A Harmonious Means for Modernity in This 100-Yr Outdated House


In comparison to the lively buzz of Tokyo, town of Kyoto nonetheless operates at a satisfyingly measured hum, holding a lot more than a veneer of the rustic’s deep seated traditions, crafts, and historical past. This can be a town the place heritage nonetheless survives regardless of the encroachment of recent conveniences and applied sciences, and the place the historical past of many companies will also be measured in a long time…or much more than a century.

MAKHNO Studio, a Ukrainian studio devoted to fresh Ukrainian structure, inner design, and ceramics, was once tasked to thoughtfully replace a bit of a century-old area in Kyoto in recognize to this enduring spirