Sukiya Daiku (Carpenters of sukiya-style houses)
Sukiya carpentry refers to carpentry used for teahouses and residential buildings. A distinctive feature of sukiya carpentry is the use of round unprocessed materials, such as natural logs, known as marumono. Within the architecture of chanoyu (the Japanese way of tea), particularly that of the teahouse, sukiya carpenters have refined this technique by integrating it with design.
Sukiya architecture is characterized by a light, elegant aesthetic. The roof has a gentle slope, the eaves are deep, the pillars are slender, and the walls are thin. As a result, a special ingenuity is required to realize the interior, hidden from the outside. The sophisticated techniques seen in the construction of the sukiya teahouse reflect the highly attuned Japanese sensibility to incorporating nature into living spaces.
Logs and Bamboo
An affinity in Japan for log-based construction has been passed down since the medieval and early modern periods. Shōgun Ashikaga Yoshimasa (1436–1490) incorporated black wood log construction into the teahouse of his residence, the Muromachi Palace, and constructed bamboo teahouses (Chiku-tei and Sōsen-tei) at his mountain villa, the Higashiyama Palace (later the temple Jishō-ji, known today as Ginkaku-ji, the Temple of the Silver Pavilion). Bamboo, with its combination of softness, delicacy and physical strength, has long been an accessible and familiar material for Japanese homes built in harmony with nature.
Sugi-maruta (Japanese cedar logs, sugi)
In sukiya architecture, Japanese cedar (Cryptomeria japonica or sugi in Japanese) is often favoured over high-grade hinoki cypress for its softer texture. Particularly, Japanese cedar logs from Kitayama in Kyoto, known as Kitayama cedar, are highly prized for their fine-grained quality, a result of their slow growth due to local soil conditions.
Polished log of Kitayama cedar
Trunk of Kitayama cedar hand-textured and polished
Sabi-maruta (stained logs, sabi)
Sabi-maruta, or stained logs, are created by removing the bark during the summer rainy season and applying mould to the surface. This results in unique patterns such as the speckled ‘light and shade’ variation which is particularly popular. Originally, knotted until cypress was used for this purpose, but now hinoki cypress is also used.
Kitayama cypress log with deformity (ate)
Kitayama cypress log with stained appearance (sabi)
Logs with the bark left
Logs with the bark left intact are often used in soan (thatched hut style architecture) to evoke a rustic atmosphere. The most popular wood for this purpose is Japanese red pine (aka-matsu). After the rough outer bark is scraped off, an attractive mottled pattern is left, making it a preferred choice for features such as toko-bashira (alcove pillars).
Japanese red pine log
Magnolia kobus log
Chestnut log
Chestnut log with scale pattern (naguri)
Bamboo
Another characteristic of sukiya architecture is the deliberate use of bamboo despite its low durability. Bamboo is used extensively throughout construction for its lightweight and delicate appearance, including for rafters, ceiling rods, renji-mado (windows covered with bamboo slats), and shitaji-mado (windows made by exposing the lattice framework of the wall). These elements give the sukiya space an airy rustic atmosphere as in a soan (thatched hut).
Bamboo
Bamboo for rafters
Susu-dake (Smoke-darkened bamboo)
Gum-dake (Decorative bamboo with natural stains)
Medake (Thin bamboo)
Ink mark on the log
When using minimally processed logs in construction or as design elements, marking accurate measurements on uneven or textured surfaces is difficult. To address this, a reference line is established passing roughly through the center of the log. All measurements, such as the dimensions of the flat surfaces and cross sections, are planned based on this reference line.
Model of ink mark on the log
Logs are usually marked with red ink to guide joint carving. Although not visible once assembled, slender pillars may feature numerous notches and mortise holes. The various height measurements used throughout the teahouse are recorded on a measuring rod with different dimensions marked for each of the four sides including the serving area and the tea preparation area.
