The Spatial Beauty of Wabi-Sabi – Japanese Teahouse Architecture

If you have ever stepped into the world of the tea ceremony, you have probably heard words such as tea bowls, matcha, and the tea ceremony. These are important elements that make up the tea ceremony, but the space in which they are experienced, the "tea room," is also essential to understanding the essence of the tea ceremony. The traditional Japanese architecture tea is not just a building. It is a special space that embodies the Japanese sense of aesthetics and spirituality, especially the spirit of "wabi-sabi."

This time, we will explore the profound world of traditional Japanese architecture tea architecture from multiple perspectives, including history, style, and spatial design.

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Chapter 1: The History of the Teahouse – From the Hermitage to the Shoin

The origins of the tea room

The origins of the traditional Japanese architecture tea are said to date back to the spaces used by monks at Zen temples to meditate and drink tea. In Japan before the Muromachi period, tea was a precious drink that was enjoyed mainly by aristocrats and temples. However, the form of the tea ceremony changed with the growth of samurai society, and eventually it spread beyond the samurai to include townspeople and the merchant class. During this process, a unique architectural style for the tea ceremony was established.

Soan Tea – The Spirit of Wabi-Sabi

From the mid-Muromachi period onwards, the concept of wabi-cha was shaped by Murata Jukō, Takeno Jōō and others, but it was Sen no Rikyu (1522-1591) who brought it to its perfection. Rikyu used natural materials in a small space that was simplified to the utmost, pursuing the "thatched teahouse" as the ultimate embodiment of the spirit of wabi-sabi, which holds that deep beauty lies in imperfection.

By deliberately choosing rough-looking bamboo pillars, clay walls, and low ceilings, he aimed to create a space that evokes the simplicity and tranquility essential to human life. This thatched teahouse became the prototype for later teahouse architecture, and has developed into a particularly original and philosophical presence within the realm of traditional Japanese architecture. (It is said that Sen no Rikyu perfected the thatched teahouse style, and the National Treasure teahouse "Machian," believed to have been created by him, is also two tatami mats in size. In this way, teahouses are not simply rooms for drinking tea, but rooms where the entire space can be enjoyed.)

Tea in the Shoin – Luxury and Elegance

From the Azuchi-Momoyama period through to the Edo period, "Shoin tea" became popular among the samurai class. It adopted the architectural style of samurai residences known as Shoin-zukuri, and is characterized by spacious spaces, decorations on sliding doors and transoms, etc. In contrast to the simple and simple thatched teahouses, it became a space decorated with a formal design to demonstrate the authority of the samurai.
However, even in shoin tea, the spiritual nature of the tea ceremony itself, namely, hospitality to guests and the sincerity that goes into it, is the same. The fact that each style, the soan tea ceremony and the shoin tea ceremony, has developed in line with the times and people's values, has shaped the diversity of Japanese Japanese tea house architecture.

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Chapter 2: Architectural Style of the Teahouse – Elements of Space

2-1. Roji (tea garden)

The garden around the teahouse is called the "Roji (tea garden)" and plays an important role in separating the everyday world outside from the extraordinary world of the teahouse. Stone lanterns, plants, and stepping stones are placed in the Roji, and guests wait in a waiting area for the host's voice, and when he does, they head to the teahouse through a tasteful passageway.
There is a water basin called a tsukubai placed in front of you, where it is customary to purify your hands and mouth before entering the Japanese tea house. As you move through the room, you can enjoy the scenery that changes with the seasons, which will calm your mind and lead you to the entrance of the tea room.

2-2. Nijiriguchi (entrance)

The "nijiriguchi" that serves as the entrance to a tea room is an extremely narrow entrance measuring only about 60-70cm in both height and width. All guests, regardless of their status, must bend to enter the room, so it can be said to symbolize the spirit of the tea ceremony that "everyone is equal inside the tea room." (It is said that the nijiriguchi was first installed by Sen no Rikyu in his thatched tea room, "Machi-an." There are also other anecdotes that suggest it was inspired by the entrances to fishermen's boathouses on the Yodo River, as well as similar examples such as the entrances to merchants' large doors and the "kirido" doors of Noh stages, and one theory is that it was Rikyu who found a deeper meaning in the small entrances.)
During the Sengoku period, hierarchical relationships were absolute, but in the Japanese tea house, the spirit of setting aside status and facing each other as individuals is expressed through the Nijiriguchi gesture.

