ACTIC case study

Asian Architecture [ARC 2213/2234]
PROJECT 1: CASE STUDY
Adaptation of aesthetics of Japanese design and Anti-Object theory
into contemporary architecture such as the Asakusa Culture
Tourism Information Center
NAME: Ken Wong Chun Thim
STUDENT ID: 0315534
LECTURER: Mr Koh
SUBMISSION DATE: 28 June 2016

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Content
1.0 Abstract
2.0 Introduction
2.1 Aesthetics of Japanese design
2.1.1 Shizen (自然) / Naturalness
2.1.2 Seijaku (静寂) / Tranquility
2.1.3 Fukinsei (不均整) / Irregularity
2.1.4 Ma (間) / Emptiness
2.1.5 Yugen (幽玄) / Subtlety
2.1.6 Datsuzoku (脱俗) / Break from routine
2.1.7 Wabi Sabi / Beauty in Impermenance & Imperfect
2.1.8 Kanso (簡素) / Simplicity
2.1.9 Shibui (渋味) / Austerity
2.2 Anti-Object
2.3 Relationship between aesthetics of Japanese design & Anti-Object
3.0 Adaptation of aesthetics of Japanese design & Anti-Object into Asakusa Culture Tourism
Information Center
3.1 Connection with the Environment
3.2 Particalization
3.3 Non-objectification
4.0 Advantages of the adaptation
4.1 Sustainability
4.2 Culture & Context
4.3 Preservation of culture
4.4 Connection with Nature/Site

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1.0 Abstract
The objective of doing the study of adapting aesthetics of Japanese design and Anti-Object theory
into contemporary architecture is a step to creating better architecture in an age where the trend is
to construct buildings which exists as objects to become icons to please the public. Subsequently,
the advantages and practicality of this adaptation in contemporary architecture can be explored. As
aid in the justification of this research, literature review is conducted on the aesthetics of Japanese
design, Anti-Object theory and works of Kengo Kuma. Kengo Kuma’s Asakusa Culture Tourism
Information Center is used as a case study building because it consists of vertically stacked houses
of machiya which forms a dialogue with the context of Asakusa’s old Edo atmosphere and connect
the inside and outside through its timber slats which face the Kaminarimon & Sensoji Temple; a
famous tourist spot. In aesthetics of Japanese design, wabi sabi is a prevalent concept where put
simply wabi means rustic, simplicity and quietness and sabi is beauty that comes with time. Some
that are mentioned in this study are Shizen (自然) or Naturalness and Yugen (幽玄) or Subtlety. A
separate concept in Japanese aesthetics is Ma (間) or Emptiness which refers to the experiential
place understood with emphasis on interval. These traditional concepts relate to one of the theory
proposed by Kengo Kuma called Anti-Object which refer to the dissolution and disintegration of
architecture. The traditional and contemporary concepts relate in a way that to achieve architecture
where it is ‘erased’ from its context, the concept of Shizen comes in to play in which the materials of
the building correspond with its context naturally through selection of materials that are local to the
area. Consequently, choice of materials by Kuma are often natural and are weathered through the
passage of time and this relates to Sabi. The dissolution of architecture is accomplished through
the concept of Ma and Wabi where Kuma uses ‘particalization’ which is breaking down materials to
its simplest component and uses it as slats which provide a connection between inside and outside
through the spaces in between. Hence, it can be said there is a connection between Anti-object and
aesthetics of Japanese design. This connection provides an interesting study of how traditional
concepts are implemented in contemporary architecture through innovative conventions.

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2.0 Introduction
Today, most buildings are products from the era of modernism. All these buildings seem like boxes
standing as objects within their environment; they bear little to no resemblance to their context.
However, Kengo Kuma, a Japanese architect, has created many architecture that seem to
disappear into the surrounding context. The building look as if it is meant to be there and
harmonizes with the environment well without standing out as an object. It seems the building is not
meant to be looked at and objectified but to be experienced and be humble within its site. How he
does this is, he borrows principles from the aesthetics of Japanese design and incorporates them
with the genius loci of the site to create architecture that has relation with its environment. He calls
his architecture as Anti-Object as it serves to not be an object but to create connection between
human and the environment. By learning how Kuma assimilates these two elements, we can learn
to design architecture that connects well with its context.
Research Question(s):
1. What is the relationship between aesthetics of Japanese design and Anti-Object
architecture?
2. How is ‘aesthetics of Japanese design’ infused (vernacular) with ‘Anti-Object’ architecture
(contemporary) into Asakusa Culture Tourism Information Center?
3. What are the advantages of the adaptation of traditional to modern?

