A JAPANESE TOUCH FOR YOUR HOME

The Japanese house offers bold and exciting ideas

for people thinking about remodeling their home or
redoing their apartment. This book describes the
basic elements of Japanese interior design and then
shows you how to use them. Install tatami mats
and shoji doors—quintessential elements of Jap-
anese interior design—and see how beautifully
they respond to the American home. Change the
size and shape of a room, easily and tastefully, with
bamboo screens and movable partitions. Build a
simple Japanese-style alcove, decorate it with
something special, and then flaunt it. Try some
Japanese lighting techniques—low, soft, and beau-
tiful. Change the mood of a room, change your
way of looking at things.
There's much more in this book. Practical, ap-
proachable, and authentic, it is written by a young
Japanese architect concerned about the demands of
contemporary life-styles and the answers that tradi-
tional Japanese design has to offer.
Over 120 color plates taken by a leading Jap-
anese photographer accompany the informed text.
In addition, over 200 black and white sketches,
floor plans, a section on do-it-yourself projects,
and a list of organizations in the U.S. one may con-
sult make this a book that will pique your desire to
be creative and then show you how to fulfill it. A
practical guide for homeowners, for interior
designers, for people who like to work with their
heads and their hands, this book may be the begin-
ning of a new way of living for you.

THE AUTHOR
Koji Yagi was born in 1944 in Aichi Prefecture, Ja-
pan, and graduated from the Department of Ar-
chitecture of the Tokyo Institute of Technology in
1969. From 1971 to 1974, he worked with the
Syrian government as a technical advisor sent by
the Overseas Technical Cooperation Agency of Ja-
pan. From 1975 to 1976, he was with the Tropical
Building Research Group at Queensland University
in Australia, conducting research on indigenous
housing of the South Pacific. In 1980 he was a
visiting assistant professor at the University of
Oklahoma, affiliated with the Environmental
Design Department. Mr. Yagi currently teaches
and does research at the Tokyo Institute of
Technology. In addition, he is a practicing ar-
chitect. He recently translated into Japanese The
American House by Mary Mix Foley, and con-
tributes regularly to leading architectural journals
in Japan.
The publisher would like to thank the following for their assistance:
Barbara Curtis Adachi, Daitoku-ji (Koho-an), Hasshokan Restaurant, Kakusho Restau­
rant, Kenchiku Shicho Kenkyujo, Kitcho Restaurant, Matsuishi Tatami, Nishi Hongan-ji,
CONTENTS
Takumi Ohsawa, Sakai City Museum, Kiyoshi Seike, Shibundo, Shinkiraku Restaurant,
Hajime Shimokawa, Shokokusha Publishers, Shou-en, Miwa T a k a n o , Yoshihiro Taki-
shita, Urasenke Foundation, Wafu Kenchikusha Publishers, Shinichi Yamamoto, and
Tadao Yoshijima.

Photo Credits:
Yukio Futagawa, p. 71 (bottom); Japan Travel Bureau, p. 6 (bottom); Susumu Koshimizu,
p. 5 (center), p. 8 (bottom), Pls. 8, 11, 17, 19, 25, 27, 28, 35, 44, 45, 56, 57, 58, 62, 64, 66,
68, 85, 86, 87, 88, 91, 94, 98, 102, 108, 109, 110, 111, 117, back jacket (top right, top left);
INTRODUCTION 6
Tadahiro Kumagai, Pl. 119; Hiroaki Misawa, p. 71 (top left); Kazuyoshi Miyamoto, p. 71
(center); Toru Nakagawa, p. 70 (bottom); Haruzo Ohashi, p. 19 (top); Tsuneo Sato, p. 71
(top right); Eitaro Torihata, p. 58 (bottom); Tohru Waki (Shokokusha), p. 67 (center INTERMEDIATE SPACE 9
right, center left, bottom).
THE FORMAL ENTRANCEWAY 20
Illustration Credits: THE VERANDA 24
P. 8 (Hickox House): Redrawn from The American House by Mary Mix Foley © 1979, Harper &
Row, and reprinted by permission of the publisher. This material is after a photograph by Henry Fuer- SCREENING DEVICES 28
mann, as published in Frank Lloyd Wright to 1910 by Grant Carpenter Manson. Copyright © by Van
Nostrand Reinhold Company. Reprinted by permission of Van Nostrand Reinhold Company. P. 8
(Gamble House): Redrawn from The American House by Mary Mix Foley © 1979, Harper & Row,
and reprinted by permission of the publisher. This material is after a photograph by Maynard L. INTERIOR SPACE 32
Parker, collection of James Marston Fitch, and reprinted by permission of the owner.
TATAMI MATS 44
TRANSLUCENT SLIDING DOORS 48
OPAQUE SLIDING DOORS/TRANSOMS/
PORTABLE PARTITIONS 52
Architects/designers of the houses illustrated:
Araragi Architects, Pls. 26, 75; Toshinori Fukaya, Pl. 52; Masao Hayakawa, p. 71 (top right);
THE ALCOVE 56
Shigezo Hirai, Pls. 44, 98; Hirata Construction Co., Pls. 11, 16, 27, 58, 87, 99, 111, 113, back jacket THE ROOM FOR THE TEA CEREMONY 60
(top left), p. 5 (center), p. 59 (center), p. 63 (top, bottom); Masayuki Imai, Pls. 19, 25, 109; Akira
Irinouchi, Pl. 57; Hiroyuki Ishida, Pls. 51, 67; Ishima Construction Co., Pls. 24, 93, 97, 112, p. 63 THE JAPANESE WAY OF SITTING 64
(center right); I.S.S. Associated Architects and Engineers, Pl. 104; Satohiro Kawai, Pls. 15, 101; LIGHTING TECHNIQUES 68
Noriyoshi Kawazoe, Pls. 28, 35, 108, 117; Kikuchi Construction, back jacket (bottom right); Kindai
Architectural Consultants, Pl. 89; Kazuyoshi Komachi, Pls. 83, 94, 110; Komagura Architects, Pls. THE BATH 72
21, 37, 56, 77, 84, 106; Tsugio Kosukegawa, Pls. 9, 13; Toshimasa Kozaki, Pl. 62; Toshiro Kubodera,
Pls. 45, 64, 68, 91; Takashi Kurosawa, Pl. 42; Shosuke Maki, Pls. 55, 60; Masuzawa Architects and
Associates, p. 59 (top); Togo Murano, p. 71 (top left, center); Hitoshi Nagao, Pl. 90; Shosei
Nakamura, Pls. 5, 63, 92, 95, back jacket (bottom center); Motoi Nanasawa, Pl. 86; Fumio Ogishi, Pl. DO-IT-YOURSELF PROJECTS 74
8; Harutaka Ohishi, Pl. 4; Okuno Construction Co., Pl. 100; S. Takagi and Associates, Pl. 121;
Asohiko Sakamoto, p. 59 (bottom); Kozo Sano, Pls. 14, 31; Shinahara Architects, Pl. 73; Naoharu
Shishiuchi, Pl. 65; Yoshio Shoya, Pl. 71; Sohara Kikuchi and Associates, Pls. 17, 66; Ikuo Suzaki, Pls.
29, 78; Ryoji Suzuki, Pl. 6; Hidezo Takada, p. 58 (bottom); Susumu Takasuga, Pls. 3, 54, 61, 76,102, BIBLIOGRAPHY 81
105, front jacket, title page; Seisaku Taniguchi, Pls. 7, 22, 43; Takashi Taniyama, Pls. 1, 103, p. 5 FOR FURTHER REFERENCE 82
(bottom); Katsushi Tatamiya, Pls. 20, 70; Sadao Tsuneoka, p. 107; Atsushi Uchida, Pl. 53; Ueno
Construction Co., Pl. 41; VA ■ COM, Pls. 18, 50; Fujio Yamamoto, p. 58 (top); Yasui Moku Con­ INDEX 84
struction, Pls. 85, 88, back jacket (top right); Isoya Yoshida, p. 70 (bottom); Junzo Yoshimura, Pls. 2
(garden designed by Harunaga Yanoguchi), 10, 72, 120 (garden designed by Harunaga Yanoguchi), p.
67 (center right, center left, bottom).
-

Line drawings by Kinji Kuwata.

Distributed in the United States by Kodansha International/USA Ltd., through Harper &
Row, Publishers, Inc., 10 East 53rd Street, New York, New York 10022. Published by
Kodansha International Ltd., 12-21, O t o w a 2-chome, Bunkyo-ku, Tokyo 112 and Kodan­
sha International/USA Ltd., with offices at 10 East 53rd Street, New York, New York
10022 and The Hearst Building, 5 Third Street, Suite N o . 400, San Francisco, California
94103. Copyright © 1982 by Kodansha International Ltd. All rights reserved. Printed in
Japan.
First edition, 1982 ISBN 4-7700-1015-X
Sixth printing, 1986

Library of Congress Cataloging in Publication Data

Yagi, Koji, 1944-
A Japanese touch for your home.
Bibliography: p.
Includes index.
1. Architecture. Domestic—United States.
2. Interior architecture—United States.
3. Architecture, Japanese—United States. 1. Title.
NA7205. Y3 1982 729 82-80646
ISBN 0-87011-526-X AACR2
 Egyptian Hieroglyphs Chinese Characters INTRODUCTION body can bear the discomfort of the only remaining season that
poses a problem, winter.

A Culture of Wood and Paper

House Entrance House and Other Buildings Building Construction To cope with the warm and humid climate of Japan, materials
If we look at ancient Egyptian hieroglyphs used to depict a with a low thermal capacity, such as wood, are best, and to cope
house and entrance, we will see that the hieroglyphs focus upon with the frequency of earthquakes, materials such as brick or
the walls. Perhaps this reflects the way in which buildings were stone are avoided. Fortunately, Japan is blessed with good raw
constructed there—by building up from the foundation. This materials, particularly timber, well suited to the climate and
emphasis on walls, which was to influence the evolution of ideal for an earthquake-prone country. The abundance and
Western architecture, presumably developed from the need to variety of wood has, as a result, instilled in the Japanese a keen
provide a comfortable interior sheltered from the harsh climate. appreciation of wood—its luster, fragrance, and texture.
If we look at the Japanese writing system, based on characters As will be seen in this book, wood, paper, and other native Asymmetry in Japanese flower arrangement
borrowed from the Chinese, we will see that the characters for materials are copiously used in the home. The shoji sliding doors
house and other buildings all contain the topmost element, the made of soft, translucent paper and delicate wood latticework,
roof. This reflects the Japanese process of housing construc­ the heavier fusuma sliding doors covered with paper of subtle or
tion—erecting a wood outer frame and covering it with a roof bold designs, the bamboo and reed screens, the handsome wood
before making the inner walls. This emphasis on the roof may pillar in the alcove, the lovely paper lampshades with wood
have developed as a result of the requirement that houses offer bases, and, of course, the bath made of aromatic cedar all attest
shelter from the rain while permitting cross ventilation in the hot to the Japanese love of wood and paper.
In Japanese house construction, a wood frame is built and humid summer of Japan. In this way we can find a major
Asymmetry in Japanese architecture.
first, followed by the raising of the roof, and then the ad­ conceptual difference between Western and Japanese attitudes Asymmetry
dition of walls. toward architecture. The Japanese concept of beauty incorporates none of the sym­
The physical division of space in a timber-framed Japanese metry that is to be found in pre-modern Western and traditional
house characteristically occurs after the roof is raised, unlike the Chinese perceptions of beauty. In symmetry, left and right, size,
traditional Western method of building in stone, where the walls and volume are orchestrated to create perspective and balance.
separating each room are built first and the roof put in place In asymmetry, the balance between left and right is altered to
afterward, creating in the end a whole of separate spatial units. create a dynamic beauty.
The interface between interior and exterior is also different. In Japanese flower arrangement (ikebana) enthusiasts will prob­
masonry construction, a solid wall separates inside and out and ably recall their first encounter with this art form with amuse­
is structurally important, so that few openings are permitted. ment, for the temptation must have been to construct a neat ar­
Wood frame construction in Japan, on the other hand, requires rangement of equal numbers of flowers contained within a
no enclosure between the supporting posts and, with the use of perfectly round or square perimeter. Though, of course, circles
movable partitions, it is possible at any time to open interior and squares do exist in Japanese design, it is the triangle that
and exterior spaces to each other. This style of wood construc­ defines Japanese flower arrangement, and three main
tion allows a step-like hierarchy of spaces. Again, with the thick stems—long, medium, and short—are arranged in a triangular
walls of masonry construction, one room is much like another area in exciting, but comfortable, tension.
as far as separation goes, but with paper-covered sliding doors,
In terms of architecture, Buddhist temples built under strong
the degree of separation increases with the number of partition­
Chinese influence in Japan in the eighth century had already
ing agents. In the deepest part of the Japanese house, that is, the The texture of wood is an important part of Japanese
begun to alter the imported aesthetic of symmetry by allotting aesthetics.
middle, is the plastered wall, along which are arranged the sleep­
Section of a Japanese house.
different emphasis to different parts. A fine example is the
ing rooms. Beyond these are more open and functionally free
Horyu Temple compound in Nara in western Japan where two
spaces, divided into any number of rooms by sliding doors, and
unequal masses, the tall, slender pagoda and the low, wide
surrounding these is a wide corridor bounded at the outside by
Golden Hall, stand alongside each other. Here, again, one can
wooden shutters which offer protection from the rain and cold.
see the aesthetic of dynamic tension asserting itself.
The eaves extend well beyond these doors, creating a buffer
It is difficult to explain the Japanese love for asymmetry, yet it
space appropriate to Japan's rainy climate.
cannot be unconnected with their perception of nature. If, as
proposed by a Japanese anthropologist, Western culture origi­
Climate nated in the world of the desert, then perhaps the desert dwell­
Japanese architecture, like any other architecture, is deeply in­ ers' view of the universe gave birth to monotheism and saw
fluenced by the environment. In addition to the four seasons, beauty in perfect symmetry that has little relevance to nature as
there are a short rainy season in early summer and typhoons in a whole. And, if, in contrast, Japanese culture is seen to have
early fall, creating a cycle of six "seasons." Spring and autumn originated in the chaotic world of the forest, then perhaps the
are pleasant, and winter, of course, is cold. The three remaining
pantheism that evolved led to an appreciation of the unbalanced
seasons—the rainy season, summer, and typhoon season—are
hot and muggy, and it is to these three that Japanese architecture harmony in the tension created by dynamic forces locked in
Tokyo New York
is geared. The assumption is that if a house is constructed to unresolved conflict.
Temperature, rainfall, and humidity chart comparing
Tokyo and New York. ameliorate the discomfort of rain and humidity, the human Cedar forest in the northern hills of Kyoto.

