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page142from Nordic Architects WritesPantheon, the giant halls of the Roman baths and the basilicas, Hagia Sophia, the Gothic cathedrals, Baroque churches, banqueting halls, stairwells. In East Asia, above all in Japan, monumental spatial architecture, those bold techniques of vaulting, is notable for its total absence. How limited, how strangely similar over a period of one thousand five hundred years East Asian architecture seems to us beside the European, with its changing styles, sudden reverses and constant ability to renew itself. There are, of course, shifts in style there, too, and that they seem less different from one another than their European counterparts depends no doubt to a certain extent on the unifying distance. It is probably indisputable, however, that the changes really have been greater in West than in the Far East, and that the fruitful mobility and unrest of the European spirit, its world-embracing taste for adventure, is reflected in a wider amplitude in the swing of the pendulum of formal and artistic expression. Already the fact that Japanese architecture is architecture in wood (the earliest stone houses were erected by Portuguese Jesuits in the sixteenth century) implies considerable limitation. There is nothing even to approach the gigantic concrete structures of the Romans, or the dressed-stone Gothic cathedrals, reaching up to heaven, with their stained-glass windows in flaming colours. But within this limited world, which does seem to a detached observer to have been marking time for a long while, an architectural miracle is growing. This miracle is not expressed in terms of magnificence, but in absolute perfection, polish, an utter refinement surpassing well-nigh everything built by the hand of man: the Japanese house. In terms of absolute perfection it equals the Doric temple. But it has qualities that make it more widely prolific in our times than the temple. It has been said that Greek temple architecture is standardized, but it is a standardization which rides dangerously near to the concept of a uniform house type that Aalto is fighting. Not only the elements but their composition, the spatial whole, is strictly according to norms (throughout time cult buildings have been more or less “standardized”). It is here that the Japanese house asserts its superiority as a source of inspiration for contemporary architecture. Since it is not the whole but only the elements that are standardized, it allows the possibility of varied combinations according to taste and space needs. If you compare the Parthenon to a polished crystal, in which every line, every surface is calculated exactly, and nothing can be taken away or added without spoiling the whole, then the Japanese dwelling house can be compared to a bush, or a tree, putting out new twigs and shoots in different directions without the free equilibrium being upset. In the course of time, despite the vast distance, Europe has absorbed no small measure of artistic influences and stimuli from East Asia. Well-known examples of this are Medieval silk fabrics from Lucca, glazed earthenware, porcelain, furniture and interior art of the Baroque and Rococo, the English landscape garden, the graphics and handicrafts of Art Nouveau, modern European ceramics and garden art. But none of these can be compared to the basic importance that the Japanese house has had, and will have for a long time to come, for contemporary Western architecture. Bearing in mind the freely expansible plan, the large windows, the innumerable sliding doors enabling the whole apartment to be converted into one large volume in which the individual rooms flow into one another the abundance
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