34-423: Sukiya may refer to: Sukiya-zukuri , traditional Japanese interior a synonym for chashitsu , a Japanese tea room Sukiya (restaurant chain) Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with the title Sukiya . If an internal link led you here, you may wish to change the link to point directly to
68-401: A fixed vertical bar called a tomawashi-bou (later reduced to a pair of pegs by removing the middle section). By the mid-1600s, single-track ama-do had spread, and the ama-do might be placed on the outside of the engawa. Some further architectural changes were made under the influence of the change in shuttering. Shuttering was part of a combination of architectural changes marked the end of
102-632: A position to work satisfactorily. Writing in 1934 the architect Isoya Yoshida encouraged architects to design in the sukiya-style using modern materials. He said that it was important to display the natural characteristics of the wood although it would be a mistake to use anything that might catch the eye as this was not in the spirit of the style. Though originally conceived in natural materials, primarily wood, sukiya style adapted itself to modern materials, namely concrete and steel, as builders and architects seek to incorporate sukiya interior design elements into modern buildings in an urban environment. This
136-562: A small Nippon Tea House was built near the North pond that was designed in a loose version of the sukiya-style. Harper's Weekly , a national magazine, ran an article in March 1893 showing the construction of the Japanese contributions to the exhibition. The Chicago-based magazine Inland Architect also devoted two articles to it in the winter of 1892/3 so it is likely that local architects were familiar with
170-471: A study and a place for lectures on the sūtra within a temple, but which later came to mean just a drawing room or study. The foundations for the design of today's traditional Japanese residential houses with tatami floors were established in the late Muromachi period (approximately 1338 to 1573) and refined during the ensuing Momoyama period . Shoin-zukuri , a new architectural style influenced by Zen Buddhism , developed during that time from
204-471: A subtle harmony between the principles required in its construction, these include the relationship between the client, the architect and the carpenter. Both the architect and the carpenter should have a profound understanding of the materials employed. There is an example of a carpenter asked to build a sukiya style house declining because he lost his tools in World War Two and he felt that he would not be in
238-468: A use of natural materials, especially wood. In contemporary architecture, its formal and spatial concepts are kept alive in modern materials such as steel, glass and concrete. In 1587, Toyotomi Hideyoshi (1536–98) employed the tea master Sen no Rikyū as his advisor on aesthetic matters. In the compound of Hideyoshi's imposing Jurakudai castle in Kyoto Rikyū designed an eighteen mat building known as
272-412: A wooden frame or wooden equivalents, mairado ( 舞良戸 ) and sugido ( 杉戸 ) . The main reception room is characterized by specific features: a recessed alcove ( tokonoma ); staggered shelves; built-in desks; and ornate sliding doors. Generally the reception room is covered with wall-to-wall tatami , has square beveled pillars, a coved or coffered ceiling, and wooden shutters protecting
306-455: Is a style of Japanese architecture developed in the Muromachi , Azuchi–Momoyama and Edo periods that forms the basis of today's traditional-style Japanese houses. Characteristics of the shoin-zukuri development were the incorporation of square posts and floors completely covered with tatami ( washitsu ). The style takes its name from the shoin , a term that originally meant
340-447: Is far from the original spirit of a "mountain retreat in the city" as it was conceived in the 16th century Japan of Sen no Rikyū. The transition between the Shoin and Sukiya styles occurred during the early 1600s, as a new structure for storm shutters was devised. By stacking the opaque wooden sliding doors in a box called a to-bukuro, instead of simply overlapping them, the amount of light in
374-404: Is indicative of the relative wealth of the host, the guest however sits with their back to it as it is not meant for their enjoyment. Whereas, in a tearoom, the guest sits facing the tokonoma to enjoy its beauty. A comparison with shoin-zukuri makes clear the defining stylistic features of sukiya-zukuri . The "frieze rails" called nageshi connect grooved, square columns in shoin-zukuri ,
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#1732876039979408-414: Is not seen as a dilution of the design idiom -- as architectural historian Teiji Itoh points out, "in its formative years, the sukiya tradition was concerned primarily with interior design. ... Sukiya style is well suited to [modern buildings] because it is concerned primarily with conforming a certain decor to an already established spatial entity." That said, in most cases, sukiya design in an urban setting