6 7
 Japanese Influence upon Modern Architecture
The Japanese perception of beauty can also be seen in the con­
cepts of wabi (simple quietude) and sabi (elegant simplicity). INTERMEDIATE SPACE
The opposite of gorgeous splendor, these suggest a modest beau­
ty striving for something closer to nature than nature itself.
Wabi, in particular, evolved as a reaction against the dazzling In the Japanese home, there is no clear demarcation between the interior and
continental culture imported from China during the sixteenth the exterior. There is, instead, an intermediate area occupied by three
century. Wabi today detects beauty in nonmaterialistic, spiritual elements: a formal entranceway, a veranda, and various screening devices
Warren Hickox House, Illinois, 1900. Frank Lloyd freedom and in harmony with nature. At the same time it con­ used in place of Western-style doors and windows. All of these link inner
Wright, architect. tains aspects of the philosophy of "less is more" that Ludwig components with outer, and bring nature almost indoors while still shielding
Mies van der Rohe advocated in the modern architectural move­
man from the elements.
ment. What attracted the attention of Mies, as well as Walter
Gropius and Frank Lloyd Wright, was the concept in Japanese
architecture of enclosing a simple structure with a thin mem­
brane to create a composition in which there is a sense of tension
in simplicity. There remains, however, one significant point of
divergence: modern architecture, along with the expansion of
industry, is geared towards an artificial art. What lies at the
heart of the Japanese perception of beauty is the desire to
reproduce nature, to achieve a fusion with nature, even in ar­
chitecture, a most unnatural creation.
Unfortunately, this priceless legacy appears to be disappear­
ing. Visitors to Tokyo are often stunned, even disappointed, to
Katsura Imperial Villa, Kyoto. Seventeenth century. find the same skyscrapers that impose themselves on the skyline
in New York and Chicago. Of course this is due in part to ur­
banization, but it may also be related to the growing distance
not only between man and nature, but paradoxically, despite
the concentration of population, the distance between people.

About this Book

Closeness to nature is the ultimate goal of Japanese architecture.
As a result, the Japanese house plan can be described as being
composed of three parts: exterior, intermediate, and interior.
The exterior is of course symbolized by the garden, and the in­
terior is where the inhabitants spend most of their time. The in­
termediate area is an important buffer between these two and
helps to draw nature into the home while still providing protec­
tion and security. The first section of this book looks at this in­
termediate space which consists of the entranceway, the veran­
Entrance Hall, Gamble House, California, 1908. Greene da, and screening devices. The second section describes the
& Greene, architects. elements of interior space, starting with tatami mats and ending
with the Japanese bath. By looking at the color and black-and-
white plates and sketches, and reading the text, you will be able
to pick and choose what appeals to you and remodel your home
or apartment with traditional Japanese ideas.
I believe that every country's architectural tradition is unique
and contains suggestions for improving the quality of our lives.
This book introduces Japan's own unique architectural heritage.
1 will be very happy if it succeeds in giving you satisfactory
results and a better idea of how we Japanese live at home. If, fur­
thermore, through this book an appreciation of the uniqueness
of each culture, not just that of the one we are most accustomed
to, leads to mutual respect and friendship, I will be doubly
happy.
Koji Yagi

Interior of rural home (minka).

8
2. A simple wooden veranda serves as an
important intermediary between this study
and the garden. Bamboo blinds modulate
the amount of light and ventilation, and
also provide privacy.

A sea of pebbles extending from the garden into the home brings the ex-
terior world into the interior world.

3. An inner courtyard shared by all of the

rooms in this house gives continuity to the
living space, in addition to providing an
area for solitary relaxation or an outdoor
party.
5. Delicate shoji doors are the only barrier
here between the interior and exterior. If
the shoji are completely removed, nature is
immediately drawn into the home, pro­
viding a natural source of decoration.

13
6. The utter simplicity of this veranda belies its perfectly executed
function of mediating between two contrasting zones.

7. A few saplings bring nature almost within arm's reach. The 8. Even the materials used for the veranda reveal its mediating role
sound of gently falling rain or leaves rustling in the wind gives this between two diverse zones. The natural wood floors of the veranda 9. Open corners created upon removing the shoji doors produce a panoramic view
house the impression of being in the middle of a forest, far away complement the color and texture of both the tatami in the living of the garden and increase one's viewing pleasure.
from the cares of the world. room, and the grass and stones outside.
10. A modern rendition in steel of bamboo
blinds provides privacy for this third-floor
apartment in the city.

11. Screened windows provide protection,

ventilation, and beauty. The bamboo
screens here complement the tatami and
wood interior exquisitely.

12. The partitioning system skillfully and artistically expands or contracts space according
to need. In the summertime, breezes allowed to flow through the house provide natural
ventilation.

The low, overhanging eaves of the Japanese

house protect shoji from rain, and control the
flow of light, while also creating a space under-
neath where one may entertain informally or en-
joy splendid day alone.

17
 INTERMEDIATE SPACE hierarchy of space, as discussed in the Introduction, has emerg-
ed in Japan. The open space around the innermost, private bed
chamber is divided into several rooms by the use of movable
In the traditional Japanese house, the distinction between in­ partitions. From this innermost room is a continuum of space
terior space and exterior space is not clearly defined. Nature is through the rest of the house to the area below the eaves, to the
Arab house American house Japanese house garden, and even beyond the garden in some cases when distant
drawn into the house, rather than excluded from it, by a variety
Three Types of Enclosures
of means such as shoji, bamboo screens, and the entranceway or scenery is included as part of the overall design.
veranda. Similarly, the interior can be extended beyond the
walls of the house with the same devices, as people attempt to The Garden
live as one with nature. - comparing photographs of Western gardens and Japanese
A comparison of Arab, American, and Japanese house plans gardens, one notices that in many Western plans the garden is
will show that the Arab house is constructed around a court­ viewed from outside and the building placed against that
yard, with thick walls built to the edge of the site. In the background. Japanese gardens, on the other hand, are intended
American suburban house plan, there is often no hedge to to be viewed from an interior space against the background of a
designate the boundary. The house, with reinforced doors and wall or fence. This is because Japanese gardens are designed in
windows, is merely surrounded by a lawn. The Japanese house, concert with the room interiors, giving full consideration to
in contrast, has a hedge around not just the edge of the lot, but sight lines from the rooms, the corridor, or a special viewing
the perimeter of the building as well. platform.
The enclosure around the Japanese house is "soft," as opposed This difference in perspective is indicative of the Japanese con-
to the hard walls of the Arab house, and the open area around cept of the house. In fact, one of the words for family or home in
the American house. Or, put in another way, the distinction be­ Japanese, katei, is a juxtaposition of the characters for "house"
tween the public and private areas in the Arab and American and "garden," revealing that the concept of house and garden as The intermediate space is an important buffer zone be-
plans is clear, and one knows whether one is inside or outside a a unified whole has existed for quite some time. tween the interior and exterior.
house, whereas the Japanese house has a certain ambiguity.
The Townhouse Plan
The Japanese house is surrounded by a "soft" natural
barrier. Privacy The scarcity of space in Japan has led to interesting variations of
Although the Japanese house plan may lead to some ambiguity, the typical house plan. The machiya, or "townhouses," of
Japanese architecture nevertheless attempts to protect a certain Kyoto, for example, are distinguished by their long, narrow
space from the exterior environment. And vague though it may plan. Even in compact areas like these, where houses are only a
be, there is still some kind of division between the two zones, few inches apart, the harmony between interior and exterior is
determined primarily by whether one is wearing shoes or not. preserved, and the garden plays a central role. The room closest
The feeling that Japanese houses afford little or no privacy is to the main street is often used for business purposes—goods are
due to the fact that, although the number of barriers is rich in Hayed and orders taken—so that this area becomes a part of
variety, they remain thin and light. But this poses no problem to the street, or, conversely, the street becomes a part of the house.
the Japanese, for there is a certain refinement about a soft, bare­ The most private room of a machiya usually faces a garden. An
ly perceptible light seeping through a shoji paper door, or the 3 pen corridor connects the main house to a wing where often the
sound of rain just on the other side of a latticed window. The first generation lives separately from, but still near, the second
ambiguity about the house is, indeed, pleasant. generation. The townhouses (machiya) of Kyoto make maximum use
In fact, privacy is preserved not physically but through In this way, unity and spaciousness are preserved even in the of a limited area. (Plan for three houses.)
distance, and Japanese refer to the most private part of the smallest of spaces, and the needs of people, who are, after all,
house, or the most sacred part of a shrine, as the "deep, inner the focal point of every house, comfortably provided for.
Plan of Japanese house and garden. recess." Unlike Western brick and stone design schemes which
call for an interior and exterior consciously divided by walls, a Intermediate Space Components
As previously mentioned, the intermediate space can be seen as
an important extension of the house, and as an extension of the
Cross section
garden. The three chapters that follow will talk about three ma-
jor elements found in this intermediate zone: the formal en-
tranceway, the veranda, and screening devices. The en-
tranceway is where shoes are removed, symbolizing the transi-
tion from the exterior to the interior. The veranda is a multi-
purpose area where one can relax or entertain visitors informal-
Screening devices help to unite man and nature by providing
ways of allowing the inhabitants of a house to see or hear
nature with little difficulty, while still protecting them from the
elements.

Exterior of machiya.

18 19
THE FORMAL ENTRANCEWAY
Shoes are a symbol of the life led outside the home. As we
remove them in the entranceway, we enter a different
world—the private, personal world of the home.

14. Shoes are removed and left in the entranceway, 15. Flowers and a painting serve as decoration. The top of the shoe cabinet is ideal for simple displays. 19. Straw cushions and a bench are provided for visitors

16. The stone step separates interior from exterior.

17. In the entranceway begins the Japanese love of wood . An inner garden beckons guests as soon as they enter the home 21. The view from the entranceway, too, is important

20 21
 scene through the use of bamboo, stones, water, and garden ENTRANCEWAY WITH VIEW OF COURTYARD
THE FORMAL ENTRANCEWAY
shrubs, but the whole effect may be destroyed if the background
is not carefully considered. An earthen or stone wall, or a fence
made of wood or bamboo, for example, would be attractive. If
In contrast to entering the house through the kitchen or the the neighboring house stands in the background—and there is
veranda from the garden, the genkan is the formal entranceway little that can be done about that!—a more natural effect can be
to the Japanese home. The original religious significance of this achieved by hanging a bamboo blind just beyond the garden.
word has faded, but as it is here that shoes are removed, this Where only part of the garden, especially the lower section, is
area represents the division between the "unclean" exterior and visible, one has the advantage of being able to block off direct
the "clean" interior. This delineating function is emphasized by sunlight and also having more privacy. If the top half of the win-
the different material used in the entranceway, compared with dow or wall is replaced with shoji, a soft light will filter through
those used in the exterior and in the interior; by the stone step while the changing seasons can still be observed in the garden
where shoes are removed; and by the difference in level between through the lower half of the window. In the winter, snow lends
the entry at ground level and the raised floor of the interior of to the shoji a beautiful, brilliant whiteness. Plan
the house.
Because land in metropolitan areas such as Tokyo is at such a Illumination
Suggested layouts for entranceway with and without premium, ceilings in high-rise buildings are often built low to
accessories. Since the primary function of the formal entranceway is to pro-
make maximum use of the available space. Thus the difference
vide an area where shoes may be exchanged for house slippers,
in level mentioned above may be reduced to only a few inches.
and an area for subtle decoration, minimal illumination seems
Nevertheless the entranceway is an essential part of every house
more than adequate. Yet in a home where there may be no
or apartment, and the difference in level is an important visual
custom of removing the shoes upon entering the house, it is bet-
clue to inform Japanese that this is where shoes are removed
ter that this be made as easy as possible to understand. For ex-
before entering the interior.
ample, part of the entranceway beyond the front door may be
floored with stone or laid with carpeting from the place where
As a Storage and Display Area
shoes are to be changed, marked by the shoe cabinet and slip-
In addition to the stone step and other accessories—such as a
pers for indoor wear. To further emphasize this special area, a
Section of raised interior: (left) with stone step; (right) cushion or chair that may be used when removing one's Visual continuity from the garden outside to the court-
spotlight or a Japanese-style paper lantern may be used with
without stone step. shoes—the entranceway in Japan contains a cabinet for all of the yard garden inside is achieved in this plan.
shoes belonging to family members and house slippers which
good results. Another spotlight may be used to draw attention
they change into. (Visitors' shoes are usually left on the floor, to the articles or flower arrangement on display, although here
unless they are staying overnight.) Although umbrellas, coats, again, a paper lantern creates a lovely Japanese ambience.
and hats are also kept here, in the average Japanese house, the Illumination of the garden is also important, especially where ENTRANCEWAY WITH TATAMI
shoe cabinet usually retains a separate identity, and the top of it the garden is visible from the entranceway. A stone lantern, or a
hanging lantern, or a spotlight, either outside or inside, will do Cross Section
is used as a display area.
The formal entranceway is decorated to symbolize its role as a very nicely. But in order to best show off the beauty of the
buffer between interior and exterior, formal and informal, clean garden, the most complementary illumination is created when it
and unclean. Yet, since it is a confined space, decoration is kept is placed at ground level. Whichever form of lighting is used, the
to a minimum. Should the head of the house have some kind of brief communion between man and nature will be heightened.
collection, part of it may be displayed. Alternatively, seasonal
flower arrangements may be placed on a small stand, on a fixed Finishing Touches
shelf, or on top of the shoe cabinet. Shoji, a single-leaf screen ft is very common in Japan for visitors to conduct all of their
(see Pl. 14), or a mere wall will provide an attractive backdrop business in the entranceway. Since family members would not
for the display. Instead of freshly cut flowers, flower boxes, pot­ be able to relax for the duration of the visit if the interior of the
Placement of shoe cabinet ted plants, or bonsai may be displayed. house were open to view, the line of vision from the en-
Plan
tranceway to the interior should be blocked off either by a wall,
Relationship to the Garden a single-leaf screen, or split curtains (see Pl. 15).
Many Japanese houses are designed so that the garden is visible An excellent way to welcome guests is by burning incense in
from the entranceway. These days, when the approach from the the entranceway just before they arrive. This tradition has vir-
road to the house is short, the front garden often ceases to tually disappeared in Japan today, but in the old days, the
resemble a garden at all. In such cases, visitors will be pleasantly aristocracy developed exquisite blends of incense, and these
surprised when they catch a glimpse of a courtyard garden from were used to express feelings of joy, grief, love, and affection.
the entranceway. Needless to say, the design of such gardens is Since it is in the formal entranceway that visitors make their
36 in. subject to considerable variety, but one thing should be kept in first impression of a home, flowers, incense, and a thoughtfully
mind: the line of vision should be carefully designed so as not to prepared garden view can be used to show one's hospitality and
impinge on the privacy of the family. to share the warmth of a household.
In the case of a courtyard garden intended primarily for
display purposes, special attention should be paid to the back­
Use of tatami in the entranceway provides textural con-
ground. One may go to considerable pains to create a beautiful tinuity with tatami used in the rest of the house.
22
23
THE VERANDA what the Japanese poetically call the "moon-viewing dais" which VERANDA VARIATIONS
The veranda serves as an informal they use to admire the beauty of the moon and the stars,
area in which to entertain friends, a especially in early autumn.
place to relax with family members,
When the space under the eaves is kept at ground level, it
and a zone where the heat of summer
and the cold of winter are assumes the character of part of the garden, but is deliberately
ameliorated—besides being the set­ designed of stone or gravel, in contrast to the garden, and then
ting for a rendezvous between man serves as a passageway or a terrace. Alternatively, part of the
and nature. garden may actually be transported into the house and serve as
an indoor garden.
In all of these, a combination of shoji, and rain doors made of
wood, or glass doors are used to form a boundary between the
two zones. Recently there has emerged a vogue for using French
windows instead of wooden doors. When these are used at the
edge of the eaves, the veranda then becomes a kind of
greenhouse. In addition to these various kinds of doors, bamboo A typical Japanese veranda.
or reed screens may be used on sunny days to filter sunlight.
When selecting materials for the veranda, wood with a nice
grain is highly recommended since it will produce beautiful
results and also provide years of pleasurable viewing. Boards
can be placed either lengthwise or laterally, but if placed lateral-
ly, wide-sectioned wood creates the best effect. Should the eaves
be sufficiently deep, tatami matting may even be used. This
lends it a more formal air, and turns the veranda into a kind of
corridor or even part of the room to which it is contiguous. Care
should be taken that this section does not protrude from beneath
the eaves because of the danger of the wood rotting or the tatami
becoming discolored through long exposure to sunlight. In such
22. The veranda serves as a comfortable, multi-purpose area. cases, bamboo is probably best, although this virtually The extended veranda, variation #1. stone step
precludes the use of chairs and tables. Sitting Japanese-style
solves this problem, however, since Japanese cushions may be
placed on the floor.
When gravel, stone, or tile is used, as in the case when the
veranda is not elevated, the section lying in the direct line of
raindrops as they drip off the eaves should be changed or
cleaned as, otherwise, the rain leaves behind unsightly marks. A
material that is washable with water or a light cleanser is best
suited to both the veranda and the area beneath.
To complete your veranda, you may want to provide some
outside accessories. The Japanese are given a visual clue of the
transition from one zone to the other when they are ready to
return to the home after, for example, working in the garden.
This visual reminder is the large, often interestingly-shaped,
stone placed in front of the veranda where shoes are removed.
The removal of shoes, as was discussed earlier, determines for The extended veranda, variation #2. Referred to in
Japanese as the "moon-gazing dais."
the Japanese the difference between interior and exterior. In ad-
dition to this stone, one may also provide a stand with wash-
basin which, in the past, was placed near the toilet located at the
end of the veranda. Today, it may be used for washing hands
after gardening.
Handrails are more the exception than the rule to effect the
open quality of the veranda. Generally speaking, no furniture is
placed on the veranda since it can double as a bench to sit on, a
table on which to serve refreshments or to lay clothes for men-
ding, or an open crib for a baby. Shoes are not worn when the
veranda is above ground level.

