Architecture

of Japan
P R E PA R E D B Y:

AR. RUBEE DORINGO, UAP

INTRODUCTION
Japanese architecture has been typified by wooden structures, elevated slightly off
the ground, with tiled or thatched roofs. Sliding doors (fusuma) and other traditional
partitions were used in place of walls, allowing the internal configuration of a space to
be customized for different occasions. People usually sat on cushions or otherwise on
the floor, traditionally; chairs and high tables were not widely used until the 20th century.
Since the 19th century, however, Japan has incorporated much of Western, modern,
and post-modern architecture into construction and design, and is today a leader
in cutting-edge architectural design and technology.
The earliest Japanese architecture was seen in prehistoric times in simple pit-
houses and stores adapted to the needs of a hunter-gatherer population. Influence
from Han dynasty China via Korea saw the introduction of more complex grain stores
and ceremonial burial chambers.
General features of Japanese traditional architecture
Traditional Japanese architecture evolved through various periods and uses,
including residences, castles, Buddhist temples, and Shinto shrines. While it
was influenced by Chinese culture, Japan developed unique architectural styles,
techniques, and features suited to its climate and environment.
Key Characteristics:
•Material Choice: Wood is the primary building material, with minimal use of
stone (except for foundations).
•Structure: Buildings follow a post-and-lintel system with large, gently curved
roofs. Walls are thin, movable, and non-load-bearing. Arches and barrel roofs
are absent.
General features of Japanese traditional architecture
•Roof Design: Roofs are dominant features, often making up half the building’s
size. Extended eaves provide shade and require complex bracket systems
(tokyō) for support.
•Interior Flexibility: Spaces are fluid, with rooms divided by sliding paper doors
(shoji) and screens. Walls can be removed to merge spaces or connect the
interior with nature.
•Environmental Integration: Buildings blend harmoniously with their
surroundings, using verandas and open structures to create a connection with
nature.
General features of Japanese traditional architecture
•Proportional Harmony: Construction modules maintain balance and proportion
across all building elements.
•Versatility: Similar architectural features between religious and secular
buildings allow easy conversions, such as transforming noble residences into
temples.
Prehistoric Period
The prehistoric period of Japanese architecture spans the Jōmon, Yayoi, and
Kofun periods (5000 BCE – 8th century CE). During this time, early dwellings
and structures evolved based on environmental changes, interactions with
neighboring cultures, and social advancements.
Jōmon Period
•Primarily a hunter-gatherer society with early agricultural skills.
•Dwellings were pit houses—shallow pits with thatched grass roofs designed to
collect rainwater.
•As the climate became colder, the population declined, leading to an increased
focus on rituals and stone circles.
Prehistoric Period
Prehistoric Period
Yayoi Period
•Interaction with China’s Han dynasty introduced advanced tools (e.g., saws,
chisels).
•Raised-floor storehouses (granaries) were developed using wooden box
structures supported by pillars.
•Some scholars suggest that Austronesian influences from coastal China or
Taiwan played a role in raised-structure designs.
 Prehistoric Period
Toro pit-dwelling reconstruction

an archaeological site in Suruga Ward in Shizuoka City, 130 kilometres (81 mi)
southwest of Tokyo, Japan. The site contains the ruins of a settlement which dates to
the 1st century CE, in the late Yayoi period. Discovered in 1943, it
was excavated from 1947 to 1948 and designated a Special Historic Site of Japan in
1952.[1] Toro is also the name of the area surrounding it in the Japanese addressing restored ceremonial building
system.
Prehistoric Period
Kofun Period
•Keyhole-shaped burial mounds (kofun) emerged, often surrounded by moats
and decorated with haniwa (terracotta figures).
•The Daisen-kofun, believed to be Emperor Nintoku’s tomb, is the largest,
covering 32 hectares (79 acres).
•Toward the end of the period, Buddhist cremation ceremonies replaced large
burial mounds.
This era laid the foundation for Japan’s architectural evolution, combining local
traditions with external influences to shape early structures and ceremonial
sites.
Prehistoric Period

Daisen-Kofun, the tomb of Emperor Nintoku, Osaka

Asuka and Nara Period
The Asuka (538–710 CE) and Nara (710–794 CE) periods were marked by
significant architectural changes, primarily influenced by the introduction of
Buddhism. This era saw the emergence of permanent temples and shrines,
which played a central role in worship and religious practices.