442-624: Is rarely direct, axial, and symmetrical. There is a decided distaste for the imposing straight avenue; instead, there is a preference for the intimate and casual but carefully planned approach which supplies surprises at every turn and leads up to the main objective in a human, natural, unimposing manner. — Gropius, W (1968) Apollo in Democracy – The Cultural Obligation of the Architect , McGraw-Hill Book Company, p 126 Shoin-zukuri Shoin-zukuri ( Japanese : 書院造 , 'study room architecture')
476-554: The shinden-zukuri of the earlier Heian period 's palaces and the subsequent residential style favored by the warrior class during the Kamakura period . The term shoin ( 書院 ) , meaning study or drawing room has been used to denote reception rooms in residences of the military elite as well as study rooms at monasteries. A shoin has a core area surrounded by aisles , and smaller areas separated by fusuma sliding doors, or shōji partitions constructed of paper on
510-423: The nakabashira central column. The walls are simply finished with a natural earthen plaster, and any carving in the ranma transom is kept simple. The ceiling of boards is railed with flat, rectangular boards. Although there is a tokonoma alcove and tana shelves and maybe also shoin in the main room, their arrangement and treatment are free. The beauty of sukiya-zukuri comes from the delicate sensibility of
544-456: The Azuchi-Momoyama period not only sukiya style but the contrasting shoin-zukuri (書院造) of residences of the warrior class developed. While sukiya was a small space, simple and austere, shoin-zukuri style was that of large, magnificent reception areas, the setting for the pomp and ceremony of the feudal lords . As an example, in a shoin , the flower arrangement in the tokonoma
578-563: The Coloured Shoin which was thought to be the first example of sukiya-zukuri architecture. The style developed during the rest of the Azuchi-Momoyama period (1568–1600) and was characterised by small rooms of usually four and a half tatami, or even less, that had a tokonoma and shelves. These buildings were normally entered through a garden often by means of an indirect curved or diagonal path that would not allow an instant view of
612-527: The 16th century Sen no Rikyū established dedicated "grass hut" ( 草庵 , sōan ) style teahouses characterized by their small size of typically two to eight mat , the use of natural materials, and rustic appearance. This teahouse style, exemplified by the Joan and Taian teahouses, was influenced by Japanese farmhouse style and the shoin style featuring tatami matted floors, recessed alcoves ( tokonoma ) and one or more ante chambers for preparations. By
646-542: The area from rain ( 雨戸 , amado ) . The entrance hall ( genkan ) emerged as an element of residential architecture during the Momoyama period. The oldest extant shoin style building is the Tōgu- dō at Ginkaku-ji dating from 1485. Other representative examples of early shoin style, also called shuden , include two guest halls at Mii-dera . In the early Edo period , shoin-zukuri reached its peak and spread beyond
680-463: The beginning of the Edo period , the features of the shoin and the teahouse styles began to blend. The result was an informal version of the shoin style called sukiya-zukuri ( 数寄屋造 ) . The sukiya-zukuri style has a characteristic decorative alcove and shelf, and utilizes woods such as cedar, pine, hemlock, bamboo, and cypress , often with rough surfaces including the bark. Compared to
714-456: The building in the morning, each ama-do would be slid along to the end of groove, where they were stacked in a box called a to-bukuro (戸袋, とぶくろ: literally, "door-container"). The to-bukuro might be designed to swing out of the way. The inner two grooves remained as they were, but both could now be filled with shōji, doubling the number of shōji in a building. Lightweight shōji could be lifted out and carried away easily. This new structure allowed
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#1732876039979748-426: The entire side of the building to be opened, giving either twice as much light, from an uninterrupted wall of shoji, or an unobstructed view of the garden; gardens changed accordingly. Run-around engawa porches meant that to-bukuro were initially located at the corners, but amado-rotator systems (amado-mawashi) were devised to eliminate this need (see images, and external movie ). Amado were rotated at corners around
782-450: The exquisitely performed tea ceremony. The word originally meant a small structure for the Japanese tea ceremony (known as a chashitsu ) and was associated with ikebana and other Japanese traditional arts. It has come to indicate a style of designing public facilities and private homes based on tea house aesthetics. Historically and by tradition, sukiya-zukuri is characterised by
816-477: The garden to help fuse western and oriental aspects of the plan. In 1954 Walter Gropius , founder of the Bauhaus visited Katsura Detached Palace and was so struck by it that in 1960 he co-authored Katsura: Tradition and Creation Japanese Architecture with Kenzo Tange . Most characteristic of the spirit of the conception is the path to the entrance gate of the villa. It conforms to the favorite Zen approach, which
850-540: The intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Sukiya&oldid=933145756 " Category : Disambiguation pages Hidden categories: Short description is different from Wikidata All article disambiguation pages All disambiguation pages Sukiya-zukuri Sukiya-zukuri ( 数寄屋造り ) is one type of Japanese residential architectural style. Suki (ateji: 数寄 or 数奇) means refined, well cultivated taste and delight in elegant pursuits, and refers to enjoyment of
884-521: The interior doubled, and unbroken views of the garden could be obtained. The lede picture of the transitional Katsura Imperial Villa shows both systems. In the first half of the 1600s, at the beginning of the Edo period, the outermost groove was moved outside the line of pillars. The wooden shutters placed in this groove interlocked edge-to-edge, and were called ama-do (雨戸, "rain-door"): they were storm shutters, used only at night and in poor weather. To open
918-492: The regular wood plane that allowed a more consistent finish to wood and a better appreciation of the natural qualities of unfinished wood. It is a trait that has characterised the sukiya style since. After the Meiji Restoration in 1867 the samurai class and thus the shoin-style lost its reason for being whereas the sukiya style continued to develop and was reassessed for modernist architecture . The sukiya style requires
952-565: The residences of the military elite. The more formal shoin-style of this period is apparent in the characteristics of Ninomaru Palace at Nijō Castle as well as the shoin at Nishi Hongan-ji (see photos above). Conrad Totman argues that the development of the shoin-zukuri style was linked to a lumber scarcity, caused by excessive deforestation , which prompted the use of lower-quality, more abundant material. As larger, straight-grained trees became less accessible, "elegant wooden flooring gave way to crude wooden under-flooring that
986-551: The shoin style, and the beginning of the sukiya style. Amado also served to secure buildings, and might have nejishimari (screw-in lock on the edges). They might also have musōmado , vents which shuttered with sliding vertical slats, an allowed some light and air in when the shutters were closed. Later, garasu-do , glass sliding doors, were added between the ama-do and shoji. During the World's Columbian Exposition in Chicago in 1893,
1020-465: The slender wood elements and other natural materials used, and the simplicity of ornamentation, if any. In the Coloured Shoin teahouse Sen no Rikyū stained the timbers with a mixture of Bengal red dye and black dye to make them look sooty and old. In contrast, his student's Oribe and Enshu preferred brighter colours and natural finishes. It is thought that this change coincided with the development of
1054-514: The teahouse. Sukiya-zukuri architecture incorporates tea house aesthetics and encompasses all sorts of building types including private dwellings, villas, restaurants and inns. One of the best known examples is the Katsura Detached Palace in Kyoto. In the Edo period (1600–1868) sukiya-zukuri became popular among townspeople, and the majority of houses came to be built in this style. In
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1088-399: The transom is often elaborately carved, the ceiling is coffered or railed with a hexagonal rail and the wall surfaces are finished and often decorated with murals . The toko alcove, tana shelves and shoin built-in desk are arranged according to a fixed formula. In contrast, sukiya-zukuri often uses unsquared columns, even simple polished tree trunks, or wood with the bark in place for
1122-580: The work. The historian Dmitri Tselos first identified the Nippon Tea House as a possible influence on Frank Lloyd Wright , suggesting that the low-pitched double roof forms of the Prairie Houses as having similar forms as the teahouse roof. In 1934 in his Okada residence, the architect Sutemi Horiguchi blended elements of the sukiya-style (influenced from the Katsura Detached Palace) in
1156-442: Was concealed beneath tatami ." Likewise, sliding wooden doors were replaced with fusuma , a lightweight combination of "stiff fabric or cardboard-like material pasted onto a frame made of slender wooden sticks," and shōji sliding panels served as a substitute for more elaborate paneled wooden doors. The simpler style used in the architecture of tea houses for the tea ceremony developed in parallel with shoin-zukuri . In
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