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2.1 Aesthetics of Japanese design
Japanese design whether art, architecture, furniture, products and etc are often very minimalistic in
simple in design. This quality is traced back to the aesthetics of Japanese design which originated
many centuries ago. It gives Japanese design a distinct look and aesthetic that cannot be seen in
Western designs. There are many principles of aesthetics of Japanese design. These principles are
not written in stone by anyone but rather it’s the result of many changes in social environments of
the past and through thorough analysis that these principles come about and started to be
practiced by designers and architects alike (Graham, 2014).
The principles of aesthetic of Japanese design that are mentioned in this paper are:
1.1.7 Wabi Sabi / Beauty in Impermenance & Imperfect

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Shizen or Naturalness is the ‘absence of pretense or artificiality, full creative intent unforced’
(presentationzen.com, 2009). It is about the unplanned beauty of design where the unintentional
arrangement of all the elements creates a very pleasant and natural aesthetic. We can mostly see
this in nature where everything is unintended and is merely a product from the forces of nature. The
scenery is the collection of different processes that create a very beautiful scene. It creates a deep
connection between humans with the environment because of its naturalness.
Japanese design uses this in their gardens where they try to recreate a natural-feeling
environment. Ironically, what they are doing is not accidental but rather prearranged and it goes
against the principle of appreciating the unintentional beauty. However, what it is intended to
achieve is to not get that raw nature but managing the chaotic elements with purpose and intent to
create that effect of naturalness.
Figure 1: The teahouse in Katsura Imperial Villa can be seen to naturally blend with the surrounding
trees as the chaotic elements of the trees and lake are managed with purpose to create a natural
looking view. (Source: http://s3.amazonaws.com/everystockphoto/fspid30/66/58/30/1/tree-
teahouse-katsura-6658301-o.jpg)

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Seijaku is the state of stillness, energized calmness and solitude which creates a tranquil aesthetic
(presentationzen.com, 2009). It is about creating the aesthetic that doesn’t come off as too strong
and disturbing but rather soft and elegant. It invokes the feeling of peace and quietness in people
as they appreciate this aesthetic.
In architecture, this quality can be achieved through the use of water. A pool of water reflects its
surroundings and creates a sense of calmness when the water is stagnant. The water also reacts
to the wind which creates ripples and it can be said to be an energized calmness.
Figure 2: In the Katsura Imperial Villa, the stillness of the water creates a sense of tranquility in the
landscape. It gives off the feeling of calmness and elegance.
(Source: http://static.thousandwonders.net/Katsura.Imperial.Villa.original.35138.jpg)

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Fukinsei is asymmetry or irregularity where by the composition is balanced by this means
(presentationzen.com, 2009). It is seeking beauty in the imperfect. Nature is irregular and
asymmetrical but the elements have a harmonious relationship and the beauty of this is
appreciated by people.
Figure 3: The enso or Zen circle in brush painting is drawn as an incomplete circle to symbolize the
imperfection in existence (presentationzen.com, 2009).
(Source: http://www.presentationzen.com/.a/6a00d83451b64669e20120a5527a17970b-200wi)

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Ma put simply is about emptiness. Emptiness refers to a sense of space, therefore Ma is also about
the consciousness of place (Gunter, 1966). Gunter (1966) also mentions that to the Japanese, Ma
is not something created by compositional elements but rather it is something that happens in the
imagination of the human who experiences these elements. Hence, Ma is also defined as
‘experiential place’. The concept of Ma has five dimensions whereby each conveys a different
meaning.
Figure 4: The different dimensions of the concept of Ma. (Gunter, 1966)

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 In the first dimension, it is about a linear space of measurement not related to anything and
it also symbolizes the ‘between heaven and earth’.
 In the second dimension, it refers to the 6-tatami room.
 In the third dimension, it talks about space which in Japanese translate to ‘empty space’.
 In the fourth dimension, it refers to time therefore talking about intervals.
 In the fifth dimension, it is about human subjectivity.
The result of the implementation of Ma in Japanese architecture is the use of screens, sliding doors
and movable furniture. It gives the space a sense of transparency and allows a certain kind of flow
within it. Therefore creating intervals in the space which allows human to have a consciousness of
the space experienced.
Figure 5: Shoji which acts as a barrier between the inside and outside which is also removable to
create the space where the interior and exterior is one.
(Source: https://upload.wikimedia.org/wikipedia/commons/e/e1/Takamatsu-Castle-Building-Interior-
M3488.jpg)

