aa miho museum

The adaptation of Japanese cultural approach to fulfil client’s requirements on Miho Museum, Japan.

Asian Architecture (ARC 60403 / ARC 2234) Project Part B: Case Study Paper


Name : Yeow Jinn Sheng 0318797

Lynette Law Yong Yi 0317761 Adam Tan Yen Sheng 0317750 Hariish Kumar 0318852 Eng Shi Yi 0317849 Fong Tze Ying 0324073

Tutor: Ms Ida Mazlan Submission Date: 29 November 2016


Table of Contents Page 1.0 Abstract……………………………………………………………………………………………1

2.0 Introduction……………………………………………………………………….………….2

2.1 Paper research questions………………………………………………………2-3

3.0 Client’s historical background…………………………………………….…………….4

3.1 Requirement on Miho Museum, Japan……………………………………5-6

4.0 Spatial organization…………………………………………………………….……………7

4.1 Circulations………………………………………………………………………………..8

4.2 Influence of Shinden style…………………………………………………………9

4.3 Influence of Shakkei…………………………………………………………..10-11

5.0 Influence of site context……………………………………………………………12-14

5.1 Site issues………………………………………………………………….………..15-16

6.0 Impact of application of cultural approach……………………….……………17

6.1 Building materials and systems……………………………….…………..17-21

6.2 Visual making elements………………………………………………………22-24

7.0 Comparison of traditional Gassho-Zukuri style farmhouse and

Miho Museum……………………………………………………………………………………..25

7.1 Design intentions…………………………………………………….……………….25

7.2 Spatial organizations………………………………………………………………26

7.3 Site contextual responses and form………………………….……………..27


7.4 Building materials and systems……………………………………………28-29

8.0 Conclusion……………………………………………………………………………………30

9.0 Glossary of terms……………………………………………………………………..31-32

10.0 Reference and bibliography…………………………………………………….33-37

11.0 Turnitin plagiarism report……………………………………………….………38-39


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1.0 Abstract

This report investigates the Japanese cultural approach to fulfil the

client’s requirement on Miho Museum, Japan. The research consists of

the client’s requirement and how does it affects the design process.

Therefore, our intention focuses on how the Japanese architectural

elements such as spatial organization, integration of site, form and

building materials to achieve client’s requirements. Various of research

methods have been carried out to collect more in-depth datas and

informations such as books and online resources. Miho Museum’s

spatial organization was influenced by three major concepts which was

derived from Japanese culture which consists of the circulation and the

users’ experience throughout the museum. The approaches Miho

Museum integrates itself with the site while respecting the site context

and regulations. Utopian or tougenkyo experience was enhanced by the

topography and altitude of the site where the museum was located.

Hence, the application of Japanese cultures in impacting the

architectural form and the choices of materials. The utilization of

modern building materials to emulate the Japanese traditional

architecture from the texture and colours.


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2.0 Introduction

Figure 2.10 Natural and built environment : Miho Museum blends well into the surrounding site.

Miho Museum, a private museum camouflages in Koka, Shigaraki

preserved forest, with its surrounding’s peace and serenity. It was

owned by Shumei Cultural Foundation, which established by Mihoko

Koyama. Currently, Hiroko Koyama is inheriting her deceased mother’s

legacy since year 2003.

In 1997, the commissioned architect, Pei Ieoh Ming (shortly known

as I.M.Pei), was genuinely success in creating such iconic building which

symbolized Japanese knowledge and culture. The main challenge in

designing this masterpiece was the approaches that architect adopted to

achieve client requirement, while respecting the local culture, as well as

the site context. Therefore, we introduced a few research questions in

order to obtain in-depth informations behind this museum, by


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conducting various of researches. Below are the questions that we

established:

1. What is the client’s requirements on Miho Musuem?

2. How does the spatial organization demonstrates Japanese culture

within the client’s requirements?

3. How does the building integrates the site to achieve client’s

requirements while adapting Japanese culture?

4. What is the effect of the application of Japanese cultural

approach?

5. Explain the comparison between traditional Gassho-style

farmhouse and Miho Museum.


