tradi tional Japanese arch itecture (Kuma 2010), and IS being prog ressive ly reclaimed as an essen tial environmen tal
control element to sustainab le bu ild ing design (Ma tsunawa 2010) Howeve r, the reference to a singular Japanese
arch itectural tradition IS an abstraction, as it encompasses seve ral differen t styles and typo logies (lsozaki 2006;
Nute 1995) Even the adoption of vernacular models to the formulation of japan ness In the beg inning of the 20th
cen tury (lsozaki 2006)' collides with the variables present In the multitude of rural minka sty les
Therefore, it can be asked which ma terials, mo tives, tex tures and patterns const itute the skin and structure of
Japa nese vernacu lar arch Itectu re? What bou nda ry patterns a re observed in minka typolog les? 'Ja pa nese dwelli ngs
are often sa id to be made of wood and pape r; but () It is mo re accu rate to say that minka are made of wood ,
grass, and earth ." (Kawashima 1986 18)' in different lo ca l arrangements. The existence of local patterns among
regiona l diversity in Japanese vernacu lar architecture was Identified and reg iste red by Wa jiro Kon (1888-1973)1'
In "Nihon no Mlnka" (1927). Japanese rural house typo logi es were Interpreted "() as material expressions of
particular lifestyles, concluding that it was the natural environment which largely defined those patterns of living."
(Nute 1995 114)
The present resea rch aims to examine the role of Intermediate spaces and the usage of different porosity
material patterns In bui lding's envelope boun daries , in minka arch itecture, identifying local typo logies and its
respons iveness to micro-local conditions. It is intended to visualize how these patterns change in space and to
clarify how its soft boundaries are subject to local adaptation , and ecosystem integration.
tradi tional Japanese arch itecture (Kuma 2010), and IS being prog ressive ly reclaimed as an essen tial environmen talcontrol element to sustainab le bu ild ing design (Ma tsunawa 2010) Howeve r, the reference to a singular Japanesearch itectural tradition IS an abstraction, as it encompasses seve ral differen t styles and typo logies (lsozaki 2006;Nute 1995) Even the adoption of vernacular models to the formulation of japan ness In the beg inning of the 20thcen tury (lsozaki 2006)' collides with the variables present In the multitude of rural minka sty lesTherefore, it can be asked which ma terials, mo tives, tex tures and patterns const itute the skin and structure ofJapa nese vernacu lar arch Itectu re? What bou nda ry patterns a re observed in minka typolog les? 'Ja pa nese dwelli ngsare often sa id to be made of wood and pape r; but () It is mo re accu rate to say that minka are made of wood ,grass, and earth ." (Kawashima 1986 18)' in different lo ca l arrangements. The existence of local patterns amongregiona l diversity in Japanese vernacu lar architecture was Identified and reg iste red by Wa jiro Kon (1888-1973)1'In "Nihon no Mlnka" (1927). Japanese rural house typo logi es were Interpreted "() as material expressions ofparticular lifestyles, concluding that it was the natural environment which largely defined those patterns of living."(Nute 1995 114)The present resea rch aims to examine the role of Intermediate spaces and the usage of different porositymaterial patterns In bui lding's envelope boun daries , in minka arch itecture, identifying local typo logies and itsrespons iveness to micro-local conditions. It is intended to visualize how these patterns change in space and toclarify how its soft boundaries are subject to local adaptation , and ecosystem integration.
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