Yasunori Kitao

1. Global issues and construction industry in Japan

1-1. Recycling movement
In the beginning of the 21st century global environmental problems have become a threat to all living species. Architects and urban designers should not be indifferent to the problems. The discharge of CO2 is often discussed in relation to the green house effect, although some scientist doubt the connection. Fact is that using fossil energy sources causes much pollution. Presently CO2 is used in one method to measure how our lifestyle impacts on the earth as a so-called foot-print.

For example, the construction industry in Japan is discharging approximately 33% of all the CO2 released by Japanese industry. Therefore, the Architectural Institute of Japan (A.I.J.) decided to set a common target: the building industry should reduce the Life Cycle CO2 by 30 %. Furthermore all buildings should have a durable life span of at least 100 years. This durability goal is 3 times higher than the current durability of ordinary buildings in Japan. Therefore the A.I.J. aims to achieve making high quality social stock buildings. In order to build such long durable architecture, architect and construction companies have to invent building methods that allow recycling. In the future we will have to make full use of existing buildings in order to create a sustainable society. Renovating buildings is therefore regarded as an important subject.

	Fig. 1. A traditional Japanese dwelling (Sukiya-zukuri).
	Fig 2. A traditional Japanese room.
	Fig. 3. Concept of the skeleton of the modern architecture by Le Corbusier.

1-2. Social problems about the housing environment
In Japan the ‘healthy life movement’ attracts the Japanese. But several health questions are raised concerning this development.
The problem called ’sick building syndrome’ is well known. Some infants are suffering from skin problems such as itching, which generally speaking are often caused by the chemical building materials such as chemical lacquers and bonds. This is one of the problems which is pointed out by doctors, scholars and consumer groups. They recommend people to live in the house made of natural materials, but using these natural materials is still expensive and carpenters for making wooden houses are outnumbered by potential customers.
During the period of high economic growth many Japanese were hoping to get comfortable lifestyles through technology so the old traditional houses were demolished. Many Japanese now come to understand how important it is to live with nature. This understanding has become a part of the current life style in which the renovation and recycle movements have gained popularity.

1-3. ‘Skeleton’ and ‘infill’ in Japanese architecture
In order to achieve recycling of architecture we can use the ’skeleton and infill’ system. We can distinguish between unchangeable structure parts that we refer to as ‘skeleton’, and changeable building parts called ‘infill’. Both ‘skeleton’ and ‘infill’ are made of wood. The ‘skeleton’ can last for a long periods. Typical for Japanese architecture is the use of screens to separate different rooms. Walls are not often used in Japanese architecture. We can see an overlap between modern and traditional architecture. The similarity between these two was discovered by B Taut in the 1930s. We can compare Le Corbusier’s works to Japanese architecture (see fig. 1, 2). The concept of the building system is very similar: the concept of skeleton is clearly seen in the ‘Domino system’(see fig. 3) .
After the Japanese started to follow the Western civilization about 140 years ago, they also adopted the semi-western type of room layout. Although they did not abandon the use of sliding doors. With the introduction of concrete and steel flats, sliding doors stayed in use for the rooms.
While in the beginning of the 1960s some architects tried to invent a new type of architecture, the ‘Metabo-group’ started a new movement and proposed the concept of changeable architecture: ‘Metabolism architecture’. This architectural concept is also used in public housing projects. The purpose to use the concept of changeable architecture was to fit to the desires of common clients. Terms like adaptable housing, the growing house and co-operative house were introduced.
Behind the concepts of changeable architecture we can see the Japanese traditional lifestyle. Japanese people were already accustomed to changing the interior very easily by using sliding doors. The Japanese point of view for interior space is not strict, but free and changeable.

2. Renovating traditional architecture2-1. Renovating traditional houses
Recently architecturally important traditional buildings have been renovated by architects in Japan (fig. #). Local carpenters carried out many ordinary renovation projects. During the development of Japan in the 1960s and 1970s many traditional structures were demolished. Renovating for purposes of conserving the traditional culture started in the middle of 1970s. These projects had the purpose to preserve the style of old buildings like ‘open air museum architecture’. Architects had not dealt with fitting old architecture into the new life style, which we here call ‘renovation’.
Nowadays the ‘renovation’ projects are regarded as one of the useful processes for the larger historic cities such as Kyoto and Nara.