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3.0 Client’s historical background

Shinji Shumeikai, shortly known as Shumei, is a religious organization

which founded by Mihoko Koyama, one of the richest public figure who

prominent in Japan textile industry.

Figure 3.10 (Left) Mihoko Koyama(sitting) greets with I.M.Pei (grey suited).

(Right) Hiroko Koyama, Mihoko Koyama’s daughter.

The group aims to create “Heaven on Earth” to prepare Day of

Judgement which assumed as Age of Night (disaster). The name of the

organization was hinting Divine Love as Shinji and Supreme Light as

Shumei, which are the founder’s intentions. The group members that

they are the only one who capable to create a perfect world where

negative social issues such as poverty, illness, war never exist.


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3.1 Requirement on Miho Museum, Japan

Mihoko established the organization after met with Mokichi

Okada (1882 - 1955),a master who pioneers in Japanese farming.

Majority of his works are derived from his life experience, especially

during World War II. Therefore he focused on the ways to improve

humans wellness throughout the purification healing process, which

leads to heaven on earth. According to his essay Meishu-Sama(Farming

to create Heaven on Earth), there are 3 approaches of purification,

which are Presence of beauty such as fine art, God’s Light or Johrei

ideology and Art of Agriculture (appreciation of the relationship

between nature and human being).

Figure 3.20 Mokichi Okada, spiritual leader in Japan farming

Mihoko strongly agreed with the thought and decided to spread the

teachings into her organization. Her members believed that good


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attitudes or behaviours are contagious and able to spread all over the

world as if a lotus flower grew over the mud, to form heaven on earth.

Eventually, it became the core intention and requirement behind the

design process of Miho Museum.


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4.0 Spatial organization of Miho Museum

Miho Museum functions as a private museum to showcase owner

collections, and accommodates a few programs such as reception hall,

cafe etc. In order to obey the restrictions in the preserved forest, the

programming of the spaces have been translated into centralized -

clustered configurations as if demonstrating the ideology of spreading

lotus to create “Heaven on Earth”.

Figure 4.10 Floor plans of Miho Museum.

(Above) Main entrance level.

(Below) Lower ground level (underground).


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4.1 Circulations

Figure 4.20 Arrows indicate the suggested route, which is to North Wing, then South Wing

North Wing houses the collection by the owner, while South Wing

exhibits objects that were purchased later. Visitors are suggested to take

the route showed as above, to appreciate the beauty of the nature while

admiring the art collections, throughout the journey.


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4.2 Influence of Shinden style

The shinden style’s characteristic of having a main building and

corridors on the edge that are centered around a courtyard. The building

being the entry to heaven and the nature acting like a pathway. Series of

spaces were connected underground that spin off the core of the

museum, which is main entrance.

Figure 4.30 Typical Shinden-Zukuri style building layout. Open area in front of main building

enhances the grand sense of it.

Figure 4.40 Essence of huge open space in front of Miho Museum clearly derived from Shinden

style


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4.3 Influence of Shakkei

Figure 4.50 Generous glass wall enables visitor to enjoy the natural view with the principle of

Shakkei.

Shakkei, defines as a concept of “borrowed scenery”, where the

surrounding natural elements compliment the user’s spatial experience

in Miho Museum. Concept of Kami or forces of nature is being obvious

as a part of the design,as the museum interacts with the nature spirits

such as sky, trees, hills. The integration embraces the beauty of God’s

creation. In this instance,the Miho museum has glass walls that frame

the view of the hills around it.The building is placed in a way to

intergrate the view as the part of the building rather than being just a

window. Katsura Imperial Villa was one of the inspirations in creating

heavenly setting.


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Figure 4.60 Katsura Imperial Villa with greeneries to compliment the building by using concept of

Kami and Shakkei.

Figure 4.70 Glass wall on one side, allows daylighting ventilations, yet visual connection to the

nature outside view.


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5.0 Influence of site context on Miho Musuem

The site context of Miho Museum is the key and one of the main

things to achieve the concept of heaven on earth. Due to its strategic

location, as located on panoramic mountainside in a nature preserve

away from the crowded city, Kyoto and nestled among the tranquil

mountains, the breath-taking scenery of Shigaraki Mountains around the

museum emanates the sense of beauty and peace. Thus, the visitors can

experience the inspiriting power of the surrounding nature.