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Yugen is subtlety where it a profundity or suggestion rather than revelation (presentationzen.com,
2009). It is a collection of subtleties and symbolic elements which can pique curiosity of the viewer.
The power of suggestion by visually showing less but implying more creates a certain aesthetic as
it leaves the viewer to imagine and fill in the void.
In Japanese architecture, we often see this in koshi or the wooden lattices of the windows where by
the vision towards the interior is limited but the shadows of people through the lattice can be seen
and it creates curiosity in the viewer.
Figure 6: A lady peeks through the koshi as a result of being curious.
(Source: http://www.pedarch.com/ped-demo/wp-content/uploads/2016/03/16photo0330.jpg)

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Datsuzoku is the freedom from habit or formula (presentationzen.com, 2009). It is the escape from
daily routine or the ordinary. It is the element of surprise or amazement and from freedom of the
conventional that creates an interesting experience for the viewer. In a Japanese garden, at every
turn there is different view creating surprises for the user experiencing the space.
Figure 7: As seen in this garden there are many elements in it and looks slightly chaotic which
different from what is seen in Katsura Imperial Villa. It is a break from the routine in the sense that it
doesn’t conform to the standard set by the Katsura Imperial Villa but seeks its own aesthetic. Also,
the scattered elements in this garden create a sense of surprise at every turn of the garden.
(Source: http://gardenedit.com/wp-content/uploads/2014/07/reflexii.jpg)

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2.1.7 Wabi Sabi / Beauty in Impermenance &
Imperfect
In aesthetics of Japanese design, wabi sabi is a prevalent concept where put simply it is
impermanence, imperfect and incomplete (Suzuki, 1970). Wabi means poverty; to be poor and not
be dependent on worldy things such as wealth, power and reputation. Sabi is rustic
unpretentiousness; it is the appreciation of the imperfection garnered through the passage of time.
‘We may say that Sabi applies more to the individual objects and environment generally, and Wabi
to the living of a life ordinarily associated with poverty, insufficiency or imperfection. Sabi is thus
more objective, whereas wabi is subjective and personal.’
— (D. T. Suzuki, 1970) (鈴木大拙)
Figure 8: The broken tea cup is reassembled with gold lining and creates this unique aesthetic of
from the imperfection of the cup. It is rustic beauty.
(Source: http://images.junostatic.com/full/CS561303-01B-BIG.jpg,
http://inyourspeakers.com/files/images/reviews/hey_rosetta_second_sight-13782.jpg)

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Kanso is the elimination of clutter where things are expressed in a plain, simple and natural manner
(presentationzen.com, 2009). It is similar to ‘form follows function’ in a way that decoration is not
necessary but rather the achievement through exclusion of the unessential.
Figure 9: Ghost House by Datar Architecture is a very minimalist house that really showcases the
quality of kanso when all unessential elements are removed. However, this might create
architecture that has no relation to the site when seen back to back with the surroundings.
(Source: http://i0.wp.com/archeyes.com/wp-content/uploads/2016/02/datar-architecture-ghost-
house-ArchEyes-1.jpg?w=850)

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Shibui is subtle elegance, beautiful by being understated or direct without flashiness (Graham,
2014). It is the expression of it is meant to be; nothing more, nothing less. It is similar to Kanso but
Shibui is more about being humble.
Figure 10: Kitakami Canal Museum by Kengo Kuma. The museum is sited in a hill overseeing the
river in front of it. It is not showing off its architecture but rather becoming one with the surroundings
thus being humble. People can cycle over the hill and the museum may feel as if it wasn’t there.
(Source: http://kkaa.co.jp/img/1999/06/l3.jpg)

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2.2 Anti-Object
Anti-Object is the rejection of the work of architecture that is regarded as an ‘object’ which is cut off
from its environment (Kuma, 2008). To create architecture that establishes a connection with the
external world and avoid objectification (Kuma, 2008). Kengo Kuma follows this philosophy to
create buildings that relate well to its context.
He took inspiration from an architect named, Bruno Taut, who designed the Hyuga Residence at
Atami when he was commissioned to build a guesthouse right above that house (Kuma, 2008). The
Hyuga Residence is special in a way that the architect made the house seem to be absent by
concealing it with trees and the use of a garden that juts out towards the sea. There is no vantage
point to look up at the building nor viewable from the top. It is hidden from view both higher and
lower levels.
Kuma designed the ‘Water/Glass’ house whereby the building’s exterior is shielded in nearly all
directions (Kuma, 2008). He made the exterior visible from only the garden of the Hyuga Residence
as a homage to Taut. ‘Water/Glass’ is the exploration of the floor form by forming a shallow pool of
water on a bed of dark green granite on the top floor. The dark coloured surface makes it hard to
discern the depth of the pool which is 15 centimeters. The pool can be seen extending out towards
the sea; seemingly connecting architecture and the world via these two parallel planes.