2-2. The old capital city of Japan, Kyoto
Kyoto is a city located in the center of the Japanese archipelago with a population of 1,463,822 people or approximately 586,647 families. The city area is 61,021 km2. Recently, the name of the city has become very famous due to the Kyoto protocol (fig 4,5).
Kyoto is a center of traditional industries since it had been the capital city of Japan for over 1000 years. The city has a large number of old Buddhist temples, Shinto shrines and gardens. Some of them are the registered on the world heritage list by UNESCO. The history of the city starts about 1200 years ago (794 AD). From that year the formal government was located in Kyoto. In the city’s long history there were numerous huge fires that sometimes destroyed the whole of the center. The common people called Machisyu then rebuilt the city. Machisyu have been living in town houses called Kyo-Machiya. The last city fire took place in the middle of the 19th century. Almost all built up area was burnt down in a revolutionary war. After the revolution Kyoto lost its status as capital to Tokyo. During the World War Japanese cities were bombed, but Kyoto remained untouched.

	Fig. 4 An old map of Kyoto.
	Fig .5 Model of Kyoto.

2-3. Kyo-Machiya and the building system in Kyoto
What exactly is a Kyo-Machiya town house? Its history dates back 400 years. The Kyo-Machiya is a wooden town house with two floors (see fig 7). The room composition is shown in figure 6. The Kyo-Machiya is a building facing the street. If the resident runs an enterprise the room in front of the street (room 1) is changed into a shop or place for labour. If the purpose of the house is solely residential, room-1 tends to be the living room or sometimes a garage. The house has two entrances: the front entrance (Omotegenkan) and the inner entrance (Uchigenkan).

Fig. 6.The standard first floor plan and section of “Kyo-Machiya”.

In top of the kitchen there is a void called Hibukuro (see fig. 8 ) . It serves a chimney for cooking fumes. In the end of the lot there is always a small garden called “Tsuboniwa” together with the guestroom (room 2). The guestroom, where one can enjoy the garden, is the most important room within the house. If the lot is bigger than this type, there is a warehouse next to the tsuboniwa garden. The rows of this type of Kyo-Machiya make up an urban block. The most typical architectural element is the Koushi( see fig 9), which is a wooden lattice design screen element. This screen is inserted between the front street and the room of the shop (room-1, see fig 6). The Koushi element is not standing on the ground. It’s stretched from the Kyo-Machiya structure itself. The shop room (room-1) can be extended to the street by Koushi. The Koushi was used for showing commodity to the customers.

	Fig. 7. An old picture of Kyoto.
	Fig 8. The void above a kitchen in a Kyo-Machiya.
	Fig. 9. Standard facade design.
	Fig.10a. A Tategu shop.

The Kyo-Machiya building system is semi-industrial and makes use of a module. The system is based on the ‘tatami-mat’ scale. The ‘tatami-mat’ is the floor mat made by rush. The standard size of a ‘tatami mat’ is 1910 mm and 955 mm. This size of the mat is mainly used in Kyoto and Osaka. In Tokyo and Nagoya the people use a different order. We can understand the size of a room by the number of ‘tatami-mats’. One tatami-mat size is called ‘jyou’. The sliding door, which is called Tategu, is related to the Tatami-mat size as well.
The tategu height is fixed at around 1850 mm. Three types of widths of the ‘tategu’ can be found : the first type fits to 1 tatami-mat width, the second type fits to 1.5 tatami-mat width, and the last type fits to 2 tatami-mat width. One tatami width (long side) is equal to 1 ken. Every room plan and site plan was designed according to this width. We can fit those 3 types of tategu to any Kyo-Machiya by using the modular system (see fig. 10b).
Such a renovation project was supported by the recycle flow of sliding doors (see fig. 11). Carpenters or Tategu shop craftsmen go to Kyo-Machiya houses before destruction or renovation to get the old Tategu. Later they repair Tategu and insert them in renovated Kyo-Machiya. In some cases, they take good material from old Tategu and make new interior elements for other buildings. Not only the Tategu, but also Tatami-mat is remade and reused. Such a recycle system is also used for the material of the walls. Since reused earth-wall is the most high quality material, the craftsmen try to get the material when an old house is demolished. This material is mixed with new material to make a new earth wall. The measure systems of members, materials or some sliding doors are related each other. The Kyo-Machiya modular system enables the architect to use ‘infill’ elements. Because the materials are natural, reuse is easy. The Kyo-Machiya renovations are helped by recycling mechanisms.

