somewhat similar example to the primitive cave-house, the pit-house (Fig. 1) was imported by the northern people and became a common dwelling type in Japan (14,000 BC-). The pit-house was a semi-underground structure created by digging the ground at approx-imately 0.5-1 m. It had a circular or oval plan, measuring 3-6 m in di-ameter. The log-pillars were located directly on the ground, rafters were laid out radially on it, and the roof was covered with twigs and grass. The pit-house was the most common residential type. Contrastively, with the division of social classes, the magnates of the era began liv-ing in raised-floor-houses that had pillars and walls. The cereal store-house with the raised floor was imported by the southern people and became the archetype of the raised-floor-house, along with the rise of the rice crop culture. The house with the raised floor was the status symbol of wealth and power. The magnates organized the religious activities of the society living in such houses. With that, the style of the Shinto Shrines became reminiscent of their house type (Fig. 2). Architecture of the nobleman’s residence imported from China was merged into the raised-floor-house. It evolved into the Shinden-zukuri (Shinden: palace, zukuri: type), a typical type of noble residence in 8-12C (Fig. 3).

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3 3. Shinden-Zukuri (Residence of the Fujiwara clan (10C), reconstruction). 2. Ise Shrine. Example of succession of the Raised-floor-house.


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