Chapter II: Part 2

The development of English domestic architecture is of the same nature as ours; this is particularly noticed by comparing the idea of “an assize” of 1189 the first “Building Act” of England to our first building ordinance of Shōmu dynasty in 768 A.D. The house in these times in England being mostly built of wood had roofs of straw, reeds, and similar materials, and frequent fires compelled the adoption of a new mode of building. Therefrom, the stone houses covered with thick tiles was one of the requisites of “an assize”. The Imperial decree of 768 A.D. we can hardly call a building act, as it only consists of a few lines concerning the regulation of building an imperial palace and the houses of subjects; for instance “officers and laities who can afford to build their own houses should use tiles to cover roofs, and the walls are to be decorated with red and white earth”. Before this period thatched roofs had mostly been used. It is evident that the fear of a calamity of conflagration was the cause of the forthcoming of the first building acts of both nations. In England the building act having passed revision after revision, the domestic architecture was improved slowly, but steadily keeping pace with other continental nations in Europe. Improvements of domestic architecture partly owe their cause to the command of materials to be used. In the twelfth and thirteenth centuries, England was not much ahead of us in the use of building materials. Before the assize of 1189 the outside of houses was covered with reeds or rushes, but after the issue plaster was used both outside and inside of the houses and tiles, wooden shingles, and lead were used as roof coverings. Windows, before the thirteenth century, were mere holes having frames on which oiled paper and canvas were stretched until glass was used for the first time in this period.

English houses of the twelfth century were certainly no better than our _Shinden_ type. Let me give an example of what condition the English houses were in in the twelfth century. The following quotation well explains it: “the floor was frequently of earth, and strewn with rushes or straw. When it is considered that refuse from the table was, as a matter of course, thrown on to the floor; that dogs, hawks and other domestic animals lived in the hall, it will scarcely be wondered at that the state of the floor became highly offensive. It is related as an instance of the extreme refinement of Thomas Becket that he ordered his floors to be covered with fresh straw in winter, and in summer with fresh rushes, in order that such of his guests as could not find room at the tables might not get their clothes soiled by sitting on a dirty floor.” This may be an example of an extreme case. Every student of architecture knows that the thirteenth century in England is a zenith of Early English Gothic, why is it that the manor-house and the great landowner’s residence did not come under the influence of art then flourishing in the country? Perhaps they did to a certain extent, but not until as late as the Tudor period. One should not imagine that the splendid painted glass of Westminster Abbey was found everywhere in England. It was a costly luxury in this period; for it was imported from abroad and still more expensive because skilled workmen were rare. It is said that in these days common dwelling houses had glass in the upper part of windows and wooden shutters in the lower part.

It was during the time of Elizabeth’s reign, the sixteenth century, that English houses assumed a character altogether different from that of the middle ages. This is a result of commerce and navigation which has ever since been making England so pre-eminent. “The long galleries, the projecting oriels and bay windows, the broad terraces and stately flights of stairs, mark a new departure in domestic architecture”. Once the lavish use of glass called forth the protest of Lord Bacon, and the use of carpets, except on extraordinary occasions, was considered a mark of extreme luxury and foppishness. This was the state of things in the sixteenth century in England.

At the same time that the beautiful fan-vaulting of Westminster Abbey astonished the world with splendor and delicacy of detail, an order was given by Henry III to make “a certain conduit through which the refuse of the king’s kitchen at Westminster flows into the Thames; which conduit the king ordered to be made on account of the stink of the dirty water which was carried through his halls, which was wont to affect the health of the people frequenting the same hall.” And in the reign of the same sovereign the royal kitchens at Oxford were blown down by a strong wind. If the house of the sovereign was in such a condition in sanitation and construction, it may be inferred that the houses of the lower classes were utterly miserable. I do not wonder that the plagues, pestilences and leprosy of the middle ages checked the increase of population in England. England of the present period, when compared with that of seven hundred years ago, is like another world: and what difference is there between the houses of the present day and those of seven hundred years ago in our land?