Fig. 10b. Tatami and Tategu.

Fig. 11. The Tatami and modular coordination.

2-4. The problem to sustain Kyo-Machiya
The Kyo-Machiya renovation project has become an important issue, because rapid city development is damaging historic areas (see fig. 12,13,14). Many Kyo-Machiyas are being demolished by the ‘modernization of the city’. Such development projects cause an unharmonious urban landscape. This process was the start of a research conducted by two universities. The purpose of the research was to know the survival condition of Kyo-Machiya in the city. The analysis was carried out for the center area of Kyoto in 1996~1997. According to the study, there are 7,706 Kyo-Machiyas in the center area (see fig. 5) and 31% of them need renovation (Dr. Tohiguchi and Dr.Muneta, 1998[2]). The renovation of the Kyo-Machiya is regarded as one of the most important urban environmental problems.

	Fig. 12. A kyo-Machiya is in between two modern buildings.
	Fig 13. Some low rise modern buildings are on the street.
	Fig. 14. A Kyo-Machiya was demolished.

Dr. Kawabe, who is a former professor of Kyoto Institute of Technology, pointed out some difficult questions about the Kyo-Machiya renovation (Kyoto Shinbun-the news paper of Kyoto-, Nov, 1999)

1. Once a tenant moves into a house, he/she will get the right to live in the house for a prolonged time. Hence when the owner wants to ask the tenant to leave the house, it will be very difficult for the owner to evacuate the tenant.
2. The owner is afraid to leave the rental house to a real estate developer because the house is a precious property for the family. Many real estate developers don’t pay attention to the condition of architecture and culture. They regard the Kyo-Machiya as a property purpose.
3. The renovation process is expensive.
4. The housing equipment is old fashioned, therefore the Kyo-Machiya is not popular to live in.

Here one can see a rundown Kyo-Machiya (see fig. 15). This example is from the center of the historic city. The town house was built over 120 years ago. The house had been abandoned for over 30 years. The owner was working in another city and in the meanwhile the building was neglected. Leaking rainwater through the roof, caused by roof tiles missing due to earthquakes or typhoons, was the most serious problem.

 

Fig. 15. An old Kyo-Machiya before being renovated.

3. Renovating projects
Many renovation projects are being conducted in the center area of Kyoto today. Many owners turn their Kyo-Machiya into restaurants. Architects have design offices in renovated projects. Some houses are used as antiques shops, others as galleries. These kinds of enterprises have become popular and are called “Machiya business”(see fig. 16).

Fig. 16. These photos are renovated Kyo-Machiya.

Within the renovation projects we decided to see how these are carried out in terms of the renovation process. In order to understand how the traditional system is used in the projects, we selected five kinds of projects: a traditional crafts shop, a guesthouse, a furniture shop, a residence with gallery, and a house.
We carried out the interview research for the architects or the residents who played an important role in the project. We will see renovation projects in terms of “skeleton’ and “Infill”.

Example 1	Example 1 is a traditional craft shop. Architect Kinoshita designed a new Kyo-Machiya in 1994. There used to be an old Kyo-Machiya on this site. There had not been one on the site since former Kyo-Machiya was demolished. An apartment block had been planned for many years on the location, but the project was not carried out due to a discussion between the neighborhood community and the client. A new owner bought the site and started to built the town house by wood.
Example 2	Example 2 is a guesthouse. This building was renovated in the most beautiful location in Gion area where there is a high quality traditional entertainment district in Kyoto. It’s near to a traditional building preservation district. This Kyo-Machiya used to be a Geisha house. It was renovated in 1998 by architect Noma
Example 3	Example 3 is the furniture shop. The traditional town house was a Japanese candy shop. Architect Tsujimura renovated the shop in 1993. It consists of an exhibition space and a tearoom. One can see the exhibition space through the big window from the street. There is a void over the exhibition space, and a garden is seen behind the tearoom.
Example 4	Example 4 is the residence with art gallery. This Kyo-Machiya was the merchant’s house. Now this Kyo-Machiya is the residence and gallery of an artist. Architect Yoshimura played a role in renovating the town house’s gallery, first floor guestroom and kitchen.