Figure 5.10 Miho Museum and the mountains are encompassed in the thick mist.

The thick mist is an optimal natural setting which meets the

approach of creating a heaven on earth. The ideal natural settings of the

topology of the site give people an impression of a beautiful imaginary

place where life approaches perfection. I.M Pei successfully created a


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heaven on earth by conveying the utopic experience of a fisherman from

an old Japanese painting ‘The Peach Blossom Spring’.

Figure 5.20 Japanese old painting, The Peach Blossom Spring, which symbolizes the marriage of

Chinese and Japanese culture, as if the corporation of I.M.Pei and Japanese client.

Figure 5.30 Trees hang high overhead the pathway at the entrance of the tunnel.


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The perception of creating a heaven on earth can be seen from the

beginning of the journey. Upon reaching the first part of the building,

the visitor can have an immerse experience as the reception hall and

open plaza is fenced by peach trees. Blossom trees are line at the two

sides of the pathway that opens up naturally that leading the visitor to

the entrance of the tunnel as shown in figure 5.20. At the end of the

silver grey tunnel through the mountain, sunlight emanating from the

opening becomes an element of surprise and metaphor the light from

the heaven.

In order to replicate the experience and journey of the fisherman,

I.M. Pei implied the Japanese spatial concept ‘Ma’ into his design.

Concept ‘Ma’ promotes interval of spatial designation. It is not

emphasized on the sense of an enclosed 3-dimensional entity or form.

Somehow, ‘Ma’ concept is things that appear in the imagination of a

person who experiences the space. It can also be consider as a pragmatic

place understood with emphasis on interval. Therefore, I.M. Pei divided

the building into two parts. Both sites are connected with a tunnel and

suspended bridge. Before approaching the main museum, the visitors

have to experience the interval tunnel space which is similar to the

process of the fisherman discovers the paradise.


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5.1 Site issues

As the site is on the Shigaraki Mountains of Shiga prefecture, the

architecture has to follow strict building codes that are set by the Japan

government, which is the Level-Three nature preservation code to make

sure the structure will not destroy a big area of forest. Owing to the fact

that 79 percent of Japan’s topology is forest and ninety five percent of it

are mountains, trees plays an important role in inhibiting landslides,

floods, and cultivating the agriculture. Level three nature preservation

code includes:

1. No structure can exceed 13 meters above ground.

2. Roof area component cannot larger than 2000 square meter.

3. Building has to away from any appose building at least 5 meters.

4. Trees that displaced during the construction have to be replaced

Figure 5.40 Sectional elevation of Miho Museum, responds to site regulations


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In consideration of the preservation codes and the aim of heaven on

earth, the architect decided apply the concept “Shi-Zen” which uses the

nature as his design guiding principle and embed eighty per cent of the

building under the ground. This result the Miho Museum can be

completely integrate with the nature surrounding Shigaraki Mountains,

as the skyline of the building matches the skyline height of the rocky

mountain.


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6.0 Impact of the application of local cultural approach on Miho Museum 6.1 Building materials and systems

Figure 6.10 Light interacts with steel space frame construction to create the atmosphere of

juxtaposition and reflecting Johrei’s idealogy.

Light as always in I.M.Pei ‘s works, plays an important role in this

museum. Steel space frame construction is used and it is based on the

triangle as I.M Pei believes it is the simplest and strongest geometric

construct, yet one can create great spatial complexity through

juxtaposition and combination. In relation to Johrei’s idealogy, which

is "purification of the spirit" that acts as purported healing ritual which

involves a giver and receiver. It is Johrei’s mission to bring ideal

conditions on Earth in order to replace illness, poverty and strife with

prosperity and peace. Johrei is not all about restoring physical health but


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it’s main objective must include the necessary spiritual elevation and

understanding that would enable each individual’s constructive

participation in creating Paradise on Earth possible

“ A permanent solution for disease is not possible by treating only

the body (matter) and neglecting the spirit. Johrei sheds divine light

directly on the soul. “ as told by Johrei.