When the four classes of society were firmly established in former ages, the plans of the houses were much modified by the vocation, though not much difference in architectural aspect. In the time when domestic manufacturing was in general a predominant feature of trade, and the co-operative system of business was in an undeveloped state, a factory, a store, and a dwelling house were one and the same; a store in front and a factory in the rear of a house was a general feature of the house of a merchant and a mechanic. This kind of house should of course not be treated under the heading of dwelling house proper. We have such houses everywhere in the city at present and cannot expect to exterminate them in the near future. But the advancement of civilization may not allow such varied forms of houses to exist; the rise of land value and increase of lease bring forth the co-operative system of business or compel a man to work on a large scale and thereby drives the good natured hamlet dwellers, gratifying themselves with a beautiful world of their own, out of the field of fierce struggle for existence. No one can afford to indulge in luxury by dwelling at the centre of a city unless he is exceptionally wealthy and has little regard for the quietness of home life. Wonderful power of organs of communication shortens the distance, thereby forming two distinct type of dwelling houses that is the city and the suburban, the real classification of domestic architecture. The flats, apartment or tenement houses which are classed among the city houses are the outgrowth of an advancement of communication organs, and the cottages of the suburbs are peaceful homes of strugglers for life sustenance. Thus the circumstances do not permit the existence of houses which consist of stores in front and factories in the rear. The classification of houses according to the classes of society, as formerly in vogue, has no meaning in this time of enlightenment. The plan of a house necessarily becomes narrower in front in the city dwelling as we often notice in houses at Kioto and Osaka. London and New York and all other Western great cities lay examples before us, but it is curious to note that Tokyo furnishes many examples which are contrary to this fact. Domestic architecture develops in this direction only not in any other way. I do not wonder at the subject much talked of of late about the tax to be levied on gardens belonging to houses within urban district. Fortunately the proposition was not carried into effect; but the searching eyes of wise, inquisitive politicians have already been turned to the virgin soil for resource, it is almost certain that sooner or later they will succeed. The alteration of Japanese houses has been necessitated from even a political stand point. At any rate, as to the laying down of principles and the printing out of methods of carrying out the alteration of the plan, Japanese architects are fully responsible.

Dwelling houses are divided, according to an architectural treatment, into two classes viz. city and suburban houses. The characteristics of the two and the reasons why they should be so classified need no explaining here; only a few illustrations of the two different types of dwelling houses are sufficient to remind us of the truth.

I have pointed out six elements and a few principles which govern the erection of dwelling houses. It is more convenient to treat negatively than to attempt positively the discussion of domestic architecture. In order to protect or fulfill the established principles all hindrances from all sides should be overcome. What I cite in the following has reference only to the Japanese and does not refer at all to the foreigners. It is an appeal made only to the Japanese. I consider prejudice one of the impediments in the way of progress which we have to strive to remove. So long as we are adhering to it no advancement can be expected and improvement of our houses is entirely hopeless. There is in Japan a certain prejudice which amounts even to superstition among weak minded people. They choose a place for water closet according to a superstitious notion. They think that a water closet is the most impure or unholy place, and that the reckless choice of the place for it in a house causes misfortune to the family who occupies the house. They select a place for the well, the entrance etc. according to the same groundless superstition. And they say that thus the national character should be retained through all ages. “The roofs should always be covered with tiles otherwise be thatched or shingled. The shape of roofs should be “_Chidori-hafu_” if not “_Mukuri-hafu_” or “_Kara-hafu_”. A gate should be “_Kabuki-mon_” if not “_Heijiu-mon_”. The wall should be plastered if not finished with “_Sasarako-shitami_”. (thin, wide weatherboarding over which vertical narrow strips are nailed) The posts are invariably square in section, and the ceiling should necessarily be “_Go-tenjō_”. (panelled ceiling) or “_Saobuchi-tenjō_.” (same as “_Sasarako-shitami_” only horizontal, the strips being deeply chamfered) Such and such parts should be so and so; this is the national style of architecture handed down from our forefathers. If we change it at random, how can tell that we are Japanese. This is a house just suited to the people of this peculiar land; we cannot feel comfort or enjoy convenience but for this peculiar house”. There is nothing more absurd than these peculiar ideas. I cited in the introduction that the importance of freedom of design should always be kept in mind and here will not speak further any more than that the overthrowing of those prejudices which lie across the royal road to civilization is always necessary.

I have dwelt so much on the reservedness and seclusion of Japanese dwelling houses. Once again I take up this point and call the attention of all Japanese. Works of art, no matter what they are, should express the sentiment or impression of the artist. The work which has beauty as its object should call forth the sentiment or impression of beauty to the observer or hearer. If the aim and object of any work of art cannot be recognized by others the work is nothing but failure. As the work of domestic architecture is a part of architecture, which has beauty as one of its objects, all possible efforts to beautify a house are quite rational. One might say that our houses being far from gaudiness do not aim to attract attention by showy colors like European houses. Still if attractiveness is an important element to be observed in domestic architecture, our way is one of the methods of treatment which is sufficient to charm admirers. This might be true if a house be built with the aim, among many other aims, to give pleasure to the eye. Japanese houses are uniformly of the same pattern and it seem as though they were not intended to beautify. Well, we might call them beautiful, yet if one get used to one thing continually he will get tired; variety is necessary to give pleasure to the eye.

