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\"\"<\/a>
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\n\"\"<\/a>
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English version\u2b07<\/p>\n

[Japanese interior space, Kamiyoshiga family \u2467 Shikoku living space-46]
\nA reasonable distance from the center of Japanese culture preserved the good living culture. Is it a Renaissance mother that high heat insulation and high airtightness should aim for?\u30fb \u30fb \u30fb<\/p>\n

This is the final episode of the Shikoku Ehime \/ Uchiko Kamihoga family housing exploration report that has continued for a long time.
\nThe photo shows the remote edge space and tatami room of the Kamiyoshiga family.
\nYou can see how the relationship and harmony with the courtyard constitutes the main tune.
\nThe alcove enhances the “dignity” of the house and gives it a garden feel.
\nA “hospitality” space that expresses the spiritual emotions of the master.
\nAnd a space where you can “love” the selection of tree species in the garden and its development composition.
\nIn addition, hanging scrolls between the floors and framed Japanese-style expressions bring harmony.
\nI’ve seen Wo Liang Sanso and Kikugetsutei in the same Shikoku, but
\nShikoku has a deep-rooted Japanese interior that considers this kind of Japanese culture to be the best.
\nIs such a spatial composition optimal even in the Japanese archipelago in terms of climate?
\nThe climate of “warm areas” has taken root.
\nIs this related to the location of Shikoku?
\nIt welcomes the central Kyoto culture of a certain period, such as Wo Liang Sanso and Kikugetsutei.
\nRather than originality, like “at Katsura Imperial Villa” or “The Stage of Kiyomizu”
\nIt seems to be a neat port of the architectural culture of that era.
\nIt seems to be the first to collapse in our Hokkaido residential construction
\nFaithful reproducibility to Japanese details is emphasized, and it has been transplanted with a high degree of perfection.
\nIn Hokkaido, these Japanese details were quickly judged to be irrelevant to the climate.
\nKiyotaka Kuroda, a pioneer who led the residential architecture of Hokkaido in the earliest period,
\nI visited Western houses and struggled with Japanese cold-weather houses by imitating them.
\nBecause there was no technology for cold regions in the Japanese architecture of the mother to be copied,
\nAs for the architectural style, after all, the original one was opened up by rationalism.
\nIn that sense, I strongly feel a far difference, but
\nBut on the contrary, it is said that culture remains purely in the marginal areas, so
\nI think you will get a strong sense of Japanese style like this.
\nUnlike Kyoto, Tokyo, and other intrusive living cultures such as those centered on power
\nYou can feel the essential Japanese-style living culture and the part that suits the texture of Japanese people.
\nA feeling of a good old living space mother similar to what the Western Renaissance aimed for.<\/p>\n

Players with such Japanese interiors look good too.
\nFrom the aspect that the Japanese chest is a storage device for Japanese clothes
\nIt has become rare because it has little affinity with Western-style costumes of modern lifestyle.
\nHowever, looking back at the main interior aesthetic space, the depth is deep.
\nBoth functionality and design are one of the extreme points of Japanese culture.
\nA device that embodies the beauty of Japan called “bride tools”.
\nIn addition, hanging scrolls and framed calligraphy are also typical Japanese sensitive devices.
\nA fusion of Chinese calligraphy and painting.
\nAnd the last photo is a stepping stone, but the craftsmen’s handicrafts
\nIt is fragrant to shine.\u30fb \u30fb \u30fb<\/p>\n","protected":false},"excerpt":{"rendered":"

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