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A tea room may have a floor area as small as 1.75 tatami mats (one full tatami mat for the guests plus a tatami mat called a daime (台目), about 3/4 the length of a full tatami mat, for the portable brazier (furo) or sunken hearth (ro) to be situated and the host to sit and prepare the tea); or as large as 10 tatami mats or more; 4.5 mats is ...
Some tea rooms may have a special type of built-in recessed mizuya cabinet called mizuya dōko (水屋洞庫). It is built into the wall of the tea room, at floor level, on the side where the host's mat is situated, and has sliding doors so that it can be closed from view of the guests.
In the Azuchi-Momoyama period not only sukiya style but the contrasting shoin-zukuri (書院造) of residences of the warrior class developed. While sukiya was a small space, simple and austere, shoin-zukuri style was that of large, magnificent reception areas, the setting for the pomp and ceremony of the feudal lords.
The design of Glass Tea House - KOU-AN was presented at the Glasstress 2011, the collateral event of the 54th La Biennale di Venezia which is held in Venice every two years. 'Glass Tea House - KOU-AN' 2015 – 2017, the Shogunzuka Seiryu-den stage, Tendai Sect Shoren-in (Kyoto, Japan) [3] Glass Tea House - KOU-AN, 2015 - 2017, Tendai Sect Shoren-in
Construction of traditional wooden Chinese furniture is based primarily of solid wood pieces connected solely using woodworking joints, and rarely using glue or metallic nails. The reason was that the nails and glues used did not stand up well to the vastly fluctuating temperatures and humid weather conditions in most of Central and Southeast ...
Ryobiraki tansu being carried by hired porters. Woodblock print, Utagawa Toyokuni, 1807. Tansu were rarely used as stationary furniture. Consistent with traditional Japanese interior design, which featured a number of movable partitions, allowing for the creation of larger and smaller rooms within the home, tansu would need to be easily portable, and were not visible in the home except at ...
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