23. The washbasin and stand are traditional outdoor accessories. 24. Bamboo produces a beautiful, cool veranda An unelevated, receding veranda.

24 27
SCREENING DEVICES
Used in place of or in addition to walls and windows, these
devices combine function with beauty by providing light,
ventilation, and privacy in pleasing ways.

29. Screens and windows go together well. 34. Bamboo grid window with shoji backing, 35. Window with bamboo latticework

30. Screens provide some privacy from neighbors. 31. Screens also provide protection from the sun. 36. Heavy wood latticing and reed screens. 37. Shoji with latticework

38. Attractive in the daytime. 39. Striking at night.

32. Split curtains are a novel way to advertise the name of a shop. 33. Vision, but not ventilation, is inhibited by split curtains.

28 29
 the sudare to solve the problem.
SCREENING DEVICES The sudare is usually hung at the edge of the eaves of the
veranda or on the outside of windows where, by carefully ad-
justing the height to which it is unrolled and tied, it can be used
The hot and sultry Japanese summer is unpleasant to say the to provide relief from the sun's glare. Furthermore, in our
least. The cold of winter can be overcome by simply putting on modern residential blocks, it also affords residents much-needed
more clothing or turning on the heat, but the only ways to resist visual protection from the neighboring house. And since one of
heat and humidity are by blocking out the sun's rays and the characteristics of Japanese garden landscaping is that
allowing the unfettered passage of air. It is for this reason that everything—from moss and stones to garden shrubs—is de-
Japanese architecture favors a minimum of walls and the use of signed to be appreciated from a low angle, the top half of a win-
furniture that can be easily moved to create an open-air style. dow can be covered with a sudare without impairing apprecia-
Noren may be made into any shape or size. 1. Screens provide protection from the sun's rays.
Although this leads to a loss of visual privacy, there are several tion of the garden.
2. They can also prevent people on the outside from look-
HOW TO MAKE YOUR OWN NOREN means of mitigating this loss while still providing optimal air cir­ Other possibilities include hanging a sudare on the wall and ing into the home, while permitting those inside to look
Measure width of door or corridor. Decide length. Buy
culation and obstructing the sun's rays. using it as a frame for a scroll or painting. If your home has shoji out.
appropriate amount of fabric (taking into consideration doors, these may be removed and then replaced with several
seam allowance), thread, and curtain rod. Cut out main Split Curtains sudare in the summer. Sudare may also be placed in upright
body and loop sections, matching any horizontal pattern Noren are ungathered split curtains made of cloth or hemp
or design. Join sides of section A to B, and B to C, by frames and made into a folding room divider.
stitching 6 inches down from top of each section. Press which were used as shades in front of homes as far back as the
seam allowance open. Finish edges of main body and Heian period. Much later they came to replace the doors of large Marsh Reed Screens
loops by turning raw edges under twice and slipstitching shops to allow the easy passage of customers. Today they con­
or machine stitching. Corners may be mitered if desired. The yoshizu is similar to the sudare, but differs in that whereas
Fold loops in half lengthwise, right sides together, and tinue this tradition primarily for drinking and eating establish­ the sudare is regulated vertically, the yoshizu is drawn from left
stitch. Press seam open and then turn right side out, ments serving Japanese food. to right horizontally. It is thus often used in corridors to protect
centering seam. Turn raw edges under. Fold loops in half In addition to providing unusual advertising space for a par­
and place main body of curtain so that 1 inch is between rooms from the heat of the sun. Like the sudare, it is easily
layers. Position rightmost and leftmost loops flush with ticular enterprise by displaying the shop's name, trademark, and moved or changed, and so ideally suited to shop facades or
edges of main body. Center other two loops on seams. specialty, noren are used to indicate when a place is open for A partially unrolled
Machine stitch or hand sew loops to main body, bearing
rooms that receive the light and heat of the sun for only a lim- A fully unrolled sudare. sudare.
business. If no noren can be seen, or if the noren are still behind ited period each day.
in mind weight of cur- the door, the establishment is not yet open. Sudare are approximately 35 inches wide, and come in
tain and diameter of cur- The yoshizu can be used to provide protection from the sun small, medium, and large sizes.
tain rod. (Note: The pat- In the home, noren serve as attractive space dividers. They
by being designed into a kind of pergola. Alternatively it can be
tern below is for a are often hung to block viewing into the kitchen or some other
35-inch doorway.) used as a fence for the home or garden. In multiple-story apart-
private area from the formal entranceway or from the passage­
ment blocks, the yoshizu may be fixed to the guardrail on the
way.
balcony to provide visual protection as well as a backdrop for a
Of all the forms of screening deployed in Japanese interior
little garden. Like sudare, yoshizu may also be placed in a frame
design, the noren is the softest. Not only is the material soft, but
and made into a folding room divider or a beautiful sliding
the way in which it is used creates a soft, gentle effect. Since it
door. It may be used for cupboard doors in the kitchen or the
flutters in the breeze, the noren enables one to "see" the wind,
and, when used in conjunction with wind chimes that enable one garage or the bathroom.
to "hear" the wind, it is really as though one is "experiencing" Propped up against the veranda, yoshizu may be used as a
the wind. This produces a particularly refreshing feeling during temporary shelter for equipment or a makeshift playhouse for
the hot summer months. children. It may also provide shade for a vegetable patch.
The fact that one has to touch the noren before passing
through lends it not only a visual but also a tactile appeal. In Latticework
fact, the Japanese feel no displeasure at brushing the noren with The aforementioned screening devices, while allowing the
their heads as they pass through an entranceway. This, passage of air and providing sufficient visual protection, failed
Reed screens may be propped up against the roof of the
however, may be an unfamiliar custom for others, and, since in the old days to provide protection against theft. The solution veranda during the hottest time of the day.
there are times when one's hair may become disheveled, care was the development of wooden lattices. Although not as sturdy
should be taken in selecting the most appropriate place and as iron lattices, the wooden variety found in Japan provided
height for noren. adequate security as well as another source of interior decora-
tion, especially in contrast to white shoji doors and natural-
Bamboo Screens colored walls.
The sudare screen is knotted together from strips of bamboo, If the latticed screen is badly deployed, the protective quality
and is not as soft as the noren curtain. Consequently, it is rarely is emphasized. It is thus best deployed as an internal partition
used in corridors. As it can be raised or lowered to a desired (for which a wide lattice is recommended). Alternatively, it may
height, it was originally used as a blind. While the noren may be deployed as mere decoration. A more unusual use is to create
flutter in the breeze, it nevertheless totally restricts visibility, a stairway effect of lattice and hang this between the kitchen and
whereas the sudare, as a non-opaque screen, is effective on the living room. Thin latticework, like the sudare and yoshizu,
bright days in allowing those inside to see out while preventing offer numerous possibilities for the kitchen, bedroom, and
Noren may also be made of strands of hemp, which those outside from seeing in. However, in case the scenery is bathroom. Side view of yoshizu Yoshizu may be rolled
customers push aside as they enter or leave a shop. distracting, all one has to do is position oneself far enough from up when not in use and
are easy to carry.
30
31
 41. Shoji panels and tatami mats are quin­
tessential elements of Japanese interior
design.
INTERIOR SPACE
Japanese interior space is a study in simplicity and flexibility. Tones are quiet,
and materials, wherever possible, natural Translucent and opaque sliding
doors and a variety of portable partitions give the living space a wonderful
versatility by providing an effortless and tasteful way of altering the size and
shape of a room.

42. The ease with which shoji and tatami

may be used to transform any room is but
only one attractive feature of Japanese in­
terior decorating. The simple alcove with a
modern painting consummates this compo­
sition.
 44. The austere elegance of a Japanese-style room may at first be jolting but has a tranquiliz-
ing effect as, within seconds, the harried soul quietly winds down.

45. A minimum of decoration leads one to appreciate the intrinsic beauty of this room.

43. A typical interior plan consists of an alcove for modest displays and a low,
portable table. Cushions should be brought out for guests, but family
members feel no compunction about sitting or lying directly on the tatami. If
the shoji doors are removed, the interior space expands to include the veranda
and the few pieces of furniture on it.

34
 48. Summer in Japan is announced by the burst of greenery as warm
rains bathe the country. Removal of the shoji panel behind the
screened window, and a cool flower arrangement produce a light,
refreshing atmosphere.

46. Awareness of the seasons is central to Japanese

aesthetics and architecture. In these four plates, four
different moods are expressed through changing the
decoration in the alcove.
New Year's is the most special season for the
Japanese and requires traditional adornment. Here,
long strands of young willow, accented with
camellias, cascade from a bright green bamboo con­
tainer. The scroll with red sun and Mount Fuji is a par­
ticularly auspicious combination, as are the red and
white color of the paper napkins underneath the in­
cense burner.

47. Spring is a time to welcome the rebirth of nature after a long,

cold winter. The Dolls' Festival on March 3 is celebrated here with
49. Autumn is cherished by the Japanese for the all too brief period
shocking pink peach blossoms and a scroll decorated with exquisite
of brilliant foliage followed quickly by the quiet, melancholy tones
handmade paper dolls. Candles placed in bamboo and washi paper
baskets provide illumination.
of nature preparing for the winter ahead. This is a time to reflect
upon the irrevocable passage of time and the beauty of Japanese tra­
ditions.
36
37
 52. Displaying its marvelous adaptability, the shoji in this room responds
beautifully to the natural wood floor and ceiling and wood furniture.

50, With only shoji and tatami, one can blend East and West with unques­
tionably satisfying results. The delicate shoji doors contrast splendidly with
the solid wood table, and the use of tatami, in addition to the rug, to adorn
the beautiful natural wood floor is masterful.

51. Shoji, a hallmark of Japanese interior design, goes well

with any decor. Here it handsomely complements the
leather furniture, glass-top coffee table, brass chandelier,
and beige carpeting.

53. By simply raising the level of one half of this room

and laying tatami down with a few cushions, a Japanese-
style living space is easily created. The kitchen is in the
other half of this room.
 54. When the sliding doors here are
opened, one large room is created; when
closed, three rooms. The black wallpa­
per of the doors accentuates both the
partitioning and the unifying function of
the sliding doors, besides serving as a
striking backdrop for flower arrange­
ments and paintings.

56. A split-level arrangement gives this living room an unusual versatility. Guests
55. This room is quickly and easily transformed into a guest room, complete
may be entertained either in the lower zone furnished with chairs, or the upper
with its own garden, upon closing the sliding doors. Bedding for guests is
zone furnished with tatami and cushions. In addition, the plain wood ledge just
stored in the closet area next to the tatami. (For a close-up of the study, see Pl.
beyond the tatami may be transformed into a bench and used with either zone.
60.)