Asuka Period Architecture

•The spread of Buddhism led to the decline of tomb burials and the
construction of permanent Buddhist temples.
Asuka and Nara Period
•Hōryū-ji Temple, built in the 7th century, is one of the oldest surviving wooden
structures in the world.

• Features 41 buildings, including the Kon-dō (Golden Hall) and a five-

story pagoda, designed with Chinese post-and-beam construction.

• Roofs were hipped-gabled (irimoya) and covered with ceramic tiles.

Asuka and Nara Period
Hōryū-ji Temple

https://www.webpages.uidaho.edu/arch499/nonwest/japan3/horyu-ji.htm
Asuka and Nara Period
Hōryū-ji Temple

https://www.webpages.uidaho.edu/arch499/nonwest/japan3/horyu-ji.htm
Asuka and Nara Period
Hōryū-ji Temple

PAGODA KONDO

https://www.webpages.uidaho.edu/arch499/nonwest/japan3/horyu-ji.htm
Asuka and Nara Period
Nara Period Architecture
•Heijō-kyō (modern Nara) was established in 708 CE as Japan’s first
permanent capital.
• Its urban layout was based on the Chinese city of Chang'an.
•Tōdai-ji Temple became the center of state-sponsored Buddhism.
• Featured a 16.2-meter (53-ft) Rushana Buddha (Daibutsu) in the
Daibutsuden (Great Buddha Hall).
• The temple complex also included the Hokke-dō (Lotus Sutra Hall) and
Shōsō-in storehouse, which preserved valuable historical artifacts from
the 8th century.
Asuka and Nara Period
Tōdai-ji Temple
Map of the Tōdai-ji complex with a number of buildings that do not exist anymore, such
as the two pagodas, and the library, lecture hall, refectory, and monks' quarters behind
the main hall

A model of the garan of Tōdai-ji at the time of its foundation, seen from the north
side, a part of 1/1000 scale model of Heijōkyō held by Nara City Hall.

https://en.wikipedia.org/wiki/T%C5%8Ddai-ji
 Asuka and Nara Period
Tōdai-ji Temple

A Model of the Kondo (Great

Buddha Hall) at the time of
foundation. The original hall was
larger than the one built after it.

The Great Buddha Two large pagodas on

(Daibutsu) in the main either side of the
hall complex

Great Buddha Hall (daibutsuden)

The Great South Gate
(nandaimon)
The belfry at Tōdai-ji

https://en.wikipedia.org/wiki/T%C5%8Ddai-ji
Heian Period (794–1185 CE)
The Heian period marked a shift in Japanese architecture, moving away from
Chinese influence towards a more distinctly Japanese style. This era saw the
development of shinden-zukuri for aristocratic residences, the Wayō style in
Buddhist architecture, and the emergence of minka (vernacular houses).
Key Developments in Heian Architecture
•Shift from Chinese influence: Japan ended its official missions to Tang China
in 894 CE, fostering a unique native architectural style.
•Lightweight wooden structures: Stone, mortar, and clay were largely
abandoned in favor of wooden walls, floors, and partitions.
•Hidden roofs: A uniquely Japanese innovation designed to improve drainage.
Heian Period (794–1185 CE)
Shinden-zukuri - architectural style
•Used mainly for palaces and residences of nobles
•Symmetrical layout with buildings extending around an inner garden, using
borrowed scenery to integrate with the landscape.
•Open structures with few walls, relying on movable doors (shitomi, sudare)
and sliding partitions.
•Tatami mats used for sitting and sleeping; no chairs or beds.
•Thatched hinoki (cypress) bark roofs instead of ceramic tiles.
Heian Period (794–1185 CE)

Museum model of the palace of

the Saiō. The hisashi surrounds the
moya. The moya is partitioned into an
antechamber and a nurigome (塗篭),
a 2×2 ken sleeping-space with plaster
walls, containing a chōdai (帳台, lit.
"baldachin"). The nurigome later
shrank and moved into the
hisashi. The rigid hinged rain shutters
on the far side are hajitomi; the rolled
blinds on the near side misu.