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Figure 11: ‘Water/Glass’ House. The pool extends towards the sea, connecting architecture and the
world.
(Source: http://www.japantimes.co.jp/wp-content/uploads/2014/06/p14-pulvers-kuma-a-20140608-
870x578.jpg)
Figure 12: Kiro-san observatory. It sits in the ground to give importance to the mountain.
(Source: http://kkaa.co.jp/img/1994/03/l4.jpg)
Kiro-san observatory is also a great example of Anti-Object architecture. The observatory is a slit in
the mountain and sits inside the ground (Kuma, 2005). From the ground, the observatory was
hidden and looks like a normal mountain. He took architecture which is usually an ‘object’ and
turned it into a ‘void’, basically reversing it. It avoids objectification and maintains a connection with
the environment.

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Figure 13: Nasu Stone Museum. The stone slats create a very light and porous aesthetic even
though stone is known to be heavy and solid.
(Source: http://www.detail-
online.com/inspiration/sites/inspiration_detail_de/uploads/imagesResized/projects/780_201306241
11641bdc33d7a68a4d4196a875a3bd90cab5822a1cafd.jpg)
In the Nasu Stone Museum, Kuma used stone slats to create a lightweight and porous structure
instead of the conventional masonry construction techniques. By ‘particalizing’ natural materials
into smaller particles, he managed to allow light, wind and sound to permeate freely within the
structure (Kuma, 2005). It also allows a close connection between the users inside and the outside
environment. He also focuses on the immateriality of the material which the changes of the material
according to the surrounding environment.

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Figure 14: Stone slats. Acting as particles which give the building its porosity and allow light and
wind to permeate the space.
(Source: http://c1038.r38.cf3.rackcdn.com/group5/building41930/media/lvmb_l21.jpg)
As seen in that examples, the characteristics of Anti-Object could be said to be:
1. Connection between human with the environment
2. Non-objectification
3. Immateriality (Particalization)
Quotes from Kengo Kuma:
“(My philosophy) is not about erasing a structure, nor, of course, is it about causing it to stand out. It
strives to resolve the connection between the structure and the place it sits in.” – (Kuma,
2014)
“It’s not bamboo as a material (that I am on about), it is the state of the bamboo grove. More than
the feel of the bamboo, it’s the light and the sound and the touch of the grove.” – (Kuma, 2014)
“Just as countless birds in flight form a flock, the large whole of a structure is made up of the
coming together of small fragments, and this is my ideal. The pliability of a flock of birds
changing shape moment by moment is incredibly appealing to me as an architect looking toward an
architecture that is supple and democratic.” – (Kuma, 2014)

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2.3 Relationship between aesthetics of Japanese design &
Anti-Object
Most of Kengo Kuma’s works takes precedent from traditional Japanese architecture and because
of that, his theory of Anti-Object and aesthetics of Japanese design have a certain similarity and it
shows how he converts these age old aesthetic principles into contemporary design.
Figure 15: The moon viewing platform and pool of water is similar to each other that they act as a
stimulus that reacts to the surrounding environment.
(Source: https://classconnection.s3.amazonaws.com/918/flashcards/980918/jpg/katsura_moon_pla
tform1355633459450.jpg,
https://c2.staticflickr.com/2/1234/1503406804_3b69892f5e.jpg)
To show this relationship, the ‘Water/Glass’ house is a good example. The ‘Water/Glass’ house
takes precedent from the Katsura Imperial Villa, the moon viewing platform to be precise where it is
similar to the pool of water to the ocean in the house. Both uses the floor as an extension to the
outside world.
The moon viewing platform is made of bamboo and the pool is filled with water. Both the bamboo
and the water are stimulus that connect the inside and outside environment. How that is achieved is
through the use of this sensitive material, it will reflect the surrounding environment whether in light
or sound. In the moonlight, the bamboo will appear to glow and connect to the outside environment.
When the wind blows, the pool of water will show ripples. This is how an environment sensitive
architectural element is made. In Kuma’s ‘Water/Glass’ house, he improved upon the bamboo
platform of Katsura Imperial Villa with the use of water. Water is a more sensitive stimulus that
react to the slightest wind and it is very reflective. The reflection of the sky in the pool appears to