57. The multi-purpose potential of tatami

is particularly suitable for a cabin in the
mountains. The area laid with tatami here
may be used for eating, sleeping, writing
letters—whatever you wish.
INTERRELATIONSHIP OF HOUSE COMPONENTS INTERIOR SPACE The wall closet is not particularly noticeable to those un­
familiar with it because it is in effect a kind of opaque sliding
door (fusuma) and blends in with the rest of the decor. (See Pls.
In the Western house, the functions of rooms—dining, living, 55, 57, 76.) In fact, the designs found on the larger sliding doors
and bed—are clearly defined. In the traditional Japanese house used to partition rooms, and the doors to these closets, are often
one room can have several functions. The function, and size as coordinated.
well, of a room is determined by usage, and since needs change These days Japanese houses are a combination of Japanese-
through the course of the day, one Japanese-style room can act and Western-style rooms. The Western-style room is usually
as several of its Western equivalent. carpeted and furnished with desks, chairs, cabinets, stereo
How is this done? This unique system is related to the concept systems, etc. In contrast, furniture and decoration in the Japa­
of space in Japanese architecture. Since the roof of a Japanese nese-style room are kept to a bare minimum. The tatami in the
wood-frame house is supported on pillars, not walls, partition­ room gives it a somewhat formal air so that it is often reserved
ing does not imply something solid or permanent. The develop­ for use as a drawing room, a guest room, or, as will be discussed
later, a kind of retreat within the home. For many Japanese, a The same space can be used for eating,
ment of movable partitioning such as sliding doors and folding
screens evolved in response to this innovative perception of simple, uncluttered tatami room does-wonders for the soul.
space, and rooms are altered effortlessly and quickly with these
Natural Colors, Natural Materials
in the Japanese house. Rooms in the West, in comparison, are
The raw materials used in Japanese architecture give rooms
appended one by one and separated from each other by solid
quiet, subdued tones. In principle, the floor is laid with tatami of
walls.
fragrant, light green rush; walls are made of paper (when, for
The Japanese idea of setting up a room by surrounding a cer­
example, shoji are used), wood, or natural-colored clay; and the
tain space with movable partitioning and furniture enables the
ceiling constructed of wood or bamboo. Colors tend to be white
function of a given space to be changed by adding, removing, or
or light brown; materials are organic; and texture, matt as op­
redistributing pieces of furniture. As a result, there is an inter­
posed to gloss.
relationship of design between the floor, pillars, partitioning
It is generally held that materials should be deployed in as
devices, and furniture. Just as the size of the brick was originally
natural a manner as possible. Paint is thus seldom used. For­
determined by the size of the human hand, so the size of the
tunately, however, and depending on the life span of the
Japanese house is gauged in terms of human measurements. The
material, paper, even tatami, may be replaced and earthen sur­ entertaining visitors,
tatami mat, originally designed to accommodate one sleeping
faces redaubed. Since wooden buildings can be renovated bit by
person or two standing people, continues to be used today to
bit, the life span of the Japanese house can be several hundred
conceptualize the size of a room, so that even amateurs can try
years, and the idea of replacing parts, instead of the whole,
their hand at designing their own home.
pervades traditional Japanese attitudes toward building con­
Partitioning may be totally removed to create one large room struction.
out of two or more rooms to accommodate a large number of
guests, thanks to this efficient and ingenious system. Such flex­ A Simple Plan for any Home
ibility is useful not only in accommodating large numbers or Construction of a Japanese corner in one's own home need not
changing the function of a room, but also in coping with the be just an idle dream or the task of a professional. Here are some
contrasting lifestyles occasioned by the Japanese summer and suggestions. First, pick a corner and lay two or more tatami
winter. In summer, rooms may be "opened " and cross ventila­ down. Then divide off this space by experimenting with the dif­
tion provided by removing partitioning and creating a large ferent kinds of partitions suggested in the following chapters.
room. In winter, by reducing the size of a room, the area to be Bear in mind that the arrangement need not be permanent and
heated may be controlled and energy consumption reduced. that seasonal changes may require alteration. The simplest
Out of the fitted wall closet comes a variety of furniture method is to partition off this area by use of screens. Alter­
and other everyday items. Where's the Furniture? natively, a kind of shoji may be suspended from the ceiling.
A sophisticated partitioning system is easy enough to under­ A more complicated, but more authentic, method is to erect
stand, but why do Japanese homes give the impression of pillars in four corners and insert either shoji or lattice sliding
simplicity and, sometimes, emptiness? First of all, the custom of doors. If possible, raise the level of the Japanese-style room
sitting on the floor (see pp. 64-67) and the use of tatami as a about 12-16 inches above the rest of the house. In this way, a
kind of chair, table, and bed lead to an economy of furniture. visual clue to remove one's shoes will be provided, and the
Next, what little furniture there is is stored away in a fitted wall Japanese atmosphere emphasized. Later, install a Japanese-style
closet found in every room, and articles for use are removed as alcove where different objects—a flower arrangement, some
needed. For example, at the end of the day, futon mattresses, pottery, a Japanese sword, a little tansu, a scroll—may be ad­
pillows, and blankets are brought out and laid on the tatami mired. Add a low table and some cushions made of Japanese
floor. Then in the morning, these are returned to the closet and fabric, serve sushi with hot sake or sake on the rocks, and relax
the room is rearranged for use by the family. When it comes to and enjoy a bit of Japan right at home.
mealtime, a low table and cushions are produced. After the meal
Bedding {futon) is removed from the closet and placed on is over, the table is cleared, and the family may spend the rest of
the floor. the evening in the same room watching television. and sleeping.

42 43
TATAMI MATS
Tatami mats provide a unique and sensuous kind
of flooring. They may be used for sitting, sleep­
ing, or walking on, or, for something novel, as a
refreshing covering for tables, benches, and even
beds.

58. Tatami borders can impart a sense of direction

59. New tatami smell like fresh hay.
60. A tatami bed. 61. A tatami dining set.

63. Tatami benches.

62. Borderless half-tatami mats

64. A tatami dais

45
 where a small tatami platform, one or two mats high, is con­ WAYS TO USE TATAMI
TATAMI MATS
structed in the corner of a room, on which flower arrangements
or pottery can be exhibited. In this way tatami can be used either
In the Japanese home tatami mats are used as a surface for sit­ as a Japanese-style floor or as a display platform.
ting, sleeping, and walking on. Light enough to be carried by an By piling two or three tatami on top of each other, a bench
adult, mats are composed of a thick rice straw core, a soft reed can be created. This novel use of tatami may have been first us­
cover, and two borders of cloth or synthetic tape which protect ed during the Edo period (1615-1868). In 1857, on the occasion
the sides. Tatami are approximately 3 feet by 6 feet, about the of his audience with the shogun, the then American consul,
size of a single bed, and l 3/4-2 1/2 inches thick. Townsend Harris, found himself perplexed as to whether he
Tatami evolved over a long period, first beginning as a thin, should or should not take off his shoes, and whether or not he
easily folded straw mat on which people sat or slept. Later, more should sit on the floor. In the end, Harris changed into a new
layers of rice straw were added to the core for comfort. A new pair of shoes at the entrance, and thus became the first and last
function of these fortified, but still portable, mats was to in­ person ever to enter Edo castle with his shoes on. The shogun,
dicate differences in rank, the most exalted members being given for his part, was seated upon seven tatami piled on top of each
the privilege of sitting on tatami while others sat on the wooden other. The height of this, about 16 inches, was roughly the same
floor. Tatami eventually came to cover the entire floor and are as that of an ordinary chair.
now a standard item in Japanese-style rooms. This kind of tatami chair or bench, still novel today, can be
converted into a low table to be used with a small stool. Should
Layout one decide to use tatami this way, the ideal height would be
"A standing person takes up half a mat; a sleeping person, a full about 12-18 inches. It is advisable to add a wooden frame or
mat." As this saying suggests, a single tatami mat accom­ some kind of border to protect the edges from fraying. When
Tatami are made of a tightly-packed core, a rush cover, modates two standing people; thus if two mats are placed used as a kind of bench, small flat cushions should be placed on
and two cloth borders. it; when converted into a desk, the use of a tray is recommend­
together, there is just enough room to seat four to six people
around a small table. Since this is perfect for playing cards or for ed. These not only help to protect the tatami but also add a
doing flower arrangements, an initial purchase of two mats is decorative element.
recommended. More mats can be added later, following the pat­ In Japan there is the notion that tatami are to be used only in­
terns suggested on the following page. side the house. It is not, however, absolutely necessary to con­
When it comes to laying several tatami down together, one fine their use to the interior. It is possible, for example, to use Tatami provide versatility, beauty, and comfort. The
tatami, instead of wood or bamboo, for the veranda, or outside simple addition of furniture gives an empty tatami room
has to take into account the way in which they reflect light. different functions.
Since the rushes used for the cover are not very long, they are on the lawn as a platform for a picnic or an outdoor concert.
wound laterally across the width of the mat in close parallel Tatami can be used to floor a mobile home or camper. They
TATAMI PATTERNS
lines. The reflection of light varies according to the placement of can then be carried outside and used as mats or as a substitute
the mats. Thus, some tatami will appear light, and others, dark, for beds. In fact, in the past, trains and ships in Japan had sec­
Detail of core. Detail of cover in the same room. The interesting patterns created add to the at­ tions provided with tatami for the comfort of passengers.
tractiveness of tatami.
Tatami provide a convenient way of estimating the size of an Care and Maintenance
apartment or house in Japan. What is decided at the planning Tatami are surprisingly durable and easy to clean, requiring on­
stage is the number of mats per room—41/2, 6, 8, etc.—and the ly a damp cloth or vacuum cleaner with a special brush attach­
area of each room is subsequently referred to by this number ment. Shoes or even house slippers are not worn on tatami, and
for example, a six-mat room, an eight-mat room, and so on. In furniture with slatted or barred legs is recommended to prevent
real estate advertisements, the scale of an apartment or house is marks from being made on the tatami. It should be noted that
indicated in this way, providing one with a good idea of size and tatami are neither fire-resistant nor stain-resistant.
Decorated goza mat.
layout. Despite its importance in the Japanese conception of In most homes tatami are aired and dried out once a year in
HOW TO INSTALL TATAMI space, however, tatami are not the module for building propor­ the spring. The straw core will last for many years, but the outer
tions as is widely misinterpreted, and in fact, there are a number reed will need to be changed every few years by a professional
of "standard" sizes, as well as the practice of tailoring tatami to tatami-maker.
the available floor space. Although tatami may be used outside, there is one point
In addition to tatami there is also available just the soft reed about which care should be taken: if exposed to sunlight, they
cover which forms the top layer of tatami. Called goza, these will turn yellow. Furthermore, the straw and rushes will shrink,
can be used in the home to create a tatami-like atmosphere or eliminating the layers of air inside, and begin to mold if tatami
outside as beach mats. become too damp. Thus it is important to bring the tatami in­
doors after use. This has become less of a problem recently,
since the use of a polystyrene filling has made tatami more
Ideas
So far we have only looked at tatami as something to sit on. But, moisture-resistant, but care should be taken nevertheless.
originally, tatami placed on top of the floorboards formed a sur­
Newspapers or plastic sheets are placed between the face which was raised one level above the rest of the floor. A
relic of this is seen in the tatami alcove (see Pls. 87, 91, 99 T-shaped patterns are common but 4- patterns are avoid-
floorboards and tatami to reduce dampness. ed because of the difficulty in achieving a good fit.
46 47
TRANSLUCENT SLIDING DOORS
Shoji serve as a principal partitioning device, in addition to
providing a source of exquisite illumination and decoration.

65. Patterns of light and shade give shoji a special beauty.

69. Movable sections within shoji panels allow one to compose one's own landscape.

66. Shoji permit one to control the view from a window. 67. The design possibilities of shoji are delightfully infinite.
68. Creativity is possible even in traditional shoji doors.

70. Shoji serve as a beautiful and ingenious frame for any kind of scene and . .

71. any kind of day.