The original specifications of the Nijiriguchi

The door is fitted using a carpentry technique called hasami-shiki/hasami-kamoi, and is therefore different from the grooved structure of typical shoji and fusuma doors. When viewed from the front, the nijiriguchi is often intentionally laid out so that the tokonoma is directly in front, creating a presentation where the tokonoma comes into view the moment a guest passes through the nijiriguchi.
When installing a nijiriguchi in your home, you need to consider various cases, such as whether to install it inside the house or to enter directly from the garden. In fact, advanced design know-how is required, such as making the size slightly larger and considering interference with fixtures and sashes.

2-3. Furnace

The hearth, or "ro," located in the center or corner of the tea room, is used to boil the tea kettle over a charcoal fire, mainly during the cold season from November to April. Originally, a free-standing hearth called a "furo" was used, but as thatch tea rooms became more common, the style of cutting the tatami mat and lowering the hearth became more widespread. The placement of the hearth greatly influences the relative positions of the host and guests, and the sounds and aromas created by surrounding the fire are important elements in enhancing the atmosphere of the tea room. Seasonal considerations, such as for the purpose of keeping warm and for keeping the source of fire away in the summer, are also important points in the tea ceremony.

2-4. Tokonoma (alcove)

The "tokonoma" alcove, located at the front of theJ apanese tea house, is a space used to convey the theme of the day's tea ceremony and the feeling of the season. Hanging scrolls and flower vases are displayed, and guests can get an idea of ​​the theme of the tea ceremony by first approaching the tokonoma and appreciating it. (The alcove has vertical pillars called "tokobashira," a "otoshikake" that spans the top of the alcove, and a "tokogamachi" below, and the look of the space changes dramatically depending on the type of wood and finish used. In thatched hut tea rooms in particular, red pine logs with the bark still on are popular, as they make use of the natural shape of the wood. Sometimes the ceiling height is deliberately varied, with careful consideration given to making the ceiling higher where guests sit and lower where the host sits.)

2-5. Windows

Teahouses are fitted with windows of various shapes, including renji-mado (lattice windows), shitaji-mado (shimoji windows), and tsukiage-mado (tsukiage windows). These windows not only let in the light, breeze, and sound from outside, but also serve to create shadows and depth within the room. The soft light that shines through the shoji screens and the streaks of light that change over time further deepen the worldview of wabi-sabi. (In particular, "shimoji-mado" windows expose the shitaji framing of the earthen walls, enhancing the unique atmosphere of the soan teahouse. There is also a method of fitting an inner shoji screen in the style of a shimji-mado inside a regular sash window, making this possible in modern homes as well.)

2-6. Ceiling

In the case of Shoin tea rooms, sash ceilings and coffered ceilings are the norm, and neat structures that are also common in samurai homes are used. On the other hand, in soan tea rooms, the ceiling height within the space is varied, with the guest seating area being slightly higher and the host seating area being lower, and other ingenious measures to express spirituality through "up and down". The finishing materials also vary, including wickerwork ceilings, decorative attics, blind ceilings, and cattail ceilings, and they greatly affect the overall atmosphere of the space.

2-7. Mizuya (water house)

The mizuya is a place where preparations and tidying up are done before and after making tea. It is common to have a shelf for storing tea bowls and tea utensils, as well as a water jar for drawing water. Before the development of the shoin tea room, there was only a simple shelf called a "chayu shelf," but after the time of Sen no Rikyu, the mizuya was established as a functional space. When setting up a tea room in your home, the size and positioning of the mizuya are also important factors. It is also possible to use a free-standing mizuya, so it is recommended to consider it flexibly according to the space you need and your budget.

Points to consider when planning your floor plan

①Size

The "hiroma" of a Shoin teahouse is usually more than 4.5 tatami mats in size, while the "koma" of a Soan teahouse is usually less than 4.5 tatami mats in size, but in reality you can freely configure them to suit the circumstances of your home.