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bring the pool, sea and sky all into one whole. Thus, it shows how this architectural element can
provide an intimate connection between humans and the environment.
Besides that, based on the aesthetics of Japanese design, there are several principles that are
applied in both buildings.
The floor acts as an expression ‘Ma’ as it acts as an interval which connects spaces of different
destinations; the interior and the exterior. The emptiness or void causes the user to be more
conscious of the space and after that they are more conscious, that interval reveals the
environment outside. This is how the interval between the inside and outside can bring a more
intimate connection. Besides that, notice that windows are not used in both examples because
windows are merely voids in a wall. The wall acts as a barrier that seperates the connection
between inside and outside. Therefore, we can see that the shoji screen in the moon viewing
platform is removed and the glass panel is used in the ‘Water/Glass’ house.
As mentioned before, the bamboo and water acts as a stimulus that react to the environment. This
allows a very natural connection with the environment which is considered ‘Shizen’. The water
element also provides a feeling of calmness in the environment which is ‘Seijaku’. Still water gives
the impression of stagnation and tranquility in the environment.
The spaces are simple without being overstated thus being humble in the design as well. It is
considered ‘Shibui’. There is no decoration or extravagant element in the spaces also which
speaks to ‘Kanso’.

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Figure 16: Mind-map of relationship between Anti-Object and Aesthetics of Japanese design.

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Anti-object’s connection with the environment relates to the three aesthetics which are ‘Shizen’,
‘Seijaku’ and ‘Fukinsei’.
 Shizen is to create a building that appears natural in the environment; to create
architecture that blends in with the environment.
 Seijaku is the creating architecture that is calm (Anti-object) rather than messy (Object); to
create architecture that doesn’t interfere with the environment.
 Fukinsei is to attain balance between human & nature in composition via asymmetry or
irregularity; to create architecture that creates a balance between human & nature without
being artificial.
Anti-object’s connection is achieved the method of ‘particalization’ in which the use of slats is
applied to buildings. Three aesthetics are applied here as well which are ‘Ma’, ‘Yugen’ and
‘Datsuzoku’.
 Ma is to provide an interval or void that connects the perceiver with the environment. The
slats create intervals which allow one space to flow to another thus creating connection
between spaces and between the internal and exterior.
 Yugen is used to suggest a connection and to pique curiosity in the users experiencing the
space. The slats provide small openings that allow only a slight vision towards the outside.
Everything is not revealed at once and it is used to show subtlety.
 Datsuzoku is freedom from the normal means. The use of slats is a particularly innovative
means by Kengo Kuma to create architecture that appears lightweight, transparent and
porous while allowing light, views, wind and sound to permeate the structure.
Anti-object is about non-objectification. Hence it is not about standing out as an object but to
appear to be woven into the environment as one. Another three aesthetics are relevant here, ‘Wabi
Sabi’, ‘Kanso’ and ‘Shibui’.
 Wabi Sabi is shown in the choice of material that is prone to weathering and a natural
material from the site which shows the genius loci of the place. As the material is
weathered overtime, there will be certain patina which will allow the building to blend in with
the environment instead of standing out as an object.
 Kanso is the elimination of clutter or decoration from the building as any extravagant
details might cause the building to appear as an object to be appreciated from a far rather
than experienced first-hand.
 Shibui is being humble in design which is similar to Kanso but different in the way that the
building should respect other elements surrounding the site and not take away their allure
but rather harmonize with them and be beautiful by being understated.

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3.0 Adaptation of aesthetics of Japanese design & Anti-
Object into Asakusa Culture Tourism Information Center
Figure 17: Asakusa Culture Tourism Information Center. (Source: https://flic.kr/p/bu1SKE)
By using Asakusa Culture Tourism Information Center designed by Kengo Kuma, the way of
adapting aesthetics of Japanese design and Anti-object to architecture can be studied. Asakusa
Culture Tourism Information Center (ACTIC) is located in Asakusa, Taito, Tokyo. Asakusa was an
entertainment district back during the Edo period and now presently a famous tourist destination
due to Asakusa Sensoji temple and the Nakamise-dori street. The old Edo atmosphere of the
streets is also preserved which gives the place a downtown experience. ACTIC is located right in
front of this tourist attraction where the Kaminarimon (Thunder Gate) is opposite the street. The
reason this building is chosen as a case study is because the center has responded contextually to
the traditional aspects of Japanese architecture and culture and modern to accommodate all the
spaces within this building. It is the fusion of the traditional and the contemporary in one building.