I must add one more word in regard to the love of nature and simplicity. “In fact, Art”, says Goethe, “is called Art simply because it is not Nature”. A bird, a flower, we use them as materials to give a sensation of pleasure to the eyes, there the fine arts exist. To treat them with taste and refinement needs experience and an educated eye. Japanese domestic architecture, in a word, is, I believe, good in its spirit but leaves a large field to be cultivated in its treatment. If the remark that “Art nouveau” has its source partly in Japanese art is true, why may it not be true that the general adoption of straight lines, which has lately been much preferred by certain European architects in interior decoration, owes its origin to Japan? We furnish a spirit and general idea of treatment to European artists and they well digest them completing in perfect shape, and are kind enough to teach us how to imitate; just as we furnish raw materials of manufacture to Europe and she export them back to this country after working them up into manufactured goods. Most of the imitations of European houses in Japan which have been produced of late like shoots of plants are mostly of the nature of hybrid works and fail in the design; no truth being noticeable in their features; it is altogether too expensive to do such a ginger-bread work with cement and plaster.

My object is not to suggest the imitation of palatial European houses which are beyond every man’s reach: but to propose certain plans, though they may be commonplace character, under the guidance of principles involved in the house planning, which I presume to be practicable in this time of transition: and also I would aim to bring our houses more nearly up to the universal stand.

ELEVATION OF DOZO, DOOR, WINDOW]

SECTION OF DOZO.]

A MODEL SHOWING THE CONSTRUCTION OF DOZO]

Our houses are peculiar in many respects when compared to the Western houses as the result of difference in customs, yet there are many things in common to both if names were changed. But the most singular feature is a “_Dozō_” (a treasure house of a half fire-resistance construction) whose necessity is never felt in any foreign house. In all civilized countries valuable articles can be insured for the fear of fire. The system is also provided in this country; then why the necessity of a “_Dozo_”? The Japanese as a nation who observe the reverence of ancestors to the utmost as stated before, the treasures collected by ancestors are carefully kept by their posterity; these may be cloths, objects of fine arts, household utensiles, gold and silver ware, no matter what these are the owner would not give away for any price if the family is in high standing in society. And moreover the custom of avoiding to display these things necessitates a place in which these valuables may be kept. The number of “_Dozo_” is the pride of a family; thus the “_Dozo_” is the outcome of the custom of Japan. The construction of it is shown in the plates. Wood and earth are the chief materials for construction. The thickness of earth put on the wall is nine or ten inches suspended by the lattice work of bamboo of small diameter, say half an inch, tied together in place with the rope made of fibres of the palm tree. The work is exceedingly tedious, for one coat of earth is to be done after another had been dried. Lastly the black or white coating of plaster which is made of mixture of lime paste, (generally the mixture of lime and calcined oyster shells) fibres of hemp, boiled sea weeds, and the pulp of Japanese paper is put on as the finish. If one cannot content or feel safe without a “_Dozo_” or big earthen safe I have no strong reason to object to the use of it. But constant attention to the new materials which are making appearance from time to time in the market is necessary though the new materials and appliances cannot always be said to be exclusively good. And I believe there may be a variety of designs to make it look better to assume an aspect of monumental character.

There is no house in the world in which more mechanical energy has been utilized in the house building than the American house. Considering a house as a commodity there is no other way of producing it economically than to use mechanic power. The Americans have broadest view, wisest choice, and most practical ideas in this respect. They will understand the subject and manage it with wonderful skill while we are discussing on the definition of fine arts and commenting on the subject of nationalism. Architects and house owners need to consider why, taking our standard of living into consideration, our houses cost so much more than those of America. What cost seventy five dollars a “_tsubo_” (a “_tsubo_” is six feet square which is a unit of measuring the buildings and grounds) in the United States will cost more than one hundred and fifty yen (one yen is about fifty cents of U.S. money) in this country. If its cause be attributed to the lack of mechanical appliances to the production of the building materials, why cannot we use machinery in order to get better houses at lower cost? We could not do it at present; the reason is manifold and very complicated, but in a word the labor saving machine is not labor saving, labor is still cheaper than machinery. Why then do the things made by hands which are cheaper than machinery cost more than the things made by machine? This is a most important question to be solved by present Japanese architects and is one after which they are striving. According to my own view, the love of nature, admiration of simplicity and irregularity which are so much a part of the national taste or character are the greatest barriers to the way of progress of our domestic architecture, if the mechanical appliances to house building is called a progress. Most economical questions concerning houses depend on this and decide the future development of our houses. And our endeavor as architects is to so guide the people that they may not deviate from sound common sense on dwelling houses.