②Tokonoma (Alcove)

The standard dimensions are 1 ken wide and 3 shaku deep, but this can also be flexibly adapted. You can also use a floor mat.

③Mizuya

If you want to build a proper one, it may take up about 3.3 square meters of space. If this is difficult, you can always use a simple shelf or water storage unit, so it's best to consult with an architect early on to make things go smoothly.

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Chapter 3: Visiting famous places – Joan, Taian, and others

Joan

Joan, designated as a national treasure, is said to have been built by Oda Urakusai, the younger brother of Oda Nobunaga. Though both the exterior and interior are extremely simple, refined design is incorporated throughout, making it a space that truly symbolizes the spirit of wabi-cha tea. At first glance, the low ceilings and earthen walls make it appear simple, but it is precisely within these that the profound depth of Japanese architecture is embodied. (Designated as a national treasure in 1951, it was moved to its current location by Nagoya Railroad in 1972. There is also a well-known theory that the name was taken from Urakusai's Christian name, "Joan." With its thatched hip-and-gable roof and two-and-a-half-tatami-mat Japanese tea house with a tatami-mat floor plan, the rigidity and refinement of "samurai tea" coexists throughout, and the "calendar-covered seats" and "Uraku windows" are just some of the design highlights that show the utmost refinement.)

Taian

Tai-an, the only teahouse that Sen no Rikyu is said to have designed, is the pinnacle of wabi-cha tea. It is built in the soan style, and although it is a narrow, dark space, it mysteriously exudes a deep silence and a sense of security. The space, which has been passed down for hundreds of years, is packed with Rikyu's aesthetic sense and spirituality, and it is a place that students of the tea ceremony aspire to visit.
Also known as "Myo-ki-an (Myo-ki-an)", it is designated as a national treasure. The space is only about four and a half tatami mats, including the two-tatami tea room, the next room, and the kitchen room, but the structure, which incorporates techniques from private homes in the walls and ceiling, is said to be the prototype of sukiya architecture. It is full of revolutionary elements for its time, such as the gabled roof with a thatched roof, unique underglaze windows, and the tokonoma alcove seen from the nijiriguchi (opening of a lattice).

Other famous seats

In addition to these, there are many other teahouses of great historical and cultural value, such as Mitsuan at Ryukoin Temple in Daitokuji Temple and Shokintei at Katsura Imperial Villa. Visiting these teahouses is a valuable experience that allows you to feel the trajectory of the fusion of Japanese architecture and the tea ceremony. By paying attention to the unique atmosphere and differences in the design details of each teahouse, you will be able to rediscover the diversity and depth of teahouse architecture.

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Chapter 4: Spatial Design in the Teahouse – Light, Wind, and Sound

light

The light that enters the Japanese tea house is not strong lighting, but soft natural light that shines through the shoji screens and small windows. This highlights the shadows of tea bowls, flower vases, hanging scrolls, and other items, and fosters a uniquely Japanese aesthetic sense known as "praise of shadows." By feeling the changes in light, you can experience the rhythm of nature, which changes from moment to moment, and develop a spirit of cherishing and savoring this moment.

wind

The cool air brought by the breeze and the sound of rustling leaves accentuate the silence of the tea room. The gentle flow of the breeze felt in the small tea room calms the mind and invites a sense of oneness with nature. On hot summer days, a moderate breeze is let in through the blinds and shoji screens, and the tea room is dotted with ingenious ideas for "omotenashi" (hospitality) to entertain guests.

sound

The tea ceremony is often thought of as a world of "silence," but in fact it is something to be enjoyed using all five senses. The sounds of the tokonoma and tea utensils being handled, the sound of the water boiling in the hearth, the sounds of the shoji and tatami mats being rubbed, and the sounds of rain and insects outside - all of these are part of the performance of the tea ceremony. It is in the silence that a variety of sounds exist, and they deepen the atmosphere of "wabi-sabi."