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3.1 Connection with the Environment
(Shizen, Seijaku, Fukinsei)
Shizen
Figure 18: Juxtoposition of ACTIC against the Nakamisedori taken from opposite the street.
(Source: https://vimeo.com/45629986)
The vertically stacked traditional machiya house form is inspired from the Asakusa’s Old Edo
atmosphere. By using these stacked forms, it blends in well with the surrounding street even when
view from a far. The pitched roof is also a homage to the Kaminarimon, Sensoji temple and Sensoji
pagoda. This shows how the building sits and appears naturally on the site without looking like an
object in a foreign space. The timber slats are also a reference to traditional Japanese
architecture’s main material as most buildings in the past were built with timber and the slats brings
a certain nostalgia to the streets where everything is either made from glass, concrete or steel. The
building is considered Shizen in this aspect as it appears natural and blends in with the
environment.

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Seijaku
Figure 19: ACTIC interior. Calm space compared to the busy streets outside.
(Source: https://www.flickr.com/photos/doctorcasino/11822495665/in/album-72157630973649662/)
The calm interior space is juxtaposed against the busy streets outside. This quiet space is achieved
by the use of repetition of the slats and exposed beams. The slats give a sense of calmness by
filtering light into the space while creating a play of shadows. The rhythmic placement of the slats
also give a sense of privacy to the users so they don’t feel exposed while viewing towards the busy
street outside. The ordered arrangement of the architectural elements also contribute to a clutter
free space which adds to the calmness of the space as well.

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Fukinsei
Figure 20: Visual connection between the Sensoji pagoda, Nakamisedori, Kaminarimon and
ACTIC.
(Source: http://c1038.r38.cf3.rackcdn.com/group5/building44017/media/hndz_kk_260612_04.jpg)
The ACTIC is located in axis with the Sensoji pagoda, Sensoji
temple, Nakamise-dori and Kaminarimon. Also as seen in the
picture, it shows that ACTIC maintains asymmetrical balance in
composition with the Sensoji pagoda and the location of the
building in the axis. People visiting the Sensoji Temple area will
see the ACTIC first then turn over to the Kaminarimon. This
axis gives a very natural progression from one place to another
and it is all the result of the placement of the building along the
axis. Besides that, the asymmetrical form of the different type
of machiya houses on the façade gives ACTIC a unique
personality. The timber slats and pitched roof form allows
ACTIC to attain a sense of balance between contemporary and
traditional as well.
(Source: Google map)

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3.2 Particalization (Ma, Yugen, Datsuzoku)
Ma
Figure 21: A resting area while allowing views towards the busy street outside.
(Source: https://www.flickr.com/photos/y_seto/6980745544/in/album-72157629565298098/)
The bench and table acts as an extension from the floor which act as an interval between the inside
and the outside. It is a place for contemplation, a rest area, an interval. Users be conscious of the
space as result from the emptiness in the space and as they become conscious of the space they
can form a connection with the next space which is the outside environment. This is how this
interval connects the interior and exterior.

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Yugen
Figure 22: Timber slats, black curtain veil and terraced floor are all subtle details that give the
ACTIC a unique aesthetic. (Source: https://beersingnoi.com/2014/11/12/asakusa-culture-and-
tourism-center/)
Timber slats along the façade of ACTIC allow views from certain angles and create curiosity of
what is hidden behind it. Depending on the angle of view, only timber slats can be seen and the
building will look ancient or the building will look transparent which is significant in contemporary
architecture. On the 7th floor, the stairs leading to the outside terrace can be seen through the black
curtain veil. The veil creates silhouettes of people walking upwards which will pique the curiosity of
the user and entice them to walk up the stairs. The stacking of the machiya houses create a pitched
roof in between each floor. On the 6th floor, the pitched roof of the 5th floor becomes the terraced
floor on the 6th. This creates interest as people wonder how the space will be like when viewed from
the exterior.
On the topic of subtlety, the stacked form is a homage to the old Edo atmosphere of Asakusa and it
also talks about how Asakusa used to be an entertainment district. The use of timber is also a
subtle touch that speaks about traditional Japanese architecture’s main material back in the day.
The pitched roof form is also subtly matching the Sensoji tourist area where all the structures are
pitched roof.