Table 1. The list of studied the Kyo-Machiyas

3-1. Dealing with the ’skeleton’
The projects show how the renovators dealt with the ‘skeleton’. According to the interview research, there are two ways of dealing with the skeletons. The first one is re-employing material to the skeleton, the second one is using the skeleton for the interior design.
To re-employ the old members for structure is seen in example 1. They were taken from several discarded folk houses in another prefecture. The renovator architect searched for the best sizes of the members so they are suitable for the Kyo-Machiya. Since finding a big diameter wood as a beam and pier for the kitchen is one of the most important architectural expressions, the architect had to find out old materials. To get such old materials is difficult (fig. 17 ).

Fig. 17. A drawing of the traditional craft shop.

Using structures for the interior space is seen in example 3. The main structural design was used for the most attractive designing point in the houses. In the furniture shop, many holes or some joint designs on the timber structure can be seen. These holes are traces of the former beam joints and wall structure joints (fig. 18). The renovator architect decided to leave these joint details without decorations and covering-up. We can also distinguish some free shape woods within the structure. These prominent structures are located in prominent points thoughout the rooms. Another example was that when a carpenter was removing the ceiling of the guestroom, he found a very thick structure (beam) behind the ceiling. Then architect decided to paint the beam red, turning it into a symbolic element. The structure became a kind of art object (fig.19).

	Fig. 18. Halls: details of the structure.
	Fig 19. The guest room in the gallery.
	Fig. 20. Kitchen in the Kyo-Machiya.

3-2. Dealing with the ‘infill’
Concerning the adding process, the kitchen was inserted into the gallery house (Example 4). The working circumstances inside the kitchen were far from ideal for the client, because the kitchen was on the ground. The void above the kitchen caused cold indoor temperatures during the winter. The architect decided to cover the kitchen by some modern materials with free shape. The floor level was raised as well.(fig.20)
The removing process is seen in the guest house . Before the renovation there used to be a bathroom and an extension room facing the garden (see fig. 21). These rooms were no longer useful to the new purpose. The architect did need the garden that can be seen from the main room. The renovator decided to remove both the bathroom and the extension room. Such a planning transformation was executed supported by the skeleton system of Kyo-Machiya.

Fig. 21. The room layout transformation of the guest house .

Using a sliding door was also employed in the renovation projects. In example 4, the sliding doors were taken from the warehouse of the project carpenter. He had been keeping sliding doors that had been saved from old houses. Some of the sliding doors that he used in the project were made by his grandfather who was also a carpenter.(fig. 22)

Fig. 22. A room of the guest house.

4. A Wood skeleton building system by small pieces of wood.
The next chapter describes a traditional but new building method developed by the Kyoto Institute of Technology. In terms of durability of the Japanese architecture, there is an example of timber architecture that was built over 1400 years ago. The wooden building is the temple Horyuji and is the oldest wooden architectural structure in the world. We can affirm that wood is durable.

4-1. Using wood as a building material
In order to sustain the Kyo-Machiya and in order to conserve the skill and culture of Kyoto carpenters, we are carrying out a project. The project aims to improve traditional building methods and to invent a sustainable building system. We have several motivations for the project.
For a good condition of the mountains it is important to cut young trees with a diameter smaller then 20 cm. This because the woods can’t grow in a too dense planting.

Many irregular shaped trees are cut and abandoned because of no commodity value. In order to make full use of the resources, we have been trying to find a way to use such abandoned resources. But when a wooden house is built, a big diameter member is needed for the beam, center pier, and so on. Hence we have to find a method to make full use of irregular shaped trees.

