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Structural model of a teahouse, 2014
Kōbokusha
Full-scale model
Teahouses are constructed using minimally processed natural materials, such as logs and bamboo, reflecting the beauty of the natural world. Special techniques are required to seamlessly combine different materials, such as wood with bamboo or wood with stone. These techniques can be observed throughout the different parts of this structural model.
Portions of the walls, ceilings, and fittings have been partially removed to reveal the craftsmanship of the carpenters and plasterers. Visible areas are constructed using lightweight wooden components, with hidden sections reinforcing the structure. These include the toshi-nuki, a long lateral support beam connecting multiple pillars, and the chikara-nuki, which supports the ceiling and roof above.
This model is based on Sa-an, a famous teahouse built in 1742 at Gyokurin-in, a sub-temple of Daitokuji. The floor plan features three tatami mats with an intermediate board, curved pillars, and intricately designed windows and ceilings, embodying the sophistication of sukiya architectural design.*
Sa-an Teahouse, 1742
Jōshinsai style
Gyokurin-in, Daitoku-ji, Kyoto
Kōnoike Ryōei, an Osaka tea enthusiast and disciple of Jōshinsai (the 7th-generation head of the Omotesenke tea school), built the Sa-an Teahouse in 1742. Situated west of Nanmei-an – an ancestral tablet hall he constructed at Gyokurin-in, a sub-temple of Daitoku-ji – the teahouse was used to host memorial services held in the form of chanoyu tea gatherings.
Approaching through the rojimon gate to the northwest of the main hall and following the stepping stones, visitors are led to the west-facing exterior of Sa-an. Its gabled roof and deep eaves create the low, crouched appearance of a simple thatched hut.
The interior features a three-tatami layout. A middle board separates the two tatami mats of the guest area and the single tatami mat for the tea preparation area which includes a recessed alcove (tokonoma). The hearth is set in a recess in the middle board, and a central pillar is erected to form a platform for tea preparation. While the one-tatami space for the host would typically only require a chadō-guchi entrance, a secondary kyūji-guchi serving entrance is located next to the alcove to facilitate the host’s work.
The ceiling is structured in three layers: a flat ceiling above the alcove, a makomo or reed-lined dropped ceiling over the tea preparation area, and a hanging ceiling over the nijiri-guchi (small entrance). The most eye-catching feature is the central pillar, a slender pine log with its bark left intact, gracefully curving as it stands. Its playful presence is subtly integrated into the structure of the tearoom.
The dim interior lighting aligns with the Senke tea tradition of subdued brightness with only three windows: two renji-mado (lattice windows) and a shitajimado (unfinished lattice window).
Constructed with cedar and red pine, Sa-an reflects the masterful craftsmanship of sukiya carpentry.*
From the exhibition
The Craft of Carpentry Drawing Life from Japan’s Forests
(March – July 2025)
This exhibition reveals the essence of Japanese carpentry in three ways: through the work of temple and shrine carpenters (dōmiya daiku); that of teahouse carpenters (sukiya daiku); and joinery techniques (kigumi).
Since ancient times, Japan’s craftspeople have been shaping their social environment. Their work continues to permeate all aspects of life, contributing to everything from the everyday to the most sacred grand designs. Within this society, people have always been grateful for the blessings of nature and revered the innumerable kami – spirit-deities – residing in the natural world. Carpenters and woodcutters respectfully seek forgiveness from the forest kami before gathering the raw materials for their work. Understanding the individual qualities of trees and their environment is crucial to their activities.
The great 20th-century craftsman Nishioka Tsunekazu laid out a number of key principles. For temple construction, he advised using wood from a single mountain, and understanding the wood’s natural curves. Choosing the right wood is vital: trees grown on higher mountain slopes are ideal for structural elements such as beams and pillars, while those in the lower valleys are better for finishing materials. When used correctly, wood can last for generations. Timber is only a renewable resource if the growth period of the tree and the life of a building align. If we use a 1,000-year-old tree, we need to be prepared to take on more than 1,000 years of responsibility for the building we create.
The precision of Japanese woodworking is deeply rooted in a respect for nature, expressed through highly refined techniques and tools. In a land where iron is scarce, carpenters developed advanced joinery methods that do not rely on the use of nails. As we reconsider our relationship with our planet, these practices offer a wisdom that continues to resonate today.