A model of a shinden-zukuri house (National Museum of Japanese History)

1. Shinden – central area 6. Samurai-dokoro
2. Kita-no-tai – north pavilion 7. Watadono - verandas
3. Hosodono 8. Chūmon-rō - corridors
4. Higashi-no-tai – eastern pavilion 9. Tsuridono – open pavilion at the end
5. Higashi-kita-no-tai
https://en.wikipedia.org/wiki/Shinden-zukuri
https://sengokudaimyo.com/essays/shinden-zukuri
Heian Period (794–1185 CE)

The moya is surrounded by a one bay-wide space called the hisashi, which is a step
lower than the moya. The north, south, east, and west hisashi are termed kitabisashi,
minamibisashi, higashibisashi, and nishibisashi, respectively. Hisashi could be broken
up into ad hoc “rooms” with the placement of standing screens or curtains of state, with
tatami laid on the floor for seating.

https://en.wikipedia.org/wiki/Shinden-zukuri
https://sengokudaimyo.com/essays/shinden-zukuri
Heian Period (794–1185 CE)
Buddhist Temple Architecture (Wayō Style)

•The priest Kūkai (Kōbō Daishi) introduced Shingon

Buddhism, influencing temple design with mandalas (s
a geometric configuration of symbols) and mountain
temple layouts.
•Temples adapted to irregular mountainous terrain,
leading to more indigenous design elements.
•Shintō shrines began adopting Buddhist red cinnabar
paint on wooden structures.
Ichijō-ji's pagoda is an example of the wayō style.
Heian Period (794–1185 CE)
The following is a diagram illustrating the most important elements of
a Shinto shrine:
1.Torii – Shinto gate
2.Stone stairs
3.Sandō – the approach to the shrine
4.Chōzuya or temizuya – fountain to cleanse one's hands and face
5.Tōrō – decorative stone lanterns
6.Kagura-den – building dedicated to Nō or the sacred kagura dance
7.Shamusho – the shrine's administrative office
8.Ema – wooden plaques bearing prayers or wishes
9.Sessha/massha – small auxiliary shrines
10.Komainu – the so-called "lion dogs", guardians of the shrine
11.Haiden – oratory
12.Tamagaki – fence surrounding the honden
13.Honden – main hall, enshrining the kami.
14.On the roof of the haiden and honden are visible chigi (forked
roof finials) and katsuogi (short horizontal logs), both common shrine
ornamentations.

https://en.wikipedia.org/wiki/Shinto_architecture
Heian Period (794–1185 CE)
Minka (Vernacular Houses)
•First documented during this period.
•Constructed using local materials,
with wooden frames, thatched roofs,
and packed-earth floors.
•Minka were the dwellings of farmers,
artisans, and merchants

Gasshō-zukuri, Ogimachi village

https://en.wikipedia.org/wiki/Way%C5%8D
Kamakura and Muromachi (1185–1573 CE)
These periods introduced new architectural styles such as Daibutsuyō,
Zenshūyō, and Shoin-zukuri, while also refining defensive and residential
designs.
•Daibutsuyō and Zenshūyō styles emerged to meet earthquake resistance
and climate adaptations.

•Wayō style blended with these new forms to create Shin-Wayō and Setchūyō
styles.

•Many temples, including Kōfuku-ji and Tōdai-ji, were rebuilt after being
destroyed in the Genpei War (1180–1185 CE).
Kamakura and Muromachi (1185–1573 CE)
These periods introduced new architectural styles in response to native
requirements such as earthquake resistance and shelter against heavy rainfall
and the summer heat and sun, the master carpenters of this time responded
with a unique type of architecture such as Daibutsuyō, Zenshūyō, and Shoin-
zukuri, while also refining defensive and residential designs.

The Kamakura period was informed by a simplicity due to its association with
the military order. New residences used a buke-zukuri style that was associated
with buildings surrounded by narrow moats or stockades. Defense became a
priority, with buildings grouped under a single roof rather than around a garden.
The gardens of the Heian period houses often became training grounds.
Kamakura and Muromachi (1185–1573 CE)

The Golden Pavilion of Kinkaku-ji, Kyoto, Japan Heian Shrine Gardens

https://en.wikipedia.org/wiki/Way%C5%8D
Kamakura and Muromachi (1185–1573 CE)
During the Muromachi period, shinden-zukuri style, which was the mainstream
of the residences of Japanese nobles, declined, and shoin-zukuri, which
developed from buke-zukuri of samurai class residences, became the
mainstream.
Characteristics of the shoin-zukuri development were the incorporation of
square posts and washitsu floors, those completely covered with tatami. The
style takes its name from the shoin, a term that originally meant a study and a
place for lectures on sutras in a temple, but which later came to mean just a
drawing room or study.
Kamakura and Muromachi (1185–1573 CE)