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Datsuzoku
Figure 23: Timber slats on exterior façade and section of ACTIC showing the HVAC locations.
The method of ‘particalization’ is a break from the normal because of breaking down materials into
smaller particles which creates a sense of porosity when used on the façade. The light, wind and
sound is allowed to enter while preserving privacy and views towards the outside. It gives a better
connection to the outside environment compared to a solid wall with windows in them. The use of
timber slats is an innovative means by Kuma to create the impression of tradition (timber is used in
traditional Japanese architecture) and contemporary through glass (a contemporary material, used
for transparency). The timber slats are also coated with fire protective measures otherwise it
wouldn’t have been approved for use. This gives opportunity for other buildings to adapt the same
method to create a warmer look to the building compared to just a concrete block facade.
Besides that, the stacked form of machiya houses create spaces in between each form due to the
pitched roof. Instead of wasting that space, the space is actually used to store HVAC systems. This
creates a very clean façade on the exterior as most of the clutter is hidden inside. It is an innovative
means created by the form of this building.
Lastly, the imaginative use of pitched roof to create a terraced floor for the media room is brilliant
way to utilize the form to its fullest.

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Non-objectification (Wabi sabi, Kanso, Shibui)
Wabi Sabi
Figure 24: Timber slats on the façade.
The slats are made from Japanese Cyprus which are prone to weathering as it is exposed in the
façade. As time passes, the timber will have a certain patina to them and it will show the age of the
building and gives it a very alluring and rustic aesthetic. Besides that, the use of timber is of low
profile which is in tune with wabi sabi’s principle of embracing poverty. Timber gives a very humble
look compared to other material such as marble which is often associated with luxury.

32
Kanso
Figure 25: The ACTIC’s elevation compared to its adjacent buildings.
(Source: http://www.australiandesignreview.com/architecture/27787-asakusa-culture-tourist-
information-centre)
When compared with other buildings in the vicinity, ACTIC has a very simple look with its clear form
and repetition of slats. The stacked machiya form and slats are not merely decoration without
purpose but it is what makes the building. The stacked machiya form creates terraced floor space
on the 6th floor and it also allows HVAC system to be hidden from view in between each floor due to
the pitched roof. The slats is used as a sun shading device and act as a privacy filter to lessen the
strength of the transparency of the glass façade.

33
Shibui
Figure 26: Wooden beams is seen in both buildings; ACTIC and Kaminarimon.
(Source: https://www.flickr.com/photos/y_seto/6980745544/in/photostream/)
The wooden beams in ACTIC is a humble nod to the traditional Japanese architecture which is
prevalent across the street. It is humble in the way that the form of the building tries to match and
harmonize with the existing form of traditional Japanese buildings as the context of Asakusa is it
still retains the old Edo atmosphere. Therefore, Kuma tries to bring back this atmosphere or
attempts to strengthen it with the design of ACTIC.
Another feature is the glass railings have etchings similar to bamboo reeds which is also another
reference to traditional Japanese architecture where the bamboo reed are used to shade the
interior. The design shows beauty by being understated in these terms.

34
5.0 Advantages of the adaptation
Sustainability
The use of materials which are natural such as timber is sustainable as the building uses the timber
as slats therefore reducing the amount of timber used and it is renewable should the slat need to be
replaced.
High response to context
The adaptation of the two principles (Anti-object & aesthetics of Japanese design) allows the
building to be highly contextual in a way that it shows the genius loci of the site. The building is the
reflection of the culture and history of the area. It provides the creation of a building which is
meaningful to the community rather than one that stands to be awed at.
Preservation of culture
The Japanese aesthetic has come from a long time ago and the combination of this aesthetics with
contemporary design theories such as Anti-object allows these principles to be preserved without
being forgotten or left in the past due to its impracticality in contemporary architecture.
Connection with Nature/Site
The application of Anti-object allows people to have a closer connection with nature or the
surrounding environment. Buildings in the urban age are like solid blocks which focus internally
rather than externally. People are disconnected from their surroundings when they enter the
building. By applying this theory, architecture that brings people closer to nature and their
surroundings can be created.

