Sukiya-style building

A residential architectural style that incorporates the style of a teahouse. Suki means tea ceremony, and sukiya refers to a teahouse. In the late Muromachi period (mid-16th century), Sen no Rikyu used techniques of the soan style in teahouses as a form of wabi (a Japanese-style wabi style). Since then, menkawa pillars, room floors, underlay windows, gama ceilings, and noneita ceilings have become the main components of teahouses. As the tea ceremony became popular and teahouses became places for socializing and entertainment, formal shoin and kusari no ma (rooms between shoin and teahouses) were integrated to entertain guests, and soan-style techniques came to be used favorably. Architecture that incorporates techniques of the soan style in this way is called sukiya-zukuri. Katsura Imperial Villa, the villa of Prince Toshihito Hachijo, was completed between the Genna period (1615-24) and the Kanbun period (1661-73) with a group of shoin buildings, the Old Shoin, the Middle Shoin, and the New Palace, which are arranged in a staggered pattern. Of these, the Old Shoin and the Middle Shoin use faceted pillars and omit nageshi (rail-like beams), but they are not strongly sukiya-style. In contrast, the New Palace uses faceted beams and has unrestrained designs for the sliding door handles and nageshi nail covers, taking the sukiya style to the next level. Other famous examples of this style built in the second half of the 17th century include the large and small Shoin buildings at Manshuin in Kyoto and the black Shoin building at Nishi Honganji in Kyoto.

In the 18th century, this sukiya style was widely used in the mansions of feudal lords and aristocrats, and also spread to the living rooms of private homes and merchants, where menkawa logs were used for alcove pillars, nageshi, veranda rafters, and decorative attic ceilings, but as people gradually became more particular about the materials and fixtures, the original simplicity was lost. In the Showa era, when Yoshida Isohachi (1894-1974) began designing modern sukiya-style buildings with large walls, innovative designs that made use of tradition gained popularity and spread widely to private homes as well as inns and restaurants.

[Kudou Yoshiaki]

"Compilation of Sukiya Architecture, edited by Masao Nakamura, 9 volumes (1978-85, Shogakukan)"

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

茶室の様式を取り入れた住宅建築様式。数寄とは茶の湯を意味し、数寄屋は茶室をさした。室町後期（16世紀中ごろ）に千利休(せんのりきゅう)がわびの造形として草庵(そうあん)風の手法を茶室に用いて以来、面皮(めんかわ)柱、室床(むろどこ)、下地窓(したじまど)、蒲天井(がまてんじょう)や野根板(のねいた)天井が茶室の主要な構成要素となった。茶の湯が盛行して茶室が社交や遊興の場になるにつれ、客の接待のために格式的な書院や鎖(くさり)の間(ま)（書院と茶室の間に設けられる部屋）も一体化されて、草庵風の手法が好んで用いられるようになるが、このように草庵風の手法を取り入れた建築を数寄屋造という。八条宮智仁(としひと)親王の別邸であった桂(かつら)離宮は、雁行(がんこう)する古書院・中書院・新御殿の書院群が元和(げんな)（1615～24）から寛文(かんぶん)（1661～73）にかけて完成したが、このうち古書院と中書院には面皮柱が使われたり長押(なげし)が省略されているものの、数寄屋的手法は濃厚ではない。これに対して新御殿では長押を面皮とし、襖引手(ふすまひきて)や長押釘隠(くぎかくし)の意匠は奔放で、数寄屋風が一段と進んでいる。17世紀後半につくられた同様の例としては、京都・曼珠院(まんしゅいん)の大書院と小書院、京都・西本願寺黒書院などが名高い。

　18世紀にはこの数寄屋の手法は、大名や貴族の邸宅に広く用いられたほか、民家や商家の座敷へも普及して、面皮丸太は床柱や長押、縁側の縁桁(えんげた)や化粧屋根裏天井などにも及んだが、しだいに材料や造作に凝るようになって本来の質素さを失っていった。昭和になって吉田五十八(いそや)（1894―1974）が大壁(おおかべ)造の近代数寄屋造の設計を始めてから、伝統を生かした斬新(ざんしん)な意匠が人気を集め、旅館や料亭はもちろん、個人住宅にも広く浸透した。

［工藤圭章］

『中村昌生編『数寄屋建築集成』全9巻（1978～85・小学館）』

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