- With marking completed
- With carving completed
- Measuring tool
- Ink cartridge for marking straight lines
- Bamboo marker
- Marking gauge
- Curved surface marker
Hikari-tsuke
In buildings where pillars are erected on natural stones, the bottom of each pillar is carved to match the uneven shape of the foundation stone. This process, known as hikari-tsuke, involves using a compass or a similar tool to trace the shape of the foundation stone onto the base of the pillar, which is then gradually shaved to ensure a precise fit.
Kyōkabe (Model of clay wall section)
The walls of teahouses are thin – less than 42 mm – due to the narrow diameter (84 mm) of the typically round, naturally curved pillars. While the construction process is not significantly different from standard methods for making clay walls, all components (including the base framework, timber, bamboo and rope) are specially prepared to achieve this reduced wall thickness.
Tatami for Sukiya architecture
In sukiya architecture, the standard tatami size is the larger Kyōma size (955 x 1910 mm), as opposed to the smaller Edo and Chūkyō sizes.
Model of a tatami section
Tatami mats are made up of three main components: the base, the surface, and the edging. Traditionally, rice straw is used for the base. For high-quality tatami, five layers of rice straw are stacked and compressed from a thickness of nearly 40 cm down to approximately 5 cm, increasing durability and adding softness. Framing boards are inserted along the edges to prevent deformation. For teahouses, a simple linen border without any pattern is used.
Surface of tatami (nakatsugi-omote)
The surface of the tatami, the part we come in contact with, is made by weaving soft rush grass (igusa). The example displayed here is a high-grade nakatsugi-omote, made with two strands of rush grass spliced together at the centre. This method avoids using the less durable tips of the grass, making it last longer.
Ajiro (Yabane) (Panel of woven wood with arrow pattern)
Ajiro refer to geometric patterns created by weaving thin strips of wood such as kurobe (Japanese thuja) or sawara cypress. Common patterns include check (ichimatsu), tortoiseshell (kikkō), and arrow fletch (yabane). Ajiro woven panels are used for ceilings or incorporated into shōji sliding doors. Characterized by a unique chandelier and texture, they are essential elements in sukiya architecture.
Koshi-tsuki Shōji (Sliding door with bottom panel)
This type of shōji (sliding door or screen) features both a wooden lattice framework with translucent washi (lit. ‘Japanese paper’) and a solid lower section (koshi). In this example, used as a teahouse entrance for nobles, the lower koshi panel incorporates wildwood boards elegantly finished with smoked bamboo. It is important to design these panels with the brightness of the interior in mind.
Kugi-kakushi (Ornamental cover to hide nails)
In the prestigious Japanese architecture of the early modern period, such as shrines, temples and palaces, elaborately crafted metal fittings were widely used as symbols of power and wealth.
During the Edo period (1603–1868), the use of such luxurious fittings in ordinary houses was heavily restricted, but they were sometimes used as covers to hide nails (kugi-kakushi) or for the handles of sliding doors (fusuma no hikite).
Exhibited here are decorative metal fittings used to hide nail heads in beams running between columns. The skilfully engraved designs include motifs such as‘ plum blossoms and raft ’,‘ bird and plum blossom ’,‘ chrysanthemum ’and‘ bird on pine ’.
Hikite (Handles)
In sukiya-style architecture, door handles (hikite) used to open and close sliding doors, such as fusuma and shōji, are decorative as well as practical. This decoration provides an opportunity for homeowners and artisans to express their creativity and playful spirit.
Designs are influenced by the type of room. In teahouses, simple shapes such as circles, ovals and squares, with subdued colors are preferred, complementing the peaceful atmosphere. In contrast, for guest rooms or larger spaces, more elaborate designs may be chosen to reflect the homeowner's personal taste.
Nails for teahouses
Approximately 100 types of nails are used in teahouses. Although they are used throughout, both inside and outside, their presence is barely noticeable. Each small nail is handmade by an artisan and varies in form. The are shaped by hammering hot iron and blackened by smoking with smoldering pine needles. The nails serve a variety of purposes, such as hanging utensils, and scrolls and flowers in the alcove (tokonoma) to convey the theme or season of a tea gathering.