The interior of a typical shoin-zukuri style room

Tatami mats were laid all over the room. In this style, sliding doors called fusuma were used to separate
rooms, and an inner window called shoji, which was made by pasting paper permeable to sunlight on a
wooden frame, was installed inside the wooden shutters. In the room, tokonoma (alcove for the display of art
objects) and chigaidana (shelves built into the wall) were set up to decorate various things
Azuchi-Momoyama Period (1568-1600)
Japan underwent a process of unification after a long period of civil war. It was
marked by the rule of Oda Nobunaga and Toyotomi Hideyoshi, men who built
castles as symbols of their power.
Typically, it consisted of a central tower or tenshu (天守, heaven defense)
surrounded by gardens and fortified buildings. All of this was set within massive
stone walls and surrounded by deep moats. The dark interiors of castles were
often decorated by artists, the spaces were separated up using sliding fusuma
panels and byōbu folding screens
This period saw the dual evolution of grand castles and refined residential
architecture, blending military might with aesthetic sophistication.
Kamakura and Muromachi (1185–1573 CE)

Himeji Castle in May 2015 after the five-year

A depiction of the intricate castle complex
renovation of the roof and walls
Edo Period
Edo: The Expanding Capital
•The Tokugawa shogunate established Edo (modern-day Tokyo) as the
capital.
•Edo Castle became the central fortress, with government buildings and
daimyo residences built around it.
•A network of roads and canals facilitated urban expansion.
•By 1700, Edo had a population of one million, leading to two-story residential
buildings on raised stone plinths due to limited space.
Edo Period

The Tōmatsu house from Funairi-chō, Nagoya, is an Old fabric shop in Nara
example of a large machiya.

Although machiya (townhouses) had been around since the Heian period they began to be refined during
the Edo period. Machiya typically occupied deep, narrow plots abutting the street (the width of the plot was
usually indicative of the wealth of the owner), often with a workshop or shop on the ground floor. Tiles
rather than thatch were used on the roof and exposed timbers were often plastered in an effort to protect
the building against fire.
Edo Period
Edo was prone to devastating fires, with the 1657 Great Fire of Meireki leading
to major urban redesign efforts.

Key fire-prevention measures:

•Stone embankments along rivers (later replaced by dōzō storehouses).
•Dōzō (fireproof storehouses):
•Timber-framed structures with multiple layers of earthen plaster on walls,
doors, and roofs.
•Tiled roofs with a wooden support framework.
•External plaster walls were often black, created by adding India ink to burnt
lime and crushed oyster shell.
•Dutch-influenced stone and brick construction was rejected due to earthquake
vulnerability.
Edo Period
The clean lines of the civil architecture in
Edo influenced the sukiya style of
residential architecture. Katsura Detached
Palace and Shugaku-in Imperial Villa on
the outskirts of Kyōto are good examples
of this style. Their architecture has simple
lines and decor and uses wood in its
natural state. The sukiya style was applied
not only to villas but also to ryotei
(Japanese-style restaurants) and
chashitsu, and later it was also applied to
residences
Meiji Period (1868–1912)
Early Western Influences

•The Meiji Restoration led to the adoption of Western-style architecture for

military, industrial, and commercial buildings.

* British and European architects

influenced designs, as seen in:
• Thomas Waters’ “Osaka Mint”
(1868) – Neoclassical brick and
stone building.
Meiji Period (1868–1912)
• Tsukiji "Bricktown" in Ginza (1872) – Fireproof buildings planned by
Thomas James Waters.
Meiji Period (1868–1912)
The Rokumeikan (1883), designed by Josiah Conder, symbolized
Westernization but was controversial.
Meiji Period (1868–1912)
Japan's first Western-style
skyscraper, Ryōunkaku
(1890), was built in Asakusa
(now Taitō, Tokyo) from 1890
until its demolition in 1926
following the Great Kanto
earthquake of 1923 . Asakusa
Twelve-stories), as it was
affectionately called by
Tokyoites, was Tokyo's most
popular attraction, and a
showcase for new
technologies. It housed
Japan's first electric elevator.
Meiji Period (1868–1912)
In contrast to Waters's neoclassical style building, Japanese carpenters
developed a pseudo-Japanese style known as giyōfū chiefly using wood