On the other hand, building or to renovating houses takes place in high density built up areas in the center of the city. It is very difficult for the constructor to use big construction machines and to transport members to the building sites, because of the narrow path or complicated walkway networks. Useful and flexible members for the building construction for ordinary houses are needed.
Within the traditional Kyo-Machiya building methods a few nails are used for the structure. Traditionally such a less-nail structure is called ‘Nuki building method’. The structure has been employed within the traditional architectures such as temples, shrines, or town houses. This building method wasn’t always used after World War II since there has been changes in the legislation. Basically metal joint systems replaced the wooden structure. This is negative from a recycling point of view, also because the nails damage the wood. On the other hand, when the Nuki-system is used, the possibility to re-use the building members is very high because resetting the structure is very easy and the members do not get damaged. Furthermore, when we use metal joints, we have to use diagonal members, which are called ‘Sujikai’ within the flame structure (Sujikai-kozo). With the application of Sujikai, the member prohibits making free shape and free size of the window. We can no longer make big windows in contemporary building as the ones that can be found in traditional architecture.

4-2. Inventing re-usability for the skeleton as the building material
Mr. Shimira, a traditional Kyoto carpenter, invented the so-called ‘block-woods construction system’ (fig. 23). At the Kyoto Institute of Technology testing the structural stability for earthquakes and the possibility to make the housing plan was tested. Satoko Kitao and the author have been trying to design the house by using the ‘block-wood method’. Figure 24,25 is one example for a house made using the building system.

Fig. 23. A scale model of the structure.

Fig. 24. A plan for a house by the wood skeleton.
Fig. 25. The basic part structure for walls and windows.Through the project, we are going to recreate the recyclable building method that has been employed in the Kyo-Machiya construction. As we have seen in my contribution, the Kyo-Machiya has the recycling system. Despite of the environmental contributing points, the system is going to disappear in the construction projects. To succeed the old carpenters’ techniques and knowledge is one of the most important parts in the project. We are trying to take over the traditional building method that has been succeeded for a long years in Kyoto in terms of contemporary scientific domain. This is also sustainable design. We want to remake the traditional industrial system. Actually in Japan building systems have been tested for earthquake resistance before put in practice. Thus, we decided to carry out loading tests on the block structure. We compared the wood block structure system and ordinal ’sujikai system’ in terms of absorbing the horizontal power that is found during earthquakes. The block wood system is not as resistant against earthquakes as the ‘sujikai system’ but the capacity to absorb the power is efficient. In order to use this structure system in Japan, we need more study, but we can show the future possibilities for the system in projects.

4-3. Using the method for the environmental problems
Considering the features of the building method one can set up the following advantages. The system can be used in combination with the health movement as well. There’s no use of chemical bonds for connecting the wood.
Furthermore, nobody knows a stability of the chemical bond for long term use. Chemical materials always undergo changes in structures over a period of more then a few decades. Metal joints and nails are not used on the main structure for re-use and flexible renovation. Finally a variety of wood is used for the structure. In the near future, we may face a shortage of the thick woods. This problem is already existing because of uncontrolled cutting of forests in the world. In the current and sustainable situation, we have to use small pieces of wood. This will benefit the building construction and the forests. There are even more purposes for the method. Since each member is small enough to carry, ordinary people can join in constructing the house. Making the building parts is simplified, so people who lack some skills to cut wood, can work on making members and building up the house. The system supports self-build projects.

5. Inventing skeleton and infill building system

5-1. About Next 21
This chapter describes a new building project in Osaka called Next21 (see fig.26). Next21 is an experimental project of an apartment block produced by a gas company called Osaka-Gas. The project data is shown in table2. The block is an experimental project for the company that tried to make innovative new gas equipment for houses. The building was built on a former office building site. The company started the project in the end of the 1980s, and from 1990 they started construction. The building was designed by the Committee for the Osaka Gas NEXT 21 Project. This committee was supervised by Yoshichika Uchida and the Sho-Koh-Sha Architectural & Urban Design Studio.