[*Japan House]
Taken in Japan House
A bad rain storm came though my garden. The tomato plant was too top heavy and went down. It's twisted and mangled. I will need to evaluate the situation in the morning but I think the tomato plant is doomed.
Structurally sound external glazing solutions from AIS (aisglass.com) combine superior thermal properties with enhanced strength.
The stones were from a temple remodel somewhere in Thailand, the owner wanted to make sure that they would not fall down in an earthquake and he wanted the support to be artistic and invisible. www.ironrivercreations.com
### **Stephansdom, Vienna: A Brief History**
Stephansdom, also known as St. Stephen's Cathedral, is one of Vienna's most iconic landmarks and a symbol of Austria's history, culture, and architectural grandeur. Located in the heart of the city, Stephansdom has witnessed centuries of Viennese history and has become an emblem of the city's resilience and religious heritage.
#### **Early Beginnings: Romanesque Origins (12th Century)**
The history of Stephansdom dates back to the 12th century. The first structure on this site, a small parish church, was consecrated in 1147 during the reign of Duke Henry II (Jasomirgott) of Austria. Built in Romanesque style, this early version of the cathedral was far more modest than the grand Gothic structure that stands today.
#### **Expansion and Gothic Transformation (13th-15th Century)**
In the 13th century, the church was expanded, and significant Gothic elements began to reshape its appearance. The Duke of Austria, Rudolph IV, who is sometimes called the “Founder” (Der Stifter), played a pivotal role in the transformation of the cathedral. In 1359, Rudolph IV laid the foundation for the Gothic expansion of the church. He sought to elevate its status to a cathedral, which would signify Vienna’s importance within the Holy Roman Empire.
The most significant part of the Gothic expansion was the construction of the south tower (Südturm), which began in 1368. The tower stands at 136 meters (445 feet), and for many years it was the tallest structure in Vienna. The unfinished north tower, on the other hand, remains a symbol of the interrupted architectural ambitions during the late Middle Ages.
#### **Stephansdom During the Renaissance and Baroque Periods**
During the 16th century, the Renaissance period saw little structural change to the cathedral, though Vienna experienced political upheaval due to the Turkish sieges of the city. The cathedral served as a place of refuge for citizens during these turbulent times.
In the 17th and 18th centuries, the Baroque movement added some artistic elements to the cathedral's interior, with several altars, sculptures, and chapels being redesigned in the ornate style of the time. Despite these changes, Stephansdom largely retained its Gothic character.
#### **The Role of Stephansdom in Austrian History**
Stephansdom has been central to many significant moments in Austrian history. It was the site of the marriage of future Holy Roman Emperor Frederick III in 1452, and it has served as the location for numerous imperial ceremonies.
Perhaps one of its most poignant roles came during the Ottoman sieges of Vienna in 1529 and 1683. During both conflicts, the cathedral stood as a symbol of Vienna’s defiance, with citizens seeking shelter within its sturdy walls.
#### **World War II and Restoration**
Stephansdom survived for centuries relatively unscathed, but it was not spared during World War II. In 1945, as the war was drawing to a close, the cathedral was heavily damaged by bombings and subsequent fires. The roof was destroyed, and much of the interior was badly affected.
Despite the devastation, a major restoration effort was quickly undertaken. The rebuilding of the roof and restoration of the damaged sections were completed by 1952, symbolizing Austria’s recovery and resilience in the aftermath of the war.
#### **Modern-Day Stephansdom**
Today, Stephansdom remains a vital part of Vienna's religious and cultural life. It is the seat of the Archbishop of Vienna and an active place of worship. The cathedral is also a popular tourist destination, with visitors coming from around the world to marvel at its intricate Gothic architecture, including its stunning roof, adorned with colorful tiles forming the Austrian eagle.
Stephansdom’s famous "Pummerin" bell, housed in the north tower, is the largest in Austria and is rung only on special occasions. The cathedral’s catacombs, which hold the remains of important historical figures, and the viewing platform at the top of the south tower offer unique glimpses into both the past and present life of Vienna.
#### **Conclusion**
Stephansdom is more than just a religious building; it is a testament to Vienna's endurance through centuries of political, social, and cultural change. From its humble Romanesque beginnings to its Gothic grandeur and post-war restoration, the cathedral stands as a monument to the faith, artistry, and spirit of Vienna. Its soaring towers and intricate architecture continue to inspire awe, connecting visitors to the long and storied history of the city and Austria.