Kaichi Primary School

Constructed with a similar method

to traditional (kura (倉))
storehouses, the wooden building
plastered inside and out
incorporates an octagonal Chinese
tower and has stone-like quoins to
the corners.
Traditional namako plasterwork
was used at the base of the walls
to give the impression that the
building sits on a stone base.

https://en.wikipedia.org/wiki/Giy%C5%8Df%C5%AB_architecture
Meiji Period (1868–1912)

Another example was the First National Bank

building in Tokyo, built in 1872.
Meiji Period (1868–1912)
Rise of Japanese Architects
Foreign architects trained Japanese architects, such as:
• Kingo Tatsuno (Bank of Japan, 1896 (Left); Tokyo Station, 1914 (Right))
– Beaux-Arts style.
Taishō (1912-26) and Early Shōwa Periods
(1926–1945)
In 1920, a group of young architects formed the first organization of modernist
architects. They were known as the Bunriha, literally "Secessionist group",
inspired in part by the Vienna Secessionists. These architects were worried
about the reliance on historical styles and decoration and instead encouraged
artistic expression. They drew their influence from European movements
like Expressionism and the Bauhaus and helped pave the way towards the
introduction of the International Style of Modernism.

In the Taishō and early Shōwa periods two influential American architects worked
in Japan. The first was Frank Lloyd Wright who has a number of Japanese
apprentices under his guidance and the second was Antonin Raymond who
worked for Wright on the Imperial Hotel before leaving to set up his own practice
in Tōkyō
Taishō (1912-26) and Early Shōwa Periods
(1926–1945)
These periods shaped Japan’s transition from traditional wooden structures to
modern reinforced concrete buildings, blending Western influences with
Japanese aesthetics.
Taishō (1912-26) and Early Shōwa Periods
(1926–1945)

The Yodokō Guest House was built as the summer villa for the well-to-do brewer of Sakura Masamune
sake, Tazaemon Yamamura, and is the only surviving Frank Lloyd Wright residence in Japan. The guest
house was designed in 1918, and construction was completed in 1924.
Late Shōwa Periods (1945–1989)
• Post-War Reconstruction & Growth: The U.S. occupation led to democratic
reforms. Housing shortages were addressed through prefabrication and urban
planning.

• Metabolism Movement (1960s–70s): Led by Kenzō Tange, Kisho Kurokawa,

and Fumihiko Maki, Metabolists envisioned buildings as organic, adaptable
structures (e.g., Nakagin Capsule Tower).
 Late Shōwa Periods (1945–1989)
The Nakagin
Capsule Tower
Building was a
mixed-use residential
and office tower in the
upscale Ginza district
of Tokyo, Japan desig
ned by architect
Kisho Kurokawa. The
building was a rare
remaining example
of Japanese
Metabolism
Late Shōwa Periods (1945–1989)

Hiroshima Peace Memorial Museum, built in 1955

(Kenzo Tange)
Late Shōwa Periods (1945–1989)

National Museum of Western Art, Tōkyō, built in 1955

(Le Corbusier)
Late Shōwa Periods (1945–1989)
• Olympic Boost (1964): The Yoyogi National Gymnasium by Tange showcased
Japan’s confidence and modernization.

Yoyogi National Gymnasium,

built for the 1964 Summer
Olympics (Kenzo Tange)

A landmark structure famous

for its suspension roof
design, recalling traditional
elements of Shinto shrines
Late Shōwa Periods (1945–1989)
• Critical Regionalism & Minimalism (1980s): Tadao Ando promoted a return to
nature and simplicity, using raw concrete and natural elements (Rokkō
Housing, Church on the Water).

His architecture is characterized by

the use of concrete, but it has been
important for him to use the interplay
of light, through time, with this and
other materials in his work
Late Shōwa Periods (1945–1989)

The Church on the Water

by Tadao Ando

https://archeyes.com/the-church-on-the-water-by-tadao-ando-nature-and-the-sacred/
Late Shōwa Periods (1945–1989)
• High-Tech & Urbanism: Toyō Itō and Itsuko Hasegawa explored technology and
urban life, while Shin Takamatsu and Masaharu Takasaki created highly
individualistic, futuristic designs.