Project name	Osakagas Experimental Housing NEXT21		Building coverage	896.2 m2 (58.1%)
Land use	Multiple dwelling house (18 dwellings)		Total Floor Area	4,577.2m2 (including parking lots)
The address of the project	6-16 Shimizudani-cho, Tennoji-ku, Osaka City, Japan		Max building heigh	25.42m
The size of the lot	1,542.92 m2

Table 2. Basic information about NEXT21The building consists of 16 residential units, and 14 of them offer new and enhanced living environments proposed by the company. One housing unit is being used for showing to visitors, another one is used as a test room for carrying out special experiments. For example an experiment on collective housing for a SOHO business. From April 1994 to March 1999, the company put the first phase experiment into practice. Today the second phase experiment is carried out. The NEXT21 complex became the home for the families of 16 Osaka Gas employees. Various experiments were carried out in the test dwelling. NEXT21 ensures maximum comfort to support various types of lifestyles.

	Fig. 26. A photo of Next21.
	Fig 27. Plan and elevation.

5-2. Flexible residences to suit various lifestyles
The main point of the project is ‘skeleton’ and ‘infill’ system. The durability of the building and a high degree of design flexibility to cope with lifestyle changes are very crucial for the functioning on a long term. Since the structure is designed to last for more than 100 years, the flexibility of the room layout can be used in the future just like a Kyo-Machiya is being renovated. The company decided to use a ‘two-stage supply system’ (see fig. 28).
Fig. 28. An axonometric drawing of the building system.First the structure was erected from durable members such as pillars, beams and floors. The second stage consists of the new inhabitants deciding about the design of the interior space. The construction system, which separates the common basic building structure from the private dwelling space, allows remodeling of the dwelling without impacting on the basic structure. In short, the structure design and interior design were made in different projects. Such a building system gave the inhabitants a chance to join in designing their living environment. Here we can see the example of room layout transformation. The building system was made full use of during renovating the house. Since every component is designed in modules, and building elements were pre-fabricated, both exterior walls and other important components can therefore be easily moved and recycled. For the residents, a rule book about room layout was made. This book contained the information on the setting of maximum exterior wall lines, green areas, and modules used in the whole structure and remodeling. Using this book, the building structure can be used and exploited without involvement of the original designers and builders. In order to help free layout system, the flexible piping system was employed as well. But such a kind of community is not created by spontaneous actions, but formed through a kind of obligation. Atushi Ueda, who was former professor of Kyoto University, named such a community an “obligation community”. Even though it’s an obligation, an activity can help in getting mutual communication going on, like in case of a disaster like an earthquake, huge fire or a personal happening in daily life. It is also a security system in cases of emergency. In short, planning a ‘three dimensional street’ tried to rediscover our traditional communication culture that is getting lost in a modern building plan.

5-4. Vegetation on the architecture
In the project, green is predominant. One can see many trees and vegetation side by side. About 1,000 m2 of green space is prepared for the vegetation. The size of it is about 25% of the total floor area. Planted terraces are found on each floor. According to an experiment about temperature of the building, the green area contributes to preventing the building from retaining daytime heat by creating through their evaportranspiration effect an effectively blockage of direct sun-light. Vegetated buildings also help to reduce the temperature in the center of the city.
The most predominant green is in the ‘ecological garden’ which is a kind of a sanctuary where the natural environment remains in the courtyard. Since several trees are in the courtyard, one can see it from common hallways of each floor. No fertilizers or pesticides are used for the green. Pruning and trimming the trees is avoided to keep the vegetation as natural as it is.
Compared to the traditional town house in Japan, such as Kyo-Machiya, one used to enjoy the small patio called ‘tuboniwa’ within the house. On a walk through the old town center one sees small plants fostered by the neighbors on the small path. One can say the project has been trying to get such a traditional aspect in the urban space.