Figure 6.20 Magny Dore limestone clad on the floor and gives off a warmth feeling through its

materiality (brightness).

As the floor is clad with warm beige Magny Dore limestone from

France ( same material that was used in the reception hall of the Louvre

in London ) , its brightness in colour gives off a warm feeling in the

interior. Magny stone gives a special light and brings out the beauty of

the stone, a sense of permanence and history that goes back millions of

years. The piling up of tetrahedron structures in steel creates great


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structural rigidity and spatial complexity much like the large wooden

beam during the Edo farmhouse period.

Figure 6.30 Sudare, traditional window in Japanese houses, having a basic design, some are

crafted with silk, gold thread and other expensive materials.

Applied to the Miho Museum’s roof structure, it is light and allows

natural sunlight penetrates through the building. When the sunlight

penetrates into the museum, with the reflection of the nature, it

provides visitors the sense of fullness and experiential richness.

Aluminium louvres are applied the same principles as Sudare, which

allows soft sunlight, as if welcoming Johrei into interior. Bright tone walls

and floor reflects the appearance of Heaven of Earth, where visitors

could feel the warmth on the ground (Earth).


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Figure 6.40 Glass is used to cover the exposed fraction of the building.

Figure 6.50 similarities of the approach towards the building as shown in Miho Museum(Above)

and Anritsuji temple, Matsumoto,Japan ( below) and how it reflects the Shinto religion.


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Stone and concrete with additive are used at the open pavilion as to

appear similar with the surrounding and its appearance with proximity

to a Japanese temple. The design of the open pavilion of Miho Museum

strongly reflects the ‘Heaven’ part whereby visitors entering the

museum through the stairs as though the guardians and spirits approach

the Gods or palace in heaven as believed by the locals.


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6.2 Visual making elements

From the exterior, the Miho Museum perceives as a sacred building

so that the museum fulfill client’s objective “Heaven on Earth”. The

architecture did it well with the compliment of the concept which gives a

chance discovery of an ethereal utopia where the tourist led an ideal

existence in harmony with nature, unaware of the outside world.

Figure 6.40 Miho Museum is eighty percent embedded in the forest, showing respect to the

nature-architecture relationship.

According to the “Kami” Concept, which are the elements of

landscape and the Forces of Nature, the building blends well with the

surrounding landscape. The building has a spectacular structure which

appears grand and holy, embedded in the forested landscape, and gives


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visitors the natural setting to re-interpret the experience of the

fisherman from the Chinese fable “The Peach Blossom Spring”, who was

fishing by a stream in the mountains and accidentally found a wonderful

orchard which full of peach trees in blossom.

Figure 6.50 Front entrance which shows a balance with nature, where nature is the guiding

principle.

Figure 6.60 Japanese Buddhist temple with grand and graceful front facade.

Miho Museum has a symmetrical façade, which actually derived

from the Japanese culture. The balance façade is inspired by the


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Japanese Buddhist temple. It represents balance and order which ties

back to client’s concept “Heaven on Earth”. The Wabi Sabi tradition is

one of the interesting key points in Japanese aesthetic which apply at

the Miho Museum. It aims for simplicity, intimacy and appreciation of

the integrity of nature. From the exterior façade of the Miho Museum, it

looks simple yet bold looking to express the client’s objective. Inspired

by a spiritual leader who pioneers in Japanese farming, the Miho

Museum’s roof structure has similar characteristics with the Japanese

Farm house. The geometry structure of Miho Museum clearly evokes the

wooden roof of a traditional minka, or a Japanese Gassho-style

farmhouse.


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7.0 Comparison of traditional Gassho-Zukuri style farmhouse and Miho Museum

7.1 Design intentions

Figure 7.10 Gassho-Zukuri style farmhouse.

During Edo period, Gassho-Zukuri style houses were prominent of its

roof structure and adaptation to climate in places like Shirakawa. Gassho

was named because of its roof looks like two hands brought together in

prayer. As a case study, we found that it is interesting to be compare as

both buildings are more likely appraising God or nature forces.