49
PARTITIONING FUNCTION OF SHOJI TRANSLUCENT SLIDING DOORS shoji behind the paper. By making that part of the shoji SHOJI VARIATIONS
movable, it became possible to see outside without allowing the
cold air in, and this kind of shoji came to be called "snow-
While tatami will provide a refreshing, sensuous carpeting, shoji viewing shoji" (yukimi-shoji). When making this kind of sho-
sliding doors will transform instantly and beautifully the mood ji,one must bear in mind that the line of vision will be determin­
of a home. ed by whether people will be sitting on the floor or on chairs.
Shoji were originally introduced to Japan from China. In
China, however, houses were constructed with heavy walls, and Applications
shoji were used simply to partition off areas within the interior For the American home, there are infinite possibilities for incor­
Shoji can be used to separate one room from another. itself. The basic structural element of Japanese houses, in con- porating shoji. Shoji may be used like a curtain simply to con­
trast, are pillars, and shoji had to be employed not only for in- trol the amount of light entering a room by installing them next
terior partitioning but also for marking the boundary between to regular glass windows. Being similar to double glazing, this
SHOJI CONSTRUCTION
interior and exterior. The characteristic paper shoji thus came arrangement provides good insulation.
into existence in response to the need for a partition that admits Installing shoji over a window is another possibility. In cases
light, but not drafts. where it is difficult to make shoji that fit nicely into the existing
window frame, one shoji may be instead suspended from above,
Construction or fixed onto the wall, as described on pp. 74-75. This kind of
Besides their striking beauty, shoji are very light. They are made suspended shoji can be used in other ways inside the home. For
of a simple skeleton of thin wooden strips arranged in various example, it may be hung as a screen between the dining and liv­
rectangular patterns and framed by somewhat wider strips, over ing areas, and if a plant or flower arrangement is then placed in
which paper is usually pasted. The wooden strips are notched front of it, the completely white background provided by the
into each other from alternate sides to give strength to the shoji can make it look like a painting. Seen from the other side
frame. The lower portion of the shoji is often a wood panel. of the room, it appears as a beautiful silhouette.
If the usual pair of sliding shoji are placed within the
Well-dried, soft, white wood is best for the frame. (Hard
perimeter of a window, it is possible to have only half of it open
wood is more difficult to work with.) The top and bottom of the
at any time, but if the shoji frame is extended and only one shoji
frame must be prepared with protruding ridges, as shown, in
Ordinary shoji. inserted, it becomes possible to have the entire window open.
order for the shoji to slide in its runners. The bottom runner
The frame joints must of course be at perfect right angles, and
need be only 1/8 inch deep, but the top runner should be about 5/8
the sides parallel; otherwise it will not match well with the
inch to allow the shoji to be conveniently inserted and removed.
window.
To insert the shoji, first incline it a little, and then gently push
When a window has an unpleasant view, shoji placed over it
the upper frame into its runner. The lower frame can then be
will be a vast improvement. Walls may also be covered with
dropped into place. Wax may be applied to reduce friction.
shoji to increase the sense of spaciousness as well as to add more
• Japanese shoji paper is traditionally used for the screen itself,
light through the natural reflecting qualities of shoji. Shoji
though other materials are also acceptable. Because relatively skylights will add a novel effect to any room and provide just
long fibers are used, the texture of Japanese paper is somewhat the right amount of light for certain indoor plants.
coarse. This has the effect of diffusing the light that passes
Shoji has possibilities for the bathroom and the bedroom—for
through it, creating a generally soft atmosphere. As light condi- example, a pair of shoji sliding doors for the bath, and several
tions change through the course of the day, so, too, does the shoji doors for a large closet.
quality of light created by shoji, and the gentle patterns pro- Outside, shoji can provide a lovely enclosure for the veranda.
duced are a joy to watch. Frosted glass is an excellent substitute for shoji paper. The sim­
Since the paper "breathes," ventilation is not impeded when ple latticework pattern and the opaque milky-white color pro­
Shoji with vertical-moving section. shoji doors are closed. Heat loss, on the other hand, appears to vide a stunning combination. The insertion of polystyrene, or
be minimal. some other white insulating material, though slightly impairing
Usually the paper is put onto the outside of the shoji, so that the translucent quality of the screen, renders the heat retention
the beautiful wood latticework can be seen from inside the all the more effective.
room. Should it be desired to have the lattice visible from both Shoji can also be used for a boundary fence if it is fitted with
sides, rather more elaborate handiwork is necessary, since a strong white plastic instead of paper.
double frame must be constructed. On the other hand, should
one want both sides of the shoji to be papered, it is a simple mat- Care and Maintenance
ter to apply paper to the two sides of the frame. Shoji are traditionally completely refurbished with new paper
Before glass became widely available, sliding wooden shutters just before the New Year's festivities. Holes or rents can be
were placed outside the shoji for protection, and at night or at patched with square bits of shoji paper, or, if one wants to be
times of strong wind or rain, these would be closed. Although more artistic, with designs of cherry blossoms. Stains or
the shoji could be left open on hot days, during cold spells they discolorations may require repapering a larger section of the
had to be kept shut, preventing people indoors from looking frame.
outside or into the garden. The advent of glass provided a solu-
Shoji with horizontal-moving section tion. One method was to incorporate glass in a portion of the

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OPAQUE SLIDING DOORS/
TRANSOMS/PORTABLE PARTITIONS
In addition to shoji, there are a number of other partitioning
devices which give flexibility to the overall plan.

79. Transom with young bamboo.

72. Folding screens as wall decoration.

76. Wallpapered sliding doors.

80. Transom with wood paneling.

73. Painted sliding doors. 74. Folding screens used as a room partition.
75. Undecorated sliding doors.

77. Sliding doors with shoji panel.

81. Transom with openwork design

78. Sliding doors with reed screening. 82. Transom with colored paper.

53
RELATIONSHIP OF FUSUMA AND RANMA OPAQUE SLIDING DOORS/ both sides, while improving air circulation and providing light. FOLDING SCREENS
TRANSOMS/ PORTABLE PARTITIONS
In the days before electric lighting, rooms were dim even dur-
ing the day, so the light coming through a ranma with openwork
carving, for example, produced a beautiful silhouette effect.
Opaque Sliding Doors There are many kinds of designs one can use to create this in-
Opaque sliding doors {fusuma) are used, as a general rule, to terplay of light and shadow, though these days rooms may be The use of hinges permits folding screens to stand in-
divide Japanese-style rooms with tatami from each other, and too bright for the creation of such silhouettes. One possibility is dependently in a V or W shape.
are removed when occasion demands to make a large reception utilizing a ranma design as a bedside lamp shade. It is not
area. The primary function of shoji, on the other hand, is to necessary to use a wood carving for this; a motif of a flower or a VARIATIONS
divide interior from exterior, and also, in modern Japanese bird, for example, cut into a piece of cardboard, framed, and il-
houses with both Japanese- and Western-style rooms, to parti- luminated from behind is just as effective. Similarly, you may
tion off the places where house slippers are worn—the Western- want to make a Japanese-style lamp (see pp. 76-77) with a ran-
style rooms and the hallway—from the tatami rooms where ma pattern that you have designed yourself.
FUSUMA CONSTRUCTION house slippers are not worn.
Fusuma, like shoji, consist of a wooden grid frame, but
Portable Partitions
whereas shoji usually have white translucent paper attached to
FOLDING SCREENS. There are several types of screens which can
only one side, fusuma have a cloth or opaque paper covering on
be set up and moved about with freedom, one example being the
both sides. It is necessary to first apply several sheets of paper as byobu. Made up of two or more fusuma-like screens joined
a foundation, but since this is time-consuming, the recent trend together, it can stand independently, in a V or W shape, and is
has been to fix a sheet of plywood to each side and then put the easily stored away when not in use. If the front and back are
final surface on. decorated with different colors and patterns, the byobu can be Screens may vary in height, number of panels, and kind of
With shoji, the frame is deliberately left unfinished to enhance material used.
turned around every now and then for variety, and serve as a
the beautiful white shoji paper, but with fusuma, colored versatile room divider and decorative element.
materials are often used to complement the color and design of Being portable, the lighter the screen is, the better. Like
the paper or cloth. Black is commonly used; browns, reds, and fusuma, it is made of a thin wooden grid frame covered on both
other dark colors are also popular. But if a plain wood surround sides with paper or cloth. A kind of paper honeycomb also
is desired, straight-grained wood is best. makes a good frame. Fairly thin, long hinges are used at the
If fusuma are thought of simply as a movable wall or as large joints of the panels, which are then covered with cloth or paper.
sliding doors, their potential uses are numerous. Cork or steel A border is placed only on the outer perimeter of the whole
FUSUMA VARIATIONS plate may be used for the surface instead of paper or cloth to screen, not around each separate panel. As mentioned earlier,
produce a bulletin board. Similarly, if the walls or doors of a sudare or yoshizu screens may be placed in an upright frame to
child's room are made fusuma-style, they can be used for draw- make a gorgeous folding screen. Shoji may also be used with
ing pictures on. In fact, Japanese painters often use fusuma as a pleasing results.
kind of canvas, and a single continuous picture or depictions of Folding screens covered with gold or silver paper are put out Folding screen used for the tea ceremony.
the changing seasons will extend across several panels. In the on auspicious occasions in Japan. These are placed behind the
past, visitors were even encouraged to leave poetry behind on main guest, or at weddings, behind the bride and groom. They SINGLE-LEAF SCREEN VARIATIONS
the fusuma to commemorate the occasion. may be used in a similar fashion as a striking backdrop for
A possible modification to the fusuma is to replace part of it displays, such as the annual Dolls' Festival display in March, or
with shoji or sudare or yoshizu screens. The shoji section will for flower arrangements.
allow light to penetrate to a back room, while the sudare or SINGLE-LEAF SCREENS. Another kind of independently standing
yoshizu section will improve ventilation. partition-screen is the tsuitate. It is a screen with only one panel
Since the Japanese-style floor is laid with tatami, it is not at all with two supporting legs, one on each side. Unlike the folding
strange to have the runners for sliding doors in the middle of it. screen, which consists of several panels linked together, the
If, however, runners are difficult to make or would be unsightly, single-leaf screen is not especially large. It is often placed in the
shoji or fusuma can be suspended from the ceiling. By fixing a formal entranceway to prevent the interior of the house from be-
curtain rail onto the ceiling, a fusuma or similar screen could be ing open to view. In restaurants, they are often used to partition
hung from it when necessary, while it could also be used for off space for different groups of guests.
hanging an ordinary curtain or a tapestry. Its range of possible uses today makes the single-leaf screen
very convenient. It would be useful, for example, if one should
Transoms decide to turn part of the living room into a small bar, or
The usual height of shoji or fusuma is about six feet, which perhaps in partitioning off the living room from the dining area.
leaves a little space between the upper runner and the ceiling. By laying a few tatami in an area separated by one or more of
This space is often filled with a small shoji or fusuma panel, lat- these screens, one can make a simple impromptu Japanese cor-
ticework, or openwork carving, and is referred to as the ranma. ner which could then be utilized for entertaining or studying
In contrast with the fanlight or rose-window found in churches Japanese flower arrangement or tea ceremony. The charm of all
Most fusuma are decorated with simple designs. Fusuma this is that the creation of such a setting is achieved by simply
may also be made with shoji to provide light, and with in the West, the ranma came to be designed in conjunction with
putting a screen and tatami in the desired spot.
yoshizu to provide ventilation. the shoji and fusuma in a rectangular frame to be admired from
55
54
THE ALCOVE FRONT VIEW OF ALCOVE
THE ALCOVE
A favorite painting, a handful of flowers, or a rustic vase ex­
quisitely framed in the alcove—understatement is the key to
decoration in the Japanese home.
The development of the Japanese alcove (tokonoma) was in­
fluenced by a change in art connoisseurship several hundred
years ago. In the Kamakura (1185-1392) and Muromachi
(1392-1568) periods, a large number of Chinese paintings and
art objects were imported into Japan and became the primary
focus of attention. Among these imported art works, the hang­
ing scroll figured particularly prominently. It became customary
to hang this on the wall, with a low table placed before it fur­
nished with such articles as a candlestand, a censer, or a vase.
CROSS SECTION What was at first a movable display space gradually came to be
an immovable fixture, staggered shelves (see opposite page)
were added, and the alcove became a part of the interior plan. It
is found today in the drawing room or tea ceremony room in
homes, and in Japanese-style rooms in hotels.

Construction of the Base

Since it was originally designed as a display dais, the base of the
alcove is generally raised slightly. There are many ways of doing
this. The most commonly used method these days is to use a
wooden beam about 4-6 inches high, either rounded or square,
to mark the division between the alcove and the floor of the
An overhang conceals the peg and the thick threads by room, and then to make the alcove floor of wood or tatami the
which scrolls are hung. same height. Formerly, it was common to raise it higher than
this, by inserting a riser under the beam to increase the height up
CROSS SECTION OF BASE
to 8-12 inches.
84. A tiny alcove near a staircase.
Another method is to make the alcove the same level as the
floor of the room (see PL 86). In this case it is necessary to
distinguish this from the rest of the room by using a different
kind of material, whereas the base of the raised alcove described
83. An alcove in the entranceway. above can be made of the same material. To build this kind of
floor-level alcove in a carpeted room, for example, one can
make an area of wooden flooring, 12-20 inches in width, along
one side of a room. The existing wall space can be used for a
hanging display, and the wooden area for exhibiting flower
arrangements.
A simpler form is the hanging alcove. (See bottom photo on
Different materials are possible, but tatami and wood are this page.) This is particularly suitable for relatively small
most commonly used. The wood edging is from 4-6 in.,
in height and may be raised another 8-12 in. rooms. Since the platform is suspended from the ceiling, it
allows room for an ordinary floor beneath it.
Another simple idea is to install a thick wooden platform
against a wall without the beam placed between the platform
and the rest of the floor as described earlier. In this case,
however, as well as that of the hanging alcove, not only the sur­
face but also the edge of the platform is visible. Thus the use of
good-quality, thick wood, or wood with a lacquer finish, is
recommended.
One can also install a platform like this made not of wood but
of tatami, which has the effect of making a room, especially a
carpeted room, seem all the more Japanese. By placing the
tatami in a wooden frame fitted with casters, one has a movable
piece of furnishing which can also be used as a bench, a desk, or
a table.
It will be recalled that the alcove was originally a plain or lac­
A hanging alcove. quered wood table, on top of which ornaments were arranged,
85, A corner converted into an alcove. 86. An ingeniously simple alcove.
58
56
with a picture on the wall behind. If this kind of alcove is pre­ ALCOVE VARIATIONS THE ROOM FOR THE TEA CEREMONY
ferred, it is important that the table be low and that the arrange­ A corner, a room, a cottage—all may offer a temporary
ment of objects be simple. The effect is even better if a few haven where one shares the warmth of friends or finds com­
fort and peace in solitude.
Japanese-style cushions are placed in front of the table.

The Alcove Pillar

One side of the alcove forms a corner with the adjacent wall, but
the other extends midway into the room itself, and is supported
by a pillar. Since this pillar is conspicuous, it is necessary to use
attractive, rounded wood for it. Right up until the end of the
Edo period (1615-1868) the building of an alcove was the privi­
lege of only the samurai and selected merchants; thus, like the
gateway and the formal entranceway, it came to be a status
92. Guests wait here to be called by the host of the tea ceremony.
symbol. Since the Japanese ideal of beauty accorded great im­
portance to the preservation and use of the unspoiled essence of
beauty, carved wood was avoided, and only the very rarest
wood—flawless or sometimes left unstripped, and absolutely
straight—was sought after and prized. In accordance, the
background of the alcove should be simply designed to enhance
the beauty of this pillar, as well as the scroll and other articles on
display.

Lighting and Decoration

To provide illumination for the alcove, a shoji window can be
built into the side of the alcove itself, or light from other sources
can be used. In the past, a candlestand served as both illumina­
tion and decoration. However, as the development of paper sho­
ji made rooms brighter in general, the custom of using a candle-
stand fell into disuse. These days, of course, electric lighting can
be employed instead of shoji lighting. An overhead light or
spotlight can be fixed onto the back of the overhang; if not, it
93. The bound stone symbolizes entry into a different world. 94. The entrance is purposefully narrow.
can be sunk into the ceiling. In addition, a paper-covered lamp
95. Natural materials alone are used.
can be placed on the floor of the alcove.
The articles, displayed in the alcove should vary according to
the season, the guest, or the occasion. Although one may devote
much attention to acquiring suitable pieces, they are never put
out all at once, as is also true of the formal entranceway. Rather, STAGGERED SHELF VARIATIONS
the host tries to create different settings and offer fresh topics of
conversation while bearing in mind, for example, a guest's fond­
ness for a certain kind of flower or interest in a particular kind of
pottery. In this way, the alcove can be seen as bringing together
not only people but also art and life in one's own home.