Plates 33 and 34 are proposed plans for Japanese dwelling houses.

Plates 33 and 34 are proposed plans for Japanese dwelling houses.

Plates 35, 36 and 37 are examples showing a method of treatment of Japanese parlor.

Transcriber’s Note

The title page was fully typeset. This was followed by a typeset form which was filled in by hand. On these two pages the typeset words are all in uppercase, and the handwritten words are in lowercase.

As mentioned in the Transcriber’s Note at the start of this book, a few minor changes have been made to punctuation. However the author frequently omits punctuation after a closing bracket, and this has not been changed.

The spelling of words that the author elsewhere spells conventionally have been made consistent, “peculiar” and “peculiarly” have been changed from “peculier” and “pecurially” throughout, and “t”s have been crossed. Other changes that have been made are:

Page From To In
==== ==== == ==
2 Glove Globe Globe trotters
5 amateaur amateur amateur architect
10 quater quarter the quarter where wealthy people
15 it safe it is safe it is safe to regard the result
19 carier career their future career
28 Vicisitude Vicissitude Vicissitude of the mode of living
29 occured occurred change in mental taste has occurred
37 Guinia Guinea New Guinea
41 influencial influential influential persons among scholars
41 The They They returned home
47 Daimio _Daimio_ warlike spirits of _Daimio_
51 dicipline discipline soul discipline
51 the way the way of in the way of display
54 unsymetrical unsymmetrical odd, unsymmetrical, picturesque
62 carpects carpets the use of carpets
67 naild nailed strips are nailed
75 palacial palatial palatial European houses

Transcriber’s Note - Plates

The scales on plates 23, 25, 26, 27, 28 and 29 are no longer legible.

The labels and notes written on the plates are:

Plate: 1

Labels:
Lintel
Door
Boarding
Post
Stone
Scale:
One fence is marked as 3 feet high.

Plate: 3

Labels:
Bamboo stick

Sub-title:
Roofed Fence
Labels:
Boarding

Plate: 4

Scale:
Fences are marked as 6, 9 and 8 feet high.

Plate: 5

Labels:
Gate.
Labels:
Ridge
Roof board
Wooden post
Door
Double swinging door

Plate: 6

Note:
Top and base of the wooden post and ends of lintel are covered
with copper plates.

Labels:
Lintel
Key
Large double-swinging door
Wooden post
Small swinging door
Sill
Sill
Sill
Stone

Sub-title:
Roofed Fence
Labels:
Plaster
Wooden post
Wood

Plate: 7

Title:
“SHŌJI”
Note:
Lattice work one side of which is covered by white
semi-transparent Japanese paper.

Labels:
Lintel
Post
Post 5 inches square
Post
Sill on which the groove is cut.
Scale:
Height 5 feet 9 inches.

Sub-title:
Horizontal Section
Labels:
Groove

Plate: 8

Title:
“FUSUMA”
Note:
Construction is about same as “Shōji”.
Design in Ramma is generally cut through with carving knife.
Both of two surfaces of wooden lattice work are covered by
thick papers which are composed of a number of thin sheets
of paper. Cloth is often used. Elaborate designs are
sometimes painted.
Labels:
Ceiling
“Ramma” wooden panel

