Subjects Commercial buildings. Interior architecture. Interior architecture -- Japan. Commercial buildings -- Japan -- History -- 20th century. Commercial buildings -- Japan -- History -- 21st century. Interior architecture -- Japan -- History -- 21st century. Store decoration -- Japan. Restaurants -- Decoration -- Japan. Interior architecture -- Japan -- History -- 20th century.
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Japanese Food: From Tempura to Takoyaki
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Description Vibrant colour photography and compelling text make this the ultimate guide to modern Japanese life. Seven of the country's foremost architects showcase their ideas in 34 shops, restaurants, salons, bars and spas.
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In collaboration with a new generation of entrepreneurs, these designers are reshaping basic concepts of how contemporary Japanese eat, work and shop. Left: An earthen -floored room called a dome? Here, a tatami room has been remodeled into an earthen-floored dining room. The original floors in the foreground also were previously covered with tatami mats, but have now been replaced with wooden floorboards.
The new owners applied several layers of lacquer to the floors so that they harmonize with the rest of the house. The word minka originally meant a home of a common person who was not an aristocrat or a samurai. However, it is now primarily used to describe farmhouses with heavy wooden structures and thatched roofs.
These buildings also illustrate a deep understanding and appreciation of wood in Japan. The love of nature instilled by Japan's ancient religious beliefs, an abundance of forests, and a damp climate have contributed to wood becoming the preferred building material for over a thousand years. Since common people did not have access to fine straight woods and quality cutting devices, minka often exploit the beauty of large uncut timbers in their natural form.
These timbers are rendered shiny and dark over time by soot from the large hearth that was the core of life for the large families that lived and worked in these homes. Instead of chimneys. The minka now owned by graphic designer Takeshi Yamamoto is located in Keihoku Town, an hour's drive south of central Kyoto. The home is situated among mountains and valleys where cedar trees called kitayama- si jgi rise straight into the sky.
These trees have been carefully cultivated for cen- turies to provide the flawless straight, fine-grained wood used for sophisticated Sukiya-style structures. Yamamoto had originally bought the minko in an attempt to preserve it. He heard from a wood- artist friend that a nearby minka of fine wood was to going be demolished so that the land could be sold. The story deeply moved Yamamoto and his wife — who had developed a keen appreciation for minka — and they decided to purchase the structure in 1 They initially planned to use the minka for weekends only, with a view of settling down in it permanently in the futuie.
While inspecting the house. Yamamotos discovered the construction plaque munafuda placed on the ridgepole, which confirmed that a skilled master carpenter had built the house in 1 9 1 2. A watercourse circled the premises, which also has a solid rammed-earth boundary wall built on a stone base. The Yamamotos decided to leave the structure and the exterior of this handsome house just as they found it, simply re-tiling the roof and refinishmg the stucco walls. However, more remodeling was ultimately needed in the interior to make it suitable for a modern lifestyle. Using instincts and expert advice, they removed many of the later' additions and ill-matched fixtures that were not in the spirit of the original house They replaced these with old fittings and tatami mats purchased from demolition sites of old machtya in Kyoto.
After consultation with a lacquer expert, fresh raw lacquer was applied to the floorboards. The Yamamotos have filled their new home with antiques lovingly collected over many years from antique markets and demolition sites throughout Kyoto. Their collection includes pottery, lacquerware. Infused with the Yamamoto's love for their home, new life is given to these old treasures. These blue and white dishes are some of his favorite porcelain collection pieces.
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Eye-catching fluted Imari has been produced in Kyushu since the Momoyama Period 1 Blue and white pottery has also constituted an important portion of Japan exports throughout history, with rough and rejected pieces used as ships' ballast. Left: The water laver obozu-boehi seen through the window is a type used as an accent in gardens, and was originally used for washing hands. Opposite: The wood-floored living room, tatami room and the veranda spaces ffow around the central pillar in this restored minka.
Bamboo blinds called socfore, traditionally used on windows during summer, are used here to provide visual definition to one part of the room without disturbing the flow of space. Hairpins konzashi with ornamental heads are a popular collector's item, and are displayed here next to a lacquered box. Left: The sliding partitioning system in Japanese homes skillfully expands or contracts space accord- ing to need. In the front room, a tobacco tray witfi a fire pan and an ashtray sit beside a square cushion zabuton.
The room at the back wfth the tokonoma is for formal use. Hardwood is used for the framework, while the softwood used for the drawers and shelves keeps the contents ventilated and, at the same time, is light enough so that the tansu can be moved easily. A pair of porcelain guardian dogs shishf sit atop this simple tansu. Left: This folding screen with a depiction of a multi -petal ed cherry tree on a golden background was made from fusuma doors originally painted in the mid- 18th century Such fusuma and byobu were designed for lighting with papered lamps ondon — a method of lighting chat still produces a deeply satisfying effect.
Yamamoto had painstakingly applied layer after layer of lacquer to the floor himself.
ISBN 13: 9780794602512
The family collection of pottery and glassware is at home here. The chest shown in the background is known as a kuruma-dansu, and was made during the end of the Edo Period I60O-IS It has built-in wheels.
Above; The use of horizontal and vertical lines combined wich muted shades form the aesthetic basis of traditional Japanese architecture. This earthen-floored Corridor connects the front and the back of the house- Left: This lower level, earthen-floored space doma was originally meant to serve as both a kitchen and a workshop, and still retains a wood-fired cooking stove. The curved beam on the rear wall shows an example of the rough timbers often used in minko.
Rarely seen today, this type of bath has a metal tub heated from beneath by an external wood-fueled stove.
The lid leaning against the wall is placed over the tub to keep the water warm.