6. Conclusion remarks

6-1. Local culture and sustainable knowledge
In my contribution I tried to show the concept of recyclable architecture based on traditional building method. The concept of ’skeleton’ and ‘infill’ isn’t a new building technology. ‘Skeleton’ and ‘Infill’ building systems were proposed by the modern architects and used for housing projects, but the concepts can also be used for designing the recyclable architecture. The importance to use the ’skeleton’ and ‘infill’ building method is that the system is in relation to Japanese traditional living-culture. The ‘global’ meaning can be found in ‘local’ culture.
We analyzed the renovating process of the traditional town house: Kyo-Machiya and we are proposing a new building method based on the traditional building module. Furthermore we discussed the contemporary building project Next 21. Introducing these examples, we can see that the traditional housing methods are set as examples for future building projects. In particular we can see clearly that the project Next 21 combined traditional urban environmental language and modern building technology.
Moving to the global issue of climate change concerning carbon dioxide (CO2). It is said that maintaining woods is one way of reducing CO2. CO2 is absorbed in the wood by growing trees. The effect for reducing CO2 by the forests has been argued about by politicians. This discussion is very crucial in Japan. The Japanese forestry management system is getting weaker since imported wood from all over the world is much cheaper than domestic wood. To use local materials for local construction must be the best solution for the global environment. Fostering woods in Japan is a local cultural issue in relation to a global problem.
Here we can see an interesting trial for the Japanese housing industry. A group of people is trying to remake the link between the wood industry and housing industry in Takamatu. The group is called ‘the group of forest and wooden house (Kinoie to morinokai). The group consists of several architects, carpenters and representatives of the wood industry. In order to supply the client with a reasonable and normal wooden house, they try to use semi-prefabrication building methods. Carpenters based on professional experience improved the method. This example also shows us that the local skill can contribute to the environmental issue.

6-2. Sustainable design in globalization
Currently the concept of ‘glocalization’ is fashionable. ‘Glocal’ stands for global and local. In many global projects something local and individual has been ignored. The word stresses the need to pay attention to the local cultural identity and cultural diversity.
Can only modern technology solve global issues? Haven’t we forgotten the lack of local aspects in contemporary technology? We regret that rational modern technologies have had a lot of environmental impacts on the earth. What we fear is that the new sustainable technology may cause certain damage to the earth in the future. In modern times rational technology is used all over the world. The problem of modern technology is caused by ignoring the regional culture or local identity. We should not make the same mistake again when we use sustainable technology.
Therefore we have to combine local knowledge and modern technology. This means we have to discover ‘glocal’ knowledge. The sustainable building technology found in each culture can contribute to the global issue. Furthermore such a kind of local technology can be used in other local cultures as ‘glocal’ sustainable technology.

6-3. Finding ‘glocal’ sustainable knowledge within our local culture
Looking for some examples of the ‘glocal’ knowledge, we can say that contemporary wind generator systems in Northern European countries is one of the best examples. We don’t have to forget local cultural aspect of the context. If such a local point of view would not be included in new projects, the results will not be different from the result of modern technology. This may cause damages to the local culture the same way as modern technology did. In principle if it were not for the local culture, we couldn’t achieve a sustainable society. Sustainable ‘glocal’ technology should appear in between modern knowledge and the local version.
To find out about hidden values of our culture and to improve our traditional knowledge is an important task, because the traditional sustainable knowledge was not invented for the environmental issue of the earth. Its origins are from a local culture. The local knowledge can be found in traditional life-style, traditional building and public spaces in historical settlements and so on.
Actually, we are facing an explosion of the Earth’s population. The shortage of dwellings is still a difficult problem in developing countries. When solving this housing problem environmental issues should be taken into account at the same time in order to reduce the environmental risk. Therefore, when we set up a housing development program for an old or new city, we try to find out ‘glocal’ knowledge and make use of local individuality for the globalization. The wood skeleton and infill system can contribute to the issue.

Notes
[1] The part of this paper is in relation to the previous publication. One can see following paper. ‘International Seminar on Vernacular Settlement ,The Faculty of Engineering University of Indonesia, August 3-4,1999,pp.237-249
[2]Tohiguchi & Muneta, “Studies on the Manner and Style of Kyoto’s traditional housing-Kyo-Machiya(town house):their residents and craftsmen, tradition and future-”,Toyota foundation (in Japanese)
[3] Nakamura Masao, “Kyo-no Machiya”, Shinshindo Shuppan, Kyoto (in Japanese)
[4]”The method of Kyo-Machiya renovation”, Space design 1998.10,pp.81-104,11.1998(in Japanese)
[5] Osaka Gas, “Osaka Gas Experimental Housing: NEXT 21”, 2002, Osaka, Japan