Sub-title:
Horizontal Section

Plate: 9

Title:
PLAN OF A JAPANESE HOUSE
Note:
This illustrates conventional method of a plan drawn by
Japanese Builder.
Black square spots represent posts.
Walls are represented by single lines.
S. ... Shōji.
F. ... Fusuma.
Section lines are board floor.
Labels:
Garden
Room:
Old Man or Children’s Room
Labels:
Wall
Closet
Tana
Fusuma
Shōji
Door sash pocket
Wall
Sliding fusuma
Room:
W.C.
Labels:
Wall
Room:
Urinal
Room:
Veranda
Labels:
Closet
Door sash pocket
Room:
Veranda
Labels:
Door sash pocket
Room:
Servants’ Room
Labels:
Shōji
Window
Sliding door
Closet
Room:
Master’s Room
Labels:
Closet
Shōji
Fusuma
Fusuma
Room:
Living Room
Labels:
Shōji
Fusuma
Wall
Fusuma
Wall
Closet
Fusuma
Room:
Parlor
Labels:
Shōji
Shōji
Window seat
Sill
Chigai-tana
Tokonoma sill
Tokonoma
Room:
Veranda
Labels:
Door sash pocket
Room:
Passage
Labels:
Urinal
Room:
W.C.
Labels:
Wall
Room:
Bathroom
Labels:
B.T.(Bath tub)
Swinging door
Room:
Kitchen
Labels:
Sink
Wall
Sliding door
Door sash pocket
Room:
Dining Room
Labels:
Fusuma
Shōji
Shōji
Fusuma
Closet
Sliding window
Window pocket
Room:
Hall
Labels:
Fusuma
Wall
Fusuma
Window seat
Projected window
Room:
Small Portico
Labels:
Wall
Room:
Vestibule
Labels:
Partition wall
Fusuma
Shōji
Room:
Reception Room
Labels:
Swinging door
Glass window
Glass window
Projected window
Room:
Portico
Labels:
Double swinging door
Window
Scale:
Scale 1/100 shaku to 1 shaku. 1 shaku = 0.994 feet.

Plate: 10

Title:
PLAN FOR A DWELLING HOUSE
Labels:
Flower
Pond
Chashitsu
Room:
Room for religious service
Labels:
Closet
Closet
Room:
Old Man’s Room
Labels:
Closet
Room:
Childrens Play Room
Labels:
Closet
Room:
Master’s Room
Labels:
Closet
Room:
Mistress’ Room
Labels:
Closet
Closet
Room:
Toilet Room
Labels:
Shelf
Room:
Bath Room
Room:
Parlor
Room:
Dining Room
Labels:
Closet
Closet
Room:
Second Parlor
Room:
Servants’ Dining Room
Room:
Reception Room
Room:
Preparation Room
Labels:
Closet
Room:
Kitchen
Labels:
Sink
Closet
Room:
Reception Room
Room:
Second Reception Room
Labels:
Closet
Room:
Vestibule
Room:
Door Attendant’s Room
Labels:
Closet
Room:
Hall
Room:
Servants’ Room
Labels:
Closet
Closet
Room:
W.C.
Room:
W.C.
Scale:
Same scale as plate 9

Plate: 12

Title:
SHINDEN-TSUKURI
Note:
Taken from old drawing
Labels:
Shinden
East wing
West wing
Stream
Middle gate
Wall
Fishing pavilion
Islet
Pond
Fishing pavilion
Miniature landscape

Plate: 30

Sub-title:
Elevation of Dozo
Scale:
Scale 1/50 shaku to the shaku.

Sub-title:
Door
Labels:
Earth
Scale:
Scale 1/20 shaku to the shaku.

Sub-title:
Window

Plate: 31

Title:
Section of Dozo
Scale:
Scale 1/20 shaku to the shaku.
Labels:
Earth and plaster

Plate: 33

Sub-title:
First Floor
Room:
W.C.
Room:
Bathroom
Room:
Preparation Room
Room:
Kitchen
Room:
Dining Room
Room:
Sitting Room
Room:
Parlor
Room:
Hall
Room:
Porch

Sub-title:
Second Floor
Room:
Chamber
Labels:
Closet
Room:
Chamber
Labels:
Closet
Room:
Chamber
Labels:
Closet
Room:
Chamber
Labels:
Closet
Room:
Library
Room:
Hall

Sub-title:
First Floor
Room:
Bathroom
Room:
W.C.
Room:
Urinal
Room:
Kitchen
Room:
Sitting Room
Labels:
Closet
Room:
Preparation Room
Room:
Dining Room
Room:
Hall
Room:
Parlor
Room:
Vestibule

Sub-title:
Second Floor
Room:
Chamber
Labels:
Closet
Room:
Chamber
Labels:
Closet
Room:
Chamber
Labels:
Closet
Room:
Chamber
Labels:
Closet
Room:
Hall
Room:
Library
Room:
Balcony

Plate: 34

Sub-title:
First Floor
Room:
W.C.
Room:
Kitchen
Room:
Bathroom
Room:
Preparation Room
Room:
Dining Room
Room:
W.C.
Room:
Hall
Room:
Parlor
Room:
Vestibule
Room:
Sitting Room
Labels:
Closet

Sub-title:
Second Floor
Room:
Chamber
Labels:
Closet
Closet
Room:
Chamber
Room:
Hall
Room:
Library
Room:
Guest Chamber
Labels:
Closet
Closet