Seclusion ###### [Japanese Tea House//Ceremony]

The concept of seclusion in building was a key topic for Engel (1964) as he studied the characteristics of the Japanese tea house and, more broadly, the tea ceremony as on the whole. In previous blogs I have discussed topics with parallels to Engel’s, particularly those relating to creativity and individuality. Engel begins this reading comparing the mentality of the east and the west, particularly the contrast of the two concerning common views towards seclusion, as well as the societal attitude towards individuality (or ego). These factors, Engel says, greatly the influence the built environment, being an embodiment of these attitudes. Where individuality has become less ‘fashionable’ in the west, moments of personal contemplation are highly valued in Japan and the tea ceremony is a symbolic and active means of this.

The tea ceremony is an act which captures the essence of many values held by the Japanese. The tea house, refined through ‘sukiya’ style, is a place to practice the tea ceremony and is a building which essentially imposes a manner of use through its design. Through group discussion, one particular feature of the sukiya tea house was identified as key; the under-sized entrance. The doorway to the tea room is deliberately scaled down, meaning that those who enter must crouch down through the doorway to get in, embarrassing themselves and thus everyone enters the room on an equal social standing.

Though, from this, the question should be asked; is this is forcing a way of interaction on the user, or is it responsive to the buildings cultural needs? Certainly, it is apparent that such tea houses are a successful gauge of Japanese culture and play a significant, singular role. However, this question is not necessarily limited to sukiya, but to be asked of any architect/building. Parallel to such question, are topics covered in #*Architecture of the Twentieth Century*# last semester. Japanese modern architecture was presented, and some discussion was given to the acceptance modern architecture receives in Japan. Particular focus was given to private residences, and how an architect can impose their beliefs and way of living onto someone else. Generally, the Japanese people who had homes designed by people such as Toyo Ito or Kengo Kuma were receptive of their designs, no matter how unusual, and embraced a unique way of living. Evident in my last post is the Japanese deference for cultural influences in building; modern architecture that successfully attempts to maintain bonds with cultural customs. Tadao Ando /describes/ the wabi-sabi ideal as applied, at the most basic of levels, to a building: “The Japanese view of life embraced a simple aesthetic that grew stronger as inessentials were eliminated and trimmed away.” It is humble in materiality, and distinctly unconventional in nature, qualities that could correspond with Ando’s buildings. This examination of the Japanese tea house is important, as the ‘sukiya’ is a good exemplar of a buildings tectonics solely being a response to cultural needs, the wabi-sabi principle is adhered to through materials and form.