Relationship with the Garden

The relationship between the room in which the alcove is
located, and the garden, if there is one, is another point which
should not be neglected. It is customary for the visitor, having
once admired the objects on display, to sit in the position from
which he can appreciate the south- or east-facing garden. It may
seem strange to have the objects on display behind one's back,
but the idea of sitting closest to the alcove requires that no other
person be between the main guest and it, in order that the guest
may appreciate it fully. In addition, since the entrance to the
room in this kind of arrangement is on the southern or eastern
side, the guest is farthest away from the area where people will
be coming and going.

59
 THE ROOM FOR THE TEA CEREMONY

What is the tea ceremony? Simply put, it is a gathering of a few

people to share a bowl of tea. The tea used is in powder form
and is a vibrant green color. It is whisked until slightly frothy
and served hot in a tea bowl about the size of a soup bowl.
Sugar and cream are never added, but to make the astringent
taste of the tea more palatable, traditional Japanese sweet cakes
are provided before the tea is served.
The aesthetic consciousness underlying the present-day tea
ceremony wherein everything—the utensils for making the tea,
the drinking bowls, the arrangement of the alcove, the sequence
Host and guests at a tea ceremony.
of movements, etc.—coalesces into a unity of object, person,
and space, came to be established between the end of the fif­
teenth century and the end of the sixteenth. Today, tea
ceremony teachers in Japan, the U.S., and elsewhere give train­
ing in what is considered one of the polite arts of Japan to a large
number of students. The etiquette of the tea ceremony is so com­
plex and refined, however, that this formidable code has come
to have little or no meaning to many Japanese. If one can
develop a genuine liking for powdered tea, then an interest in
the forms and in the quality of the tea bowls and other utensils
will follow naturally, and one can refer to a number of books
available in English.
Plan of eight-tatami mat tea room of the Urasenke
Foundation. Design
96. Natural-colored clay is preferred for the walls.
The tea room (chashitsu), whether it be somewhere in the house
itself, or a detached building, is a place where one should feel as
97. The ideal tea room is surrounded by nature. though one is in a completely different world. Two things which
symbolize this separation from the world are the kekkai, a small
stone bound with rope, and the tiny entrance. As the guest ap­
proaches the tea room from the garden, placement of the kekkai
in the middle of the pathway tells him whether another tea
ceremony is in progress, and whether he should wait in a
specially built shelter. The kekkai marks the boundary between
the everyday world and the non-everyday world, as well as the
boundary of privacy where the voices of people in the tea room
cannot be heard.
The nijiriguchi through which guests enter is approximately
28 inches high and 24 inches wide, and guests must enter on their
knees. This tiny entrance was and still is the symbol of equality
and peace. In the past, even lords had to prostrate themselves, a
Plan of Tai-an, a two-tatami mat tea room.
symbol of respect, to enter the tea room, and samurai had to
leave their swords, a symbol of power, outside. Today, even
distinguished guests must literally crawl through the entrance,
and, instead of the sword, pretension and status are discarded
upon entering the tea room.
Once one has entered the tea ceremony room, however, the
small entrance no longer seems to be particularly small for, since
the dimensions of the materials used—such as the size of the sho­
ji and the squares of paper within them—are on a slightly reduc­
ed scale, the room appears bigger than it really is. Nevertheless,
the standard size is only 41/2 tatami mats, about 9 feet by 9 feet.
Even smaller ones of two mats, approximately 6 feet by 6 feet,
Cross section of Tai-an. Guests enter by crawling through can be found. There is also an alcove, the size of one tatami mat,
98. Simple lines and intricate patterns coexist harmoniously. 99. Natural lighting is the only source of illumination
a narrow, low entrance. 3 feet by 6 feet, or less. The ceiling has an average height of 61/4
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61
feet and slopes upward to about 71/4 feet at its highest point. CEILING DESIGNS THE JAPANESE WAY OF SITTING
Japanese architecture is in general very simple, but there is a Grounded and secure, one's line of vision and outlook are
dense complexity of design in the tea room. Within a very startlingly altered.
limited space is a richness of variety in details. Utilized never­
theless with the utmost simplicity, this approach—known as the
"hermitage" or "mountain retreat in the middle of the city" way
of thinking—is an attempt to create a natural setting in the midst
of the ostentatiousness of city life. The use of such a wide varie­
ty of materials in such a confined area reflects a desire to get the
best out of a bare minimum. The few links with the outside
world are the separate entrances for the host and guests, the
translucent shoji windows, and, occasionally, a window in the
ceiling. This feeling of intimacy creates a special atmosphere and
the perfect mood for contemplation and relaxation.
Two tatami mats are virtually the minimum for a tea room,
but other designs are possible as well. The location of the host's
seat depends on where the hearth is situated, while the guest
should sit in front of the alcove. The hearth is an important re­
quisite for performing the tea ceremony, but it is not absolutely
necessary to have one built into the floor. Instead, a brazier
shaped like a shallow box is quite adequate, or one could pur­
chase an electric brazier, or even bring hot water in a thermos
from the kitchen. This depends, however, on how far one has
mastered the art of the tea ceremony. To a connoisseur, a hearth
is absolutely necessary, even if only as a formality.

A Separate World, A Spiritual Shelter

Should one want to make an orthodox tea room, it would be 101. A portable hearth on tatami.
best to refer to a specialized book on the subject for full details.
But it may be more meaningful, especially if one is not par­
ticularly interested in the tea ceremony, to reconsider the The use of different materials in their natural form pro-
philosophy of the tea room. After all, the physical setting for the duces striking patterns.
partaking of the green tea was designed to be like a tiny cosmos, 100. A table and legless chairs.
WINDOW PATTERNS
separated from the daily world, where the mind could become
clear, and the harmony between people restored. For people of
today as well, with their hectic lifestyles, this kind of spiritual
shelter has much to offer. The actual place can be a second
home, a cottage next to the house, or simply a room in the house
itself. For Americans, a Japanese-style room is already a setting
which is removed from their everyday experience. Thus it is not
necessary to reproduce a tea ceremony room meticulously.
Above all, it is a question of being able, in the midst of our
modern urban existence, to achieve peace of mind by sitting
quietly in a tiny room. The need to occasionally retreat even
from one's own family might also unintentionally motivate the
spirit of today's tea ceremony.
For those who wish to think along more sociable lines, it
would be possible to build a tea pavilion outside for garden par­
ties. In this case, it would be better, rather than preserving the
closed-in feeling of an orthodox tea room, to use regular-sized
shoji and add a veranda to make a more open structure. In the
home itself, a small room adjacent to the living room could be
used as a tea room for special occasions, and as a recreation or
guest room at other times.

102. A sunken table and benches. 103. A combination table and hearth.

63 64
 104. A sunken hearth in a country-style setting. WAYS OF SITTING
THE JAPANESE WAY OF SITTING

The Japanese custom of sitting on the floor instead of on chairs

is closely related to the habit of removing one's shoes before
entering the house. In the past in a country where it rains an
average of 120 days a year, simple dirt-floored rooms would
become very damp. Thus floors came to be laid with planks or
bamboo raised 1-11/2 feet above ground level, and straw or mat­
ting was spread on them for people to sit on. Eventually, as we
have seen, tatami came to be used to cover the entire floor. The
custom of removing one's shoes still continues today in Japan
even in Western-style homes.
Of course, sitting on the floor is not a particularly Japanese
custom. It is practiced by many people all over the world, and is
quite common on carpeted floors. Furthermore, as the Japanese
way of life becomes more and more Westernized, the Western
way of sitting on chairs, especially at mealtime or when enter­
taining guests, has become popular. The wearing of trousers in­
stead of kimono also has the effect of making the knees visible,
105. A sunken hearth in a mountain retreat. and destroys the visual poise and balance of the traditional
Japanese sitting posture.
Despite these trends, however, taking one's shoes off and sit­
ting on the floor—regardless of whether it is tatami, carpeting,
or just wood—still instills in the Japanese a feeling of relaxation.
And, as long as some vestiges of the traditional sitting posture
remain, the traditionally low perspective or line of sight will
continue to influence ways of looking at objects, nature, and
even people.
A low table with collapsible legs, legless collapsible chairs,
and independently standing armrests can be easily moved
around and stored away. Sitting around the Hearth
Before the idea of the chimney was developed in Japan, houses
used to have a hearth cut into the floor, and smoke would
escape through a window high up on the wall or in the roof.
HEARTH AND BRAZIER ARRANGEMENTS This method is of course no longer appropriate to current living
arrangements, but the idea of having a center around which peo­
ple can sit is appealing. Recently, the popularity of this kind of
old-fashioned hearth, the irori, has grown among urban dwell-
ers in Japan.
The most important point to keep in mind is the central posi­
tion of the hearth. Unlike Western schemes where the fireplace is
built against a wall, a Japanese-style hearth built or placed in the
middle of a room allows a 360-degree area of heating.
Moreover, because little or no furniture is used, proximity to the
heat source is increased, as well as the sense of intimacy of a
A free-standing heat source provides 360 degrees of gathering.
warmth. When installing a hearth in the home, it is important to pro­
vide adequate ventilation by placing a hood over the hearth and
putting an exhaust duct in the ceiling. The bottom of the hearth
should be about 4-12 inches below floor level, and lined with
iron or copper sheeting, on top of which ashes or sand should be
spread. Incidentally, the Japanese hearth does not normally
have a blazing fire as is the case with its Western counterpart.
Coals are brought in from outside to provide enough heat to
keep a kettle of water hot or to cook a pot of stew, either placed
on the fire or suspended by an adjustable hook.
106. A low table with heating element underneath. 107, Traditional plan with tatami and low table. Types of braziers. Instead of a hearth, a low table can be used to provide a room
66
65
with a center. Though an old-fashioned Japanese brazier can still KOTATSU LIGHTING TECHNIQUES
be used as a portable heater, it can also serve as the base of an Soft, soothing, and beautiful, Japanese lighting techniques
attractive glass-top coffee table. Whatever the arrangement, will heighten your appreciation of the world around you.
cushions placed around the hearth, table, or brazier, will pro­
vide comfort as well as a bit of color to the room.
Another possibility is to hollow out part of the center of a
table and build a small-scale hearth there. Good for use as a kind
of barbecue, where food can be cooked and eaten on the spot, or
sake warmed, this method is often used in Japanese country-
style restaurants. Dishes such as sukiyaki or nabemono, a kind
of fondue, are cooked on a gas ring or a hot plate either placed
on the table top or else fitted into the table itself. In the rainy The table top is covered with wood on one side and felt on
climate of Japan, outdoor barbecues are not a very practical the other, ideal for playing mahjong or cards. In the sum­
mertime, the infrared lamp can be removed.
idea, so they are brought indoors instead.
Today, one of the most popular household items in Japan is
the kotatsu, a low table with an infrared lamp, equipped with a
thermostat and a protective mesh, attached to the underside of
the table. A cover is usually placed over the table, and another
table-like surface is put on top of that. This keeps the heat in
under the table, and improves its heating efficiency. Although
very simple to use, the kotatsu can, however, be uncomfortable
as there is little room for one's legs underneath.
108. Light sources are traditionally placed low.
As a result, many people have taken to sinking one part of the
floor below the level of the rest and sitting with their feet resting
in the resulting hollow, called a horigotatsu. A permanent fix­ A fully assembled kotatsu.
ture is created but the table may be removed, and the hole
covered, when they are not needed, and the room may be used
for other purposes. In a room with tatami, a half-size tatami (3 SUNKEN KOTATSU
109. Soft, filtered lighting is best
feet by 3 feet) or a wooden board can be used as a cover, and
also provide a kind of display area (see PL 54 and title page).
When floor heating is used, it is a good idea to heat both the
floor of the sunken area and the floor where people sit. For this,
one can use either hot water piping laid under the floor, or an
electric mat.

Some Words of Caution

For the unaccustomed, sitting on the floor can be unpleasant and Cross Section
even painful. In particular, the formal sitting posture is difficult
for today's young Japanese to maintain for long periods, though
in fact the informal posture is all that is required in most situa­ 110. Harsh illumination is avoided.
tions. Cushions can make sitting on the floor more comfortable,
as can the use of a small, legless chair. Separate, independently
standing armrests also offer some support.
If your feet should fall asleep while you are sitting on the
floor, do not attempt to stand up right away. Extend your legs
and massage them gently, and try to stand up only after the
prickly feeling is gone. If you know in advance that you will be
sitting Japanese-style, wear comfortable, loose-fitting clothes.
Jeans, for example, will constrict the flow of blood to the lower
torso and create discomfort and pain. It is also a good idea to
check if your socks have any holes in them before you leave
home, rather than discover this after arriving at your destina­
tion! Some people even carry an extra pair of clean socks to
change into, especially when they know there is going to be a
tatami floor.
In the summertime, the table frame is stored in a floor
cavity and covered either with a piece of tatami or wood.
(Designed by J. Yoshimura) 111. The natural reflecting quality of shoji is inimitable. 112. Design is never divorced from function.

67 68
 LIGHTING TECHNIQUES

In the traditional Japanese house with its low, overhanging

eaves, the lower parts of a room receive the most light while the
higher areas become progressively darker. This is because
sunlight, blocked as it is by the eaves, enters the room after be-
Reflection of light in a Japanese house (left) and a Western ing reflected off the ground or off the veranda, and travels in an
house (right). upward direction. Light becomes less bright the farther it goes,
which in this case means the higher it goes. The Western win-
dow, on the other hand, admits sunlight directly—a curtain be-
ing used to block it out when necessary—and the rays of light
travel in a downward direction.
In Japan, lighting devices for the home originally used to be
placed on the floor because of the way light entered it, as
described above. It is the same with garden illumination: instead
of hanging lights from trees, the Japanese used stone lanterns
placed on the ground. This kind of lighting is, moreover
especially suited to the custom of sitting on the floor, discussed
earlier. Since tables and other surfaces which require illumina-
tion were low, lamps situated on the floor were ideal.
The development of glass in Japan came very late; thus the
technique of using glass to provide direct, bright illumination,
and to reflect light in a sparkling, glittering way, did not
flourish. Rather, the soft illumination which enters a room
through the white paper of the shoji can be said to be the basic
characteristic of Japanese-style lighting, and indirect lighting is
113, Lampshade made from one sheet of paper. 114. Lampshade with script. 115. Lamp with fiberglass shade. vastly preferred to harsh, direct lighting.
If modern illumination can be compared with the brilliant
sun, perhaps traditional Japanese illumination may be said to
represent the luminous moon. Part of the tranquil beauty of the
traditional Japanese home is captured through the use of indirect
lighting, which, in addition, complements the soft textures and
natural colors of a room with tatami and shoji. Today, in Japan,
however, the sense of enjoyment associated with the play of
Reflection of light in Koho-an Tea Room. light and shadows seems to have been forgotten, and the con-
cept of creating atmosphere through the use of natural or in-
direct lighting, such as that used in a tea room, has almost disap-
peared. Although bright lighting can be used attractively, soft
lighting can add a new dimension to the home. Here are some
ideas.