35
References
"7 Japanese Aesthetic Principles To Change Your Thinking". Presentation Zen. N.p.,
2009. Web. 24 June 2016.
"7 Japanese Aesthetic Principles To Change Your Thinking | Design Principles FTW".
Designprinciplesftw.com. N.p., 2016. Web. 24 June 2016.
"Architect Kuma Kengo: ‘A Product Of Place’ | The Asia-Pacific Journal: Japan Focus".
Apjjf.org. N.p., 2016. Web. 27 June 2016.
"Asakusa Culture Tourist Information Center - Architecture Of The World -
Wikiarquitectura". En.wikiarquitectura.com. N.p., 2016. Web. 27 June 2016.
"Asakusa Culture Tourist Information Centre, By Kengo Kuma | Australian Design
Review". Australiandesignreview.com. N.p., 2016. Web. 27 June 2016.
Bognár, Botond and Kengo Kuma. Kengo Kuma. New York: Princeton Architectural
Press, 2005. Print.
Bognár, Botond and Kengo Kuma. Material Immaterial. New York: Princeton
Architectural Press, 2009. Print.
Daisetz T. Suzuki. Zen and Japanese culture. Princeton, N.J. : Princeton University
Press, 1970.
Graham, Patricia Jane. Japanese Design. North Clarendon, VT: Tuttle Publishing, 2014.
Print.
Gunter, Nitschke. MA – The Japanese Sense Of Place. 1st ed. London:
ARCHITECTURAL DESIGN, 1966. Web. 27 June 2016.
Kuma, Kengo. Anti-Object. London: Architectural Association, 2008. Print.
Organization, Japan. "Asakusa Culture Tourist Information Center | Japan National
Tourism Organization". Jnto.go.jp. N.p., 2016. Web. 27 June 2016.

36
ARC 60403 / 2234 ASIAN ARCHITECTURE
PROJECT 1 CASE STUDY PAPER
FINAL PAPER MARKING SHEET (20%)
Name : KEN WONG CHUN THIM
Lecturer : 0315534
CRITERIA 1 2 3 4 5 TOTAL
Unsatisfactory Developing Satisfactory Proficient Excellent (100%)
Content
(40%)
No evidence of
thesis statement
Has written a
thesis statement
(at least
inferable), using
appropriate
language
(although not
necessarily with
the best choice of
words); may use
passive voice
verb(s)
Has written a
thesis statement
(at least
inferable), using
appropriate
language
(although not
necessarily with
the best word
choice); at least
one active verb
Has an
understandable
thesis statement,
using some
strong language,
active verb(s),
and appropriate
descriptive words
and / or phrases
Has a clear thesis
statement, using
strong language,
active verb(s),
and appropriate
descriptive words
and / or phrases
Consequences of
the issue are
absent
Consequences of
issue are vague
or confusing
At least one
consequences
of the issue is
presented
Short and long
term implications
of this issue are
presented
Short and long
terms
implications of
issue are clearly
outlined and
linked together
Discussions
and/or
recommendations
are absent or
confusing
Discussions
and/or
recommendations
are absent or
inappropriate
One general
discussion
and/or
recommendation
is presented
One or two
appropriate
discussions
and/or
recommendations
are presented
Two or more
thoughtful
discussions
and/or
recommendations
are convincingly
presented
Organization
(20%)
Arrangement of
details and ideas
is confusing
Arrangement of
details and ideas
is unclear
Details and
ideas are
roughly
arranged in a
workable order
Details and ideas
are well
organized with a
beginning, middle
and end
Details and ideas
are carefully
arranged to add
interest and
clarity
Ideas are aimless
and unconnected
Writing is very
disorganized and
few ideas are
connected
Writing is
sometimes off
topic
Ideas generally
relate to the
discussions and
recommendations
being presented
Ideas and details
build towards a
convincing
argument for the
discussion and
recommendations
Many run-ons,
fragments and
awkward
phrasings making
it hard to read the
paper
Sentences are
often awkward
and/or contain
run-ons and
fragments
Sentences are
generally well
constructed but
there may be
one or two run-
on, fragments or
Sentences are
complete and
well-constructed.
There are
attempts at
making the
writing interesting
Sentences are
clear, complete
and of varying
lengths. Writing is
interesting and
convincing

37
awkward
sentences
Writing
Conventions
(20%)
Communication is
unclear due to
many errors
Communication is
occasionally
interrupted by the
errors made
Communication
is generally
clear despite
some errors
There are a
couple of
spelling,
punctuation
and/or
grammatical
errors
Correct spelling,
punctuation and
grammar
No evidence of
sources
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sources evenly in
the paper
Uses at least 3
sources evenly
in the paper
Uses at least 4
sources evenly in
the paper
Uses at least 5
sources evenly in
the paper
APA
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Paper has more
than 4
parenthetical
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Paper has no
more than 4
parenthetical
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more than 3
parenthetical
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Paper has no
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parenthetical
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Paper has no
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than 8 cited page
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Paper has no
more than 8 cited
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to APA
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