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Chapter 5: The influence of the teahouse on contemporary architecture

Commonalities with minimalism

The greatest charm of the Japanese tea house is the "aesthetics of omission" hidden in the space that at first glance seems very modest. The narrow space, simple arrangement, and composition that highlights the natural texture of the materials - it is a condensed spirit of eliminating all unnecessary things and discerning the essence. This aesthetic sense of the Japanese tea house has had a great influence on architecture and design since the modern era. In particular, minimalist architecture, which eliminates all unnecessary details, strongly reflects the philosophy that is in line with the "beauty of stripped-down" of the Japanese tea house. Minimalism and tea rooms have more in common than simply eliminating decoration. There is a deep idea behind it that "maximizes the power of the space with the minimum necessary elements." In the case of tea rooms, the texture of the tatami mats, the feel of the paper of the sliding doors, and the tranquility brought by the shadows are valued, and they are designed to sharpen the five senses of the viewer and user. On the other hand, minimalist architecture makes use of the simple shapes of white walls and glass surfaces, and is conscious of the depth of space created by light and shadow. Both styles are very similar in that they seek to discover rich spirituality and the potential of space beyond the act of "reducing things."

Fusion of new materials and tradition

In the world of architecture, there is an accelerating trend to boldly use materials such as concrete, glass, and metal while skillfully combining the essence of traditional Japanese spaces. For example, in a "modern chashitsu" located on the upper floors of a high-rise building, a glittering night view of the city spreads out from the glass windows, and a display space reminiscent of a tokonoma is quietly installed in one corner. A single seasonal flower is casually arranged here, and a thin metal pillar that resembles a tokobashira (alcove pillar) further enhances the contrast between tradition and modernity. Such challenging designs are characterized by the contrast between materials that at first glance seem to be the polar opposite of "Japanese," but the contrast creates an appealing effect. The warmth of wood and bamboo and the cold, hard concrete and metal. By skillfully combining these opposing elements, the design maintains the solemn atmosphere of a tea ceremony space while exuding the originality and sophistication of modern architecture. These works are now being seen in art museums and hotel lobbies around the world, and overseas designers are increasingly looking to the "modern chashitsu" for inspiration. This is proof that the uniquely Japanese sensibility, which exquisitely combines the quiet spirituality fostered by the tea ceremony with urban, stylish elements, is highly regarded across borders.

Impact on lifestyle

The essence of the chashitsu has been incorporated into everyday spaces such as homes and offices. Many homes have arranged a small space with tatami mats as a "simple tea room" to entertain guests or to use as a private reading space. By creating a small space with a Japanese feel in a corner of a modern interior, you can find a relaxing and peaceful time in the midst of your busy daily life. In addition, calming elements reminiscent of a tea room, such as solid wood floors, natural material wallpapers, and lighting made with washi paper, are attracting attention as interior design trends. The idea of ​​prioritizing simple colors and textures and emphasizing harmony with the natural environment such as light and wind is seen as a hint for creating a "stress-free space" that modern people seek. Even in the concrete jungle of the city center, you can refresh your mind and body by creating a tasteful tatami corner in a corner of your home, sitting there and sipping tea, even if only for a moment - this lifestyle is gradually spreading.

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tea ceremony rooms not only occupy an important position in Japanese architectural culture, but are also spaces that condense Japan's spiritual culture and aesthetic sense. The rich meanings contained in a small space, harmony with nature, and the aesthetic sense of wabi-sabi elevate tea houses to something more than just a "building." The ideas and layout of tea houses that are still passed down today remind us of the essential beauty and silence that we tend to forget in modern times, and the preciousness of connections between people. If you have the opportunity, please visit a tea house and feel the light, wind, sound, and air itself with your five senses. In the tea ceremony, attention tends to be focused on the beauty of the tea ceremony and the tools, but the "space" that envelops them is also the key to deeply understanding the spirit of tea ceremony. Tea houses are special places that condense Japan's unique aesthetic sense and spirituality. By surrendering yourself to the world of wabi-sabi, you may have the opportunity to take a step back from your hectic daily life and reexamine yourself. I hope that you have been able to experience even a little of the charm of tea houses. When you visit a teahouse, please listen carefully to the message that the entire space is trying to convey. The tea ceremony will surely bring you new realizations and a sense of peace of mind.