Shoji
117. Wall light fixture.
We have already seen how shoji can serve as a room partition. It
can also serve as a kind of wall illumination. Depending on light
conditions, shoji can reflect light to make a room brighter or be
used to produce a beautiful silhouette effect when shadows are
created by the lattice frame of the shoji or trees outside.
As has been mentioned already, the shoji can be suspended as
a partition-wall, with a spotlight shining on it from behind.
8mm films or slides can be projected onto the side without the
wooden frame. When not required, the shoji can be hung on the
wall out of the way, or in front of a window instead of a curtain.
Another idea is to fix a light bulb onto a wall and then put a
small shoji-like panel in front of it, or, something like a Japanese
kite can also be interesting. If a kite is used, the lighting efficien-
116. Paper lampshade with bamboo ribs. 118. Ceiling light fixture. Lighting techniques for the alcove. cy can be improved by inclining it slightly, either upwards or

69 70
 THE BATH
downwards. This can be easily mounted and held in place with A time and place to cleanse the body and to refresh the soul.
thick wire.

Andon/Chochin
The andon is usually placed on the floor, though it can also be
stood on a desk or a shelf. The basic pattern is to have a hollow,
upright wooden frame around the sides of which a shade made
of shoji paper is affixed, leaving the ends open to allow heat to
escape. This is then mounted on a stand. (See Pl. 114.)
Although the andon could be moved from room to room in­
doors, it was not intended for use as a kind of torch to be carried
around all the time. When going outdoors, the Japanese used a
chochin, a portable lantern made of thin bamboo cane wound
into a spiral, to the outside of which paper was glued. (See p.
80.) As it could be folded flat, it was easily portable. Later,
chochin came to be hung on shop fronts, bearing the symbol or
name of the shop, and thus can be seen as one of the first forms
of suspended lighting in Japan. Although the use of andon has
sadly become only a novelty, chochin still thrive, especially in
the entertainment districts of cities, and one can see large red
chochin outside places serving Japanese food.
Chochin are ideal for use at garden parties. Both the chochin
and the electric cord can be suspended in a line, from a wire run­
ning from one tree to the next. Or instead of electricity, candles
can be used, as was the case with the original chochin. Chochin
can also be hung as illumination from the eaves of a veranda.
119. A wood tub with matching accessories. 120. A bath with a garden view.
Ceiling and Wall Lighting 121. A bath in the mount
As was said earlier, originally the custom of putting light fix­
tures on indoor ceilings and walls hardly existed at all in Japan.
So it came to be that, when such fixtures were eventually
adopted, the chochin, which had been used mainly outdoors,
the andon, and various devices based on the shape and tech­
niques of shoji, were adapted for this purpose.
The chochin is particularly effective in giving a Japanese
Lighting techniques for the ceiling.
touch to a room when suspended from the ceiling. Hanging an
andon from the ceiling is also possible. Usually the bottom of
the andon shade is left open, but if it is hung from the ceiling it
should be closed or else left with only a small opening. If one
should use shoji, it is best to suspend it using a hook from which
it can be easily removed, since dust will collect on it.
The points to pay attention to are more or less the same when
the lighting is fixed to the wall. A simple bracket extending from
the wall can be used.
In either case, the use of paper poses a fire risk; particularly if
there are children around, a floor lamp can be easily overturned.
Fortunately, white non-flammable plastic sheeting looks very
much like real shoji paper and can be used as a substitute.
This kind of plastic sheeting can be used effectively to provide
illumination for large areas such as the ceiling in the kitchen or
the floor of a living room. The use of reed panels or even mesh
to diffuse light is another way of providing indirect lighting for
the home.
Instructions for making a Japanese-style lamp may be found
in the do-it-yourself section in the back of this book.

Lampshade variations.

71
THE BATH PROJECT 1:
Hanging Shoji (Kakeshoji)
The Japanese bath (furo) is designed to be used by more than
one person at a time. It is deep enough for the water to cover the
shoulders of a seated person, so that if one sits with knees tucked Ordinary shoji are designed to be used as sliding doors, and run­
up, two or more people may sit together. One is expected to ners must be made for the top and bottom. A considerable
scrub down and rinse oneself off outside the bathtub before get- amount of skill and effort are required to hollow out these run­
ting into it for the tub is simply for warming and relaxing the ners accurately, and once in position the shoji have a permanent
body. In Japan, small children often enter the tub with their location even though they may be removed temporarily. Hang­
mother or father. Then, it is not simply a matter of taking a bath ing shoji, on the other hand, are portable and may be hung
to clean oneself, but is also an opportunity to talk about all that anywhere. They are often found in tea ceremony rooms and
has happened during the day. Another pleasant custom is for rooms with a Japanese-style alcove.
people to wash each other's backs before soaking together. A soft wood that has been well dried to prevent warping is
best. Extremely narrow slats of wood are preferred, but slightly
Layout, Materials, and Setting thicker slats are easier to work with and may be used instead.
First of all, the area used for washing one's body is outside the Simplified methods of joinery will be explained here.
bathtub. It usually has a shower attachment high up on the wall, Making such small pieces is intricate work in itself, but even
and hot and cold water taps lower down. A place for the water more difficult is to then put together a lattice. For this, an elec­
to drain away is of course also necessary. tric saw with a guard will be necessary. The size of the shoji
The shower attachment should be flexible enough so that it should be tailored so that the window frame, if there is one, is
can be used by a person either standing or sitting on a small concealed. The upper crosspiece should extend beyond the edge
stool. To wash oneself, one takes water from the bathtub in a of the frame by 11/2 times its width to enable it to be supported
l.(A) Three types of joints are used in making a shoji
small pail, but a shower attachment alone will suffice. frame: 1) A-type joints between the upper crosspieces and by nails inserted into the wall. The side supports should also ex­
Some bathtubs are fairly small, but a length of at least four supports, and between the upper crosspieces and lattice; 2) tend beneath the bottom of the frame to prevent it from leaning
feet is desirable, since this is roughly the length taken up by an B-type joints between the lower crosspieces and supports,
and between the lower crosspieces and lattice; and 3) C- to one side by 11/2 times their own width.
adult sitting with legs outstretched. As for width, one person re- type joints between lattice slats. Hooked nails from which to hang the shoji are nailed at the
quires about 32-36 inches. The tub should be deep enough for Cross section of Japanese bath (B) Hooked nails are used to hang the shoji from the four corners (Fig. 1-B). If there is no place to insert nails into the
the water to cover the shoulders of a seated adult. However, if a frame.
wall around the window, transparent thread hung from the ceil­
bathtub of this depth is simply placed on the floor of the ing may be used to suspend the shoji (Fig. 5-B).
bathroom, getting into it becomes a hazardous business. It is
usually, therefore, sunk a little into the floor. When this is not
Joinery
possible, a step or ledge can be built inside or outside the Broadly speaking, there are three types of joints used in this kind
bathtub.
of carpentry. A-type joints are those between the upper cross-
Another characteristic of the Japanese bath is that the water is pieces and supports, and those between the upper crosspieces
not changed after each person is done. Since it is used only for and lattice ( Fig. 1-A). Since the top of the crosspiece is usually
drawing water and soaking, the same water can be shared by not visible, it makes no difference if the supports and the ends of
everyone. A wood or plastic cover is placed over the tub when it the lattice extend above the top of the frame, and the joints can
is not being used to keep the water warm and to reduce the be simplified as shown in Fig. 2-A1. Glue and nails are used for
amount of water vapor. The water can also be reheated as
the joints, and since paper is affixed to the frame, nail heads
necessary. The usual method is for the water to be taken out
are neatly concealed.
through a pipe in the bottom of the bathtub and heated in a B-type joints are those between the lower crosspiece and sup­
small boiler, before being fed back into the tub.
ports, and those between the lower crosspiece and the lattice
Wood, especially Japanese cypress with its marvelous
(Fig. 1-A). Since, in this case, the edges and lower half of the
fragrance, is the best material for a tub, but recently fiberglass-
frame are clearly visible, care should be taken that the edges of
reinforced plastic and stainless steel tubs have become popular.
the lattice are neatly finished (Fig. 2-B). The joints should only
Wood may be used for the removable slatted platform placed on
penetrate about 2/3 of the total width of the crosspiece and be
the floor of the washing area, and for the walls. The use of rock Sample Layouts.
finished off with glue and nails. Again, nail heads can be neat­
or stone for the tub and the walls creates the atmosphere of a
ly concealed with paper.
natural hot spring. Since the bath is a place for relaxation, it is a
B-type joints necessitate use of such tools as a chisel and are
good idea to design it in such a way to give one the impression of Accessories
thus more complicated than A-type joints. To simplify construc­
bathing in natural surroundings.
tion, A-type joints may be used (Fig. 2-B1), though in such
cases, in order to conceal the edges of the lattice frame, paper
should be fixed to the edges of the frame and then cut.
C-type joints are used between lattice slats (Fig 1-A). The lat­
2. (Left) Traditional method of joinery. (Right) tice should ideally be chamfered, so that the point where slats in­
hand bucket stool slatted platform Simplified method of joinery. tersect should appear as in Fig. 2-C. The cross section should

73 74
measure 5/16-10/16 inch, but since this is extremely difficult to PROJECT 2:
achieve, this design can be simplified to something along the Shoji Lampshade
lines of Fig. 2-C1.
When one has completed construction of the frame and lat­
tice, and just about assembled it, minute adjustments can then
be applied to those parts that will be hidden by the paper, and In addition to its partitioning function, shoji also serve as a kind
sections planed and sandpapered. of illuminating device. Here we shall consider use of a light fix-
ture either suspended from the ceiling or bracketed to the wall.
Applying the Paper Construction of a shade for both of these is the same. Both the
Japanese shoji paper is the best material, but thin art paper or top and bottom of the cube are left open. For the suspended
tracing paper may be used. To prevent the paper from becoming light, the four sides are designed to produce a shoji-type effect
loose later, a little moisture should be sprayed on it to make it (Fig. 1-A), whereas in the bracketed version only three are thus
expand before it is put onto the frame. But if the paper is put on designed, the fourth being used to bracket the device to the wall
too tightly, the frame which the paper is attached to is liable to (Fig. l-B).These may all be considered as mini-shoji. Construc-
bend and warp. 3. Paper strips are pasted from left to right, starting from tion of the basic lattice frame is explained in Project 1.
The paper strips are pasted from left to right on the outside the bottom. The paper may be cut in from the edge of the
starting from the bottom (Fig. 3-A1), to keep dust from entering frame (A, A-l), partially wound around corners (B, B-l),
or lie flush with the frame (C). Construction of the Frame
if the paper becomes loose. The paper is generally cut just in
Since the frame is square, problems may arise over construction
from the edge of the back of the frame (Fig. 3-A) or partially 1. (Left) Ceiling light fixture. (Right) Wall light fixture. of the corners. It can either be designed, as in Fig. 2, where none
wound around corners (Fig. 3-B). In highly crafted work, the
of the struts protrude (A, B, C), or where some are made to pro-
edge of the frame can be beveled so as to enable the paper to lie
trude (D, E, F). A-, B-, D-, and E-type designs are not so dif-
flush with the frame (Fig. 3-C), but such superior craftsmanship
ficult, but a C-type calls for considerable skill and patience, and
is at a premium today, even in Japan. Funorin glue is the best
an F-type is the most difficult design.
adhesive to use since the consistency is readily adjusted by the
Let us first consider the simplest method—those joints that
addition of hot water. Polyvinyl glue, ordinary laundry starch,
can be glued together. To build an A-type frame, the intervening
or wallpaper paste is also suitable. Care should be taken that the
struts are inserted only after the top and bottom of the frame
adhesive used is not of the fast-setting variety because this will
have been glued together (Fig. 3-A). In a B-type frame, the top
make application of the paper difficult. With funorin, the rate at
and bottom of the frame are constructed of sections that ha
which the paper is stretched over the frame while it is becoming
been sawn off at 45 degrees (Fig. 2-B), and when inserted in
dry matches the rate at which the glue sets, and the danger of
place, should create a solid joint (Fig. 3-B). A C-type design is a
overstretching is thus minimized.
more complicated three-dimensional version of this B-type
It is best to try the glue out first on a spare piece of paper to
design. A D-type frame is similar to an A-type, except that one
make sure that it does not affect the color of the paper and that it
of the intervening struts is allowed to protrude above the top of
is easily removable. The paste should be applied to the frame
2. The corners of the frame may be designed so that none the frame. An E-type frame is created by constructing the top
and not to the paper.
or only some of the struts protrude. and bottom of the frame using joints as shown in Fig. 2-E, and
then inserting the intervening struts (Fig. 3-E).
Shade Variations
Accurate construction of an F-type frame is like a puzzle for
The beauty of shoji is due in part to the myriad designs possible
those who wish to try it. It is simpler to attach short pieces of
(Fig. 4). When designing the frame and lattice interior, one may
4. Patterns for frame and interior. wood to the top and bottom of an E-type design to produce the
wish to experiment with just horizontal supports or just vertical
same effect. Having completed two sides of either an E- or F-
supports or even with just the outside frame. The size of the lat­
type frame, care should be taken when inserting the intervening
tice sections, especially when paper is used, helps to make the
struts that right angles are preserved in all three dimensions.
size of a room seem larger or smaller.
The lattice should be designed one side at a time (Fig. 4), fitted
Hanging Shoji Used Elsewhere into the frame, and then glued.
Shoji can be further employed as a means of partitioning or even
How to Erect the Completed Product
as a kind of lampshade. As mentioned in the chapter on shoji,
When the shade is designed for hanging from the ceiling, a small
one can suspend a large shoji between two rooms, such as the
lattice (Fig. 5-A) or a single slat of wood (Fig. 5-B) should be in-
dining and living rooms, and use it as a room divider and as an
corporated into the top of the shade. A small groove, just wide
interesting illuminating device. If a shoji is placed at an oblique
enough to accommodate the cord, should be carved into one of
angle in the corner of a room (Fig. 5-A) and some kind of il­
the lattice pieces or the single slat. The center of gravity must be
lumination placed behind it (Fig. 5-A), it not only serves as a
taken into account so that the shade does not hang at an angle.
kind of corner illumination but can also be used to create a
A knot should be tied in the cord just below the lattice or slat in-
variety of effects.
to which the groove has been carved in order to support the
shade (Fig. 5-C). This additional lattice or slat should not mere-
5. Hanging shoji may be used to cover a window or to ly be glued into position, but held firmly in position by means of
provide a form of corner illumination. 3. Typse of frame construction. a tenon and mortise joint.

