This is a proportional analysis of the stone garden of Ryoan-ji. In this thesis, I revise my previous dlssertation-'on the composition of the garden of Ryoan-ji by Dynamic Symmetry' published by Zoen-Zasshi (Journal of the Japanese Institute of Landscape Architects, vol.2, No.2, June, 1935).
My revised analysis on the proportional study of Ryoan-ji garden is shown as in Fig. 1. In this analysis, I set my proportional unit upon the stone group C and D. The five stone groups totaling fifteen stones in this garden may be divided by two groups which are very heterogeneous from the viewpoint of stone-form and their treatment, namely between B, C, D groups and A, E groups. The B, C, D stone groups are arranged by the usual technik of Japanese old tradition just like taking root deeply, and all stones of these B, C, D groups are very popular as we can see in many other famous Japanese gardens, while the A, E stone groups, especially their main big two stones are tame mountain stones which have harsh corners and treated just like placing on garden surface. On these points and others, there are on deduction-are these two big stones of A, E groups changed after by some one? This deduction has been tried by the late Sensho Tanaka. On the standpoint of garden morphology, I think that this deduction is very important and requires furthe rexamination, so my proportional analysis evolve basing on the stone groups of C, D and B.
This proportional analysis unfold to all stone arrangements concerning with the garden space by the golden section ratio and totally the rectangle abcd is composed as in Fig. 1. The method of this analysis is based on the Dynamic Symmetry by Jay Hambidge (1920) and this proportional analysis may be arranged by the following proportion series.
0.292 0.472 0.764 1.236 2.000 3.236 5.236 8.472...(2)
...0.146 0.236 0.382 0.618 1.000 1.6182.618 4.236...(1)
1 2 3 4 5 6 7 8
...0.326 0.528 0.854 1.382 2.236 3.618 5.854 9.472...(3)
(1) is primary series which I maintained in 1939 with (2).(2) series is multiplied by 2 of each term of primary series, and (3) series is derived by totaling every each other term of primary series. All these proportional numbers of series are arranged by the ratio of golden section.
It may be said that the stone arrangement of Ryoan-ji garden is very good generally by this proportional dissertation. But there are some problems partially. It is to be desired that main stone of A group in disregard of the above mentioned point, may be moved theoretically, and the curb stones of left hand side may be enlarged to the side ab of the compound rectangle abcd as in Fig. 1, although impossible under the present condition.

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This paper deals with a graduation thesis by Goichi TAKEDA. I focus on three areas in this paper. One is to understand about the influence on his style. Another is to consider modernism. The other is as a historical document of Cha-no-Yu and Sukiya architecture in the modern era. In conclusion, 1) his thesis was admired for Rikyu; 2) his negative attitude to Cha-no-Yu seemed to be triggered by artistic accomplishments; 3) he insisted on design of modernism by publishing it; 4) the reason why he didn't design tea-ceremony rooms is that he wasn't able to overcome Rikyu's influence.

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 In terms of seeking new perspectives for the development of modern architecture, Horiguchi Sutemi is known for focusing on traditional Japanese Sukiya-style buildings and for his thorough research on the tea room that gave rise to this style. At the root of his wide-ranging tea room research is the question of asymmetric construction methods. The importance of asymmetry in his entire architectural philosophy has been pointed out by many previous studies; however, because the term asymmetry is also a slogan in modern architectural thought in general, little has been discussed concerning the real facts of the case. Considering that Horiguchi describes the whole modeling concept of the tea ceremony in terms of asymmetry—not limited to the tea room itself but encompassing the tea garden, set of tea ceremony instruments, and philosophy of the ceremony—it can be assumed that his idea is probably contained therein. Therefore, in this manuscript, we intend to interpret his statements concerning the “center post,” (a topic of particular interest with regard to asymmetry) and clarify how he understood the meaning of this post.

 In a tea room, the hearth, known as the ro, is the place where water is boiled and is the fundamental element of the tea ceremony, whereby a master prepares tea to be consumed by guests. On the other hand, the alcove, known as the tokonoma, is the place where decorations showing the purpose of the tea ceremony and the intention of the owner are displayed, and this tokonoma is located in the upper stage of the tea room. According to Horiguchi, the center post is supposed to establish “balance” between these two important elements of the tea room, i.e., the ro and the tokonoma.

 Taian and Joan are the types of tea rooms that particularly attracted Horiguchi's attention, and he identified the “balance” by considering the equilibrium between the aesthetic arrangement of the decorative objects in the tokonoma and the functional beauty of the utensils used in the ro on the other side of the room. In addition, the tokonoma, which is a static place, and the ro, which is the center of a dynamic space, are not separate entities and constitute an integrated system.

 Horiguchi strives to identify the characteristics of the tokonoma and the center post as the establishment background of this “balancing.” Both serve to “cut off halfway and connect halfway,” but they reflect exactly the opposite because the main purpose of the tokonoma is separation whereas that of the center post is connection. In particular, the center post, which plays the distancing role in relation to the tokonoma, is considered to play an integrating role in harmony not only for the tea room but also for the tea ceremony itself. He considered these characteristics of the center post as clearly expressing asymmetry.

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