During the day the Tower of Winds stands as

a 21m tall opaque object, its aluminum
cladding shielding the mirrored plates and
lights within. At night the lights and reflective
surfaces dance to the music of the city,
computer-controls reacting to both man-
made and natural forces

https://architectuul.com/architecture/tower-of-winds
Heisei Period (1989–present)
The Heisei period began with Japan’s economic downturn following the collapse
of the bubble economy, leading architects to rely on public projects rather than
commercial commissions.

Cultural & Community Centers:

• Itsuko Hasegawa designed centers like the Sumida Cultural Centre
(1995) and Fukuroi Community Centre (2001), emphasizing public
engagement and filtered light.

https://architectuul.com/architecture/tower-of-winds
Heisei Period (1989–present)

Shōnandai Culture Centre (1990) Sumida Cultural Centre (1995)

http://architecture-history.org/architects/architects/HASEGAWA/OBJECTS/1990,%20SHONANDAI%20CULTURE%20CENTER,%20Kanagawa,%20JAPAN.html
Heisei Period (1989–present)

the Fukuroi Community Centre (2001) where he involved the public in the process of design whilst
exploring her own ideas about the filtration of light through the external walls into the interior.

https://www.showa-sekkei.co.jp/en/project/?id=221&p=7
Heisei Period (1989–present)
• Toyō Itō explored organic forms
with projects like the Sendai
Mediatheque (1995) and Tama Art
University Library (2007).

https://medium.com/@risingskies2/project-2b-toyo-ito-sendai-mediatheque-d25214285743
https://nikkionderstallportfolio.blogspot.com/2013/10/poster-advanced-technology.html
Heisei Period (1989–present)
His work later in the period, for example, the library to Tama Art University in
Tōkyō in 2007 demonstrates more expressive forms, rather than the
engineered aesthetic of his earlier works

https://www.architectmagazine.com/project-gallery/tama-art-university-library
Heisei Period (1989–present)
Although Tadao Ando became well known for his use of concrete, he began the
decade designing the Japanese pavilion at the Seville Exposition 1992, with a
building that was hailed as "the largest wooden structure in the world".

https://www.architectmagazine.com/project-gallery/tama-art-university-library
Heisei Period (1989–present)
He continued with this medium in projects for the Museum of Wood Culture,
Hyōgo Prefecture (1994)

https://www.architectmagazine.com/project-gallery/tama-art-university-library
Heisei Period (1989–present)
and the Komyo-ji Shrine in Saijo (2001)

https://architectuul.com/architecture/komyo-ji-temple
Heisei Period (1989–present)
Foreign Office Architects (UK) won an international competition in 1994 to
design the designed the Yokohama International Port Terminal (1994),
blending architecture with the urban landscape.

https://www.archdaily.com/554132/ad-classics-yokohama-international-passenger-terminal-foreign-office-architects-foa
Heisei Period (1989–present)
SANAA (Kazuyo Sejima & Ryue Nishizawa) created light, fluid spaces,
exemplified by:
Dior Store (Tokyo, 2001)
– Acrylic facade filtering light.

https://arquitecturaviva.com/works/edificio-dior-en-omotesando-tokio-0
Heisei Period (1989–present)
Rolex Learning Centre (2010) – A flowing concrete structure in Lausanne.

https://arquitecturaviva.com/works/epfl-rolex-learning-center-1
Heisei Period (1989–present)
Serpentine Pavilion (London, 2009) – A reflective, lightweight structure.

https://arquitecturaviva.com/works/pabellon-de-la-serpentine-gallery-2009-2
Japanese Architecture
Japanese architecture is a unique blend of tradition and modernity, deeply
influenced by nature, spiritual philosophies, and cultural aesthetics. Rooted in
simplicity, craftsmanship, and adaptability, it has evolved from ancient wooden
temples and tatami-based interiors to cutting-edge contemporary structures. The
emphasis on impermanence, natural materials, and spatial fluidity remains a
defining characteristic, as seen in traditional shōji screens, fusuma panels, and
open floor plans that harmonize with the environment.
Despite modernization and Western influences, Japan has maintained its
architectural identity, seamlessly integrating technological advancements with
traditional principles. Architects like Tadao Ando, Toyō Itō, and SANAA have
pushed boundaries by incorporating light, space, and minimalism into innovative
designs that resonate globally. The fusion of historical reverence with futuristic
vision ensures that Japanese architecture continues to inspire and shape the
built environment worldwide.
https://arquitecturaviva.com/works/pabellon-de-la-serpentine-gallery-2009-2