75 76
Another simple design is shown in Fig. 6-A where transparent
threads from which the shade hangs are attached to each of the PROJECT 3:
four corners and then tied to the cord. This method will require Floor Lamp with Paper Shade
either a small screw at each of the four corners (Fig. 6-B) or else
small holes just large enough for the thread to pass through to be
drilled near each corner (Fig. 6-C). 4. The lattice should be
When the bulb is attached directly to a socket in the ceiling, a designed one side at a time, Described in this section is the type of lamp stand seen in Fig. 1.
small gap should be left between the top of the shade and the fitted into the frame, and a unique beauty achieved with using only one sheet of paper for
then glued.
ceiling, in order to allow heat from the bulb to escape (Fig. 7-A). the lampshade.
A paper-covered lattice should be designed for the bottom to Roughly speaking, this light consists of a base, supporting
hide the bulb. stem, electrical fixture, and shade. Since the base is designed to
If the shade is to be affixed to the wall, the frame should be accommodate the supporting stem without falling over, it must
suspended from a hook (Fig. 7-B). If it is to be placed high up on be stable. A slab of marble, into which a hole has been sunk, is
the wall, then a lattice should also be attached to the bottom. ideal, but should one be set on designing the base by oneself,
But the top should be left open to allow heat to escape. concrete is the most suitable material.
The stem may be designed from metal (aluminum or stainless
Paper or Plastic as a Covering steel), although bamboo creates a much more Japanese mood. It
5. Ways to accommodate the cord.
White paper or plastic is attached to the inside of the four sides should not be designed as a continuation of the base but should
of a lampshade suspended from the ceiling, and to three sides of be readily removable, since this makes repairs and changes easy.
a lampshade fixed to the wall. If the light is particularly high, The electrical fixture consists of a plug, cord, switch, socket
then the lower side of the shade may be covered. At least one and bulb. Since the design will depend on the kind of socket
side, preferably the top, is left open, and it is from here that the available, it is important to buy the socket and decide how it
paper or plastic to be used is inserted. If both upper and lower should be affixed before deciding on the size of the stem. The
sides are left uncovered, papering is much easier. bulb should be from 20-60 watts; anything brighter would be
dangerous because the shade is made of paper.
2. A small incision must be made in the base of the stem The paper for the shade should be white and translucent. If it
Conversion into a Floor Lamp to allow the electric cord to emerge from the bottom. Then
Prior to the introduction of the light bulb, the major form of il- a groove must be made at the base of the mold to allow the
is too soft, however, it will not maintain its shape. Ideal for this
lumination was an oil light placed on the floor. The traditional cord to emerge from the bottom of the base. purpose is shoji paper, 25X38 50 lb. book paper, or a plastic-
6. Ways of using transparent thread to hang the shade. based type of thick tracing paper.
form was the andon, and, as shown in Fig. 8-A, this is easily
constructed by inserting a light bulb into a wooden stand and
surrounding it with a shoji-type shade. An easy method of in- Construction of the Concrete Base
stalling the shade is by pulling it down from above and then in- A base perfect in both size and weight can be designed by pour­
serting screws from inside which are affixed to the supporting ing concrete into a planter about 8-10 inches in diameter and
pillars. 2-3 inches deep used as a mold. The casing pipe for the stem
should accommodate the stem snugly, though should the pipe
A similar method can be used for the circular andon (see Pl.
prove larger, tape can always be wrapped around the base of the
113), but a better effect can be achieved by using plastic instead
stem to afford a perfect fit. To allow the electric cord to emerge
of paper. The circular rings at the top and bottom are connected
from the bottom of the casing pipe, a small incision should be
by at least four supporting struts, and the plastic sheet affixed to
cut into the base of the pipe (Fig. 2-A). Then, to allow the cord
the inside. In order to preserve the shape of the plastic sheet, 7. (Left) Installation of ceiling fixture. (Right) Installa- to emerge from the bottom of the base, a groove should be made
rings, and struts, liberal use should be made of glue. tion of wall fixture.
at the base of the mold (Fig. 2-B). Furthermore, in order to fix
the casing pipe securely in place within the mold, a wooden
Frame Variations stay—either square or round—is used (Fig. 3-A).
Like the hanging shoji described in Project 1, a shade consisting 3. A slat of wood with a matching groove, and a wooden A slat of wood with a groove for the cord, and the wooden
merely of a wooden frame with no paper affixed can be made. stay, are attached to a supporting bracket, and laid across
stay are affixed to the supporting bracket with glue and nails,
Construction of this kind of shade follows almost the same pro- the top of the mold.
and then laid across the top of the mold (Fig. 3-B). Another stick
cedure as described above, so suffice it here merely to describe the same size as the wooden support is needed in order to flatten
its design. out the surface of the concrete before it sets.
As shown in Fig. 8-B, this basically consists of slats of wood Having inserted the casing pipe and placed the supporting
piled one on top of each other, and designed into a square, pen- bracket in position, the concrete mix should be poured in. Any
tagon, hexagon, etc. The slats are held together simply by pass- aggregate used in the concrete should be less than 3/4 inch in
ing a length of wire down a hole drilled right through the frame diameter, and the concrete flattened out with the stick mention­
from top to bottom at each corner. The whole unit can then be ed above.
easily suspended by using the end of the wire as a hook. 4. After pouring in the concrete, the top of the mix must After being left overnight to dry, the slat with the groove for
be flattened out. The slat with a groove for the cord and the cord and the slat supporting the pipe should come away with
the stay supporting the pipe should come away with the
bracket after the concrete has dried. The mold will be the supporting bracket. It depends on the type of concrete used,
ready for removal after a few days, and fine adjustments but the moid should be ready for removal after a few days. Fine
8. (Left) Construction of andon. (Right) Shades made can then be made. adjustments can be made with a sander, and the base painted,
without paper.
78
77
after it is completely dry (Fig. 4-B). PROJECT 4:
Chochin
Construction of the Stem
For this, a piece of bamboo, steel, or aluminum about 1 inch in
diameter should be cut to a length of approximately 40 inches,
though this will depend both on setting and personal taste. If
bamboo is used, the knots must be removed to allow passage of First, prepare eight panels along the lines of Fig. 1-A, making
the cord. sure that the width of the panels is less than the diameter of the
When it comes to attaching the socket to the stem of the lamp upper opening of the shade to allow them to be taken out in the
stand, the type of socket plays an important role. The easiest end (Fig. 2-C). Grooves must be cut into the panels to hold the
method is to first decide on the type of socket to be used and bamboo or wire, and the angle of these must accommodate the
5. (Left) Socket attached directly to stem. (Center and
then find bamboo or piping that accepts the socket snugly. right) If necessary, insert a wooden block between the curve of the shade. In order to wrap the bamboo around the
If the socket does not fit onto the stem directly, it is best to in­ socket and the stem, and attach the socket to the block. eight panels in a spiral, the grooves must be placed slightly
sert a wooden block in between the socket and the stem, and to Use a metal bracket to then fix the block to the stem. lower on each successive panel (Fig. 1-A). To do this, line up all
attach the socket to this (Fig. 5-B). This may be either square or eight panels as shown in Fig. 1-B. Number the panels and place
round, but should have a hole to accommodate the cord. To fix panel 1 to the right of panel 8. Make horizontal marks at evenly
this wooden block to the stem, the kind of metal bracket used to spaced intervals between the two panels. After marking panel 1,
fix towel racks to the wall will work very well (Fig. 5-Bl). When return it to its original position. The marks should be on the left
fixing the socket in this way, the size of the stem should be deter­ side of panel 1 and the right side of panel 8. Draw parallel lines
mined by the size of the bracket. 15 1/4 in. at a slant, connecting each mark on panel 1 with the mark one
position lower on panel 8. After sawing lightly along the parallel
Construction of the Shade and Electrical Fixture 1. (Left) The grooves on each panel must be carefully cut
to match the curve of the shade and to ensure that the wire
lines, sharpen the outer edges of the panels (Fig. 2-A). Make the
For the shade, a sheet of paper about 15-16 inches by 20-25 in­ does not slip off. (Right) Marking the panels. grooves in the indicated positions on the tips of these edges. In
ches should be rolled up so that the bottom is the width of the addition, a small section should be cut out from the upper and
stem and the top is much wider (Fig. 6). Since this is such an easy lower inside edges of the panels (Fig. 1-A). These cuts will
design, one can occasionally change the color and the pattern of 6. Roll up one sheet of paper so that the bottom is the enable the panels to fit securely into the stabilizing bases.
the paper. To support this shade, a wire ring may be used. Three width of the stem, and the top is wider.
To make the bases, cut two circular pieces from a board
holes are drilled through the stem so that the ring is held securely 3
/4-11/4 inch thick. Measure the circumference of the bases and
in position (Fig. 7-A). Two of them should be positioned about divide by eight. Mark eight equally spaced intervals on the
6-7 inches below the top of the stem, and the third about 1-2 in­ bases, cut out spaces for the panels (Fig. 2-B), and then insert
ches above them. The gap between the bulb and paper shade is the panels.
determined by the positioning of the two lower holes and the Wrap the bamboo or wire around the panels following the
size of the wire ring (Fig. 7-B). Thus it is possible to accom­ spirally-cut grooves from top to bottom. After forming the first
modate different types and strengths of bulbs. The wire ring upper circle, secure the loose end with heavy thread. Secure
should be painted the same color as the paper, so as not to clash 2. The edges of the panels are sharpened, and then the
panels are inserted into the stabilizing bases. The diameter other loose ends in the same way. Attach two loops for affixing
with the shade. of the panels must be less than the diameter of the top the lampshade to an electric bulb to the first circle of the spiral.
Having completed all this, all that remains to be done is to opening from which they will be removed.
For the shade, prepare eight sheets of rectangular paper. Ap­
thread the cord through the stem and insert a switch between the ply slow-drying, white or transparent paste to cover roughly 1/8 of
base and plug. After inserting the socket and bulb, the paper to the lampshade. Place the uncut paper on this section, and then
be used for the shade can be rolled and affixed to the wire ring cut the paper to size, allowing an overlap of about 1/4 inch be­
(Fig. 7-A). The base of the paper shade is attached to the stem 7. Drill three holes (1, 2, 3) in the stem to support the tween sheets. After the entire lampshade has been papered, and
with adhesive tape, and the overlap of the rolled paper is glued. wire ring for the shade. Attach the shade to the ring after
threading the cord through the stem, and inserting the
the glue is completely dry, remove the stabilizing bases and then
socket, bulb, and switch. remove the panels through the upper opening. The chochin can
Adaptations
3. Chochin may be made into a floor lamp following in- be suspended from the ceiling, or placed on the floor after a base
The lamp stand, base and all, may be used in the garden, but, as along the lines of the one described in Project 3 has been added.
structions given in Project 2, or suspended.
shown in Fig. 8-A, the cord must emerge from somewhere down
the stem when it is inserted directly into the ground. Since there
is the danger of the shade being blown about in the wind, one
should make liberal use of tape.
It is possible, without changing the design of either the shade
or the socket, to attach the stem directly to the wall or to a
movable arm attached to the wall. Methods of affixing this arm
and the design itself should be evident from studying Fig. 8-B,
so we therefore leave readers to experiment for themselves.

8. (Left) Lampstand inserted into the ground. (Right)

Lamps bracketed to the wall.
4. Frame assembled 5. Wrapping wire strand. 6. Application of paper. 7. Finished product
79
80
THE PHOTOGRAPHER
Ryo Hata was born in 1943 in Ishikawa Prefecture,
Japan, and graduated from the Department of Art A JAPANESE TOUCH FOR YOUR HOME
of Nihon University. A free-lance photographer
who has published in numerous Japanese maga-
zines, Mr. Hata specializes in Japanese gardens and The elements of a Japanese house are rich in beauty, varie-
houses. ty, and ingenuity, and can be integrated into any house plan
with pleasing results. Give your home a fresh, captivating
A JAPANESE TOUCH FOR YOUR GARDEN look with ideas from this superb interior design tradition.
Kiyoshi Seike, Masanobu Kudo and David Engel
Here is a concise, up-to-date guide to help you trans-
form even the tiniest outdoor area into an intimate,
tranquil oasis. It shows hundreds of creative ways to
make maximum use of minimum space, something at
which the Japanese are accomplished virtuosos. Sche-
matic layouts, detailed how-to explanations, and over
140 color pictures will give you ideas for endless varia-
tions on classic Japanese themes. No matter where you
live—city, country, or somewhere in between—you will
find something to fit your planning needs.
80 pages, 149 color plates. 81/2X12"

Japanese Arts Library

ARCHITECTURE IN THE SHOIN STYLE: JAPANESE
FEUDAL RESIDENCES
Fumio Hashimoto
Translated by H. Mack Horton
"The shoin style of architecture is interesting to West-
erners because of its influence on the modern Japanese
house. The shoin became the formal standard for
military mansions and temple guest halls in the 14th
through 17th centuries; it was then softened by the
sukiya (tea ceremony) style and evolved into the stan-
Left: Japanese interior design begins in the entranceway. Above: Three
dard for private residences. Hashimoto discusses only traditional elements—shoji panels, tatami mats, and an alcove. Bottom
extant examples of the style, nicely integrating plans, left: Removable sliding doors allow you to change the size and shape of
diagrams, and illustrations (188 in all) into the room. Bottom, center. Nature is always a part of the total plan, and use
text. . . . A thorough study." of natural materials, the ideal. Bottom, right: An art in itself, Japanese lat-
—Library Journal ticework combines beauty with function.
248 pages, 25 color plates, 50 house plans. 7 3/8X10 3/8"

Jacket design by Yoshito Suzuki

Printed in Japan