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7.2 Spatial organizations

Figure 7.20 Gassho-Zukuri style farmhouse layout (Above)

Miho Museum layout (Yellow spaces as buffer zone between public and private

spaces)

In gassho zukuri the family room as a middle point of the building

and also as a buffer zone between each spaces. In miho museum,the

buffer zone between spaces just acts a method of circulation. Public or

semi-public spaces were aligned at the centre area, then branch out to

the private spaces.


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7.3 Site contextual responses and form

The architecture style is mostly based on site condition. A few

modifications are made to cope with the extreme weather conditions.

Typically, the roofs of the Gassho-style houses are mostly gabled as the

roof can divert the weight of the snow to prevent it collapse.

Due to the snowfall, this results the gradient of the roofs of the

Gassho-style houses is steeper. To transmit the roof and the weight of

the snow to the first floor, pin structure is used to support the roof.

Dated back to the ideology of “Farming to create Heaven on Earth”,

there is similarity that can be seen from the form of Gassho-Zukuri style

farmhouse and Miho Museum.

Figure 7.30 Roof structure of Gassho-Zukuri style farmhouse.


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7.4 Building materials and systems

Figure 7.40 Thatched roof of Gossho-Zukuri style farmhouse

Gassho-style houses from the Edo farmhouse period are built based

on their regions characteristics. One of the significant characteristic of

the Gassho-style houses is the structure and function are different

between the first floor and the attic.

Figure 7.50 The attic(red outlined) is two stories high - the bottom floor of the attic is called

“AMA” and the top floor of the attic is known as “SORA-AMA”.


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In Miho Museum, the attic is not exist but revealed roof structure

to enhance the impression of height and scale, and promote the grand

feeling of heaven.


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8.0 Conclusion Miho Museum expresses the sense of heavenly grand through

Japanese influence and adaptations. Nevertheless, it is successfully

complete all the spaces and programming that are required without

compromising Shinji Shumeikai’s objective - Heaven on Earth. Even the

form does not changes much, as I.M.Pei mentioned that he prefer to

design low profile buildings that is proximate to local, rather than an

alien-like modern and unique designs to gain the public attentions. The

architect brilliantly created a building form that is modern yet containing

strong sense of Japanese identity. Throughout the case study from

traditional Gassho-Zukuri style farmhouse, we noticed that there are a

few similarities that architect derive the local essence and beauty from

local architecture to express certain degree of respect to site context.


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9.0 Glossary of terms 1. Tougenkyo - An utopian experience. In here, it means unpredicted,

unexpected scene of Miho Museum, once came out from the tunnel.

2. Shinji - Truth. In here, it means Divine Love toward God.

3. Shumei - Supreme Light. The presence of light to fight against the dark

forces such as Age of Darkness.

4. Johrei - God’s light. Only the light from sun is the positive energy, that

is radiant, powerful and nature.

5. Shinden - Sleeping hall. In here, it means the main building body.

6. Shakkei - borrowed scenery. The existence of the surrounding nature

elements give compliment or enhancing the user experience in a

building.

7. Kami - Spirit. In here, it refers elements of landscape (hills, trees, air,

mist, sky)

8. Ma - Void or gap between things. In here, it refers the pause, the

relation that corresponds to the connection of time and space, where

visitor feel certain spatial quality at certain time and distance.

9. Shi-zen - create a natural-feeling environment with the absence of

pretence or artificiality. For example, the impulsive nature of the

Japanese garden that the viewer perceives is not accidental.


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10. Sundare - Sudare are traditional window coverings that are made

with horizontal strings of wood, bamboo or other natural materials.

They are typically only used in the spring and summer for the purpose of

ventilation and blocking the sun.

11. Wabi Sabi - Wabi sabi represents Japanese aesthetics and a Japanese

world view centered on the acceptance of transience and imperfection.

The aesthetic can be described as one of the beauty that is ”imperfect,

impermanent, and incomplete”. In here, it concerns the simplicity of

aesthetic value in Japanese.

12. Minka - Literally means People House. In here, it refers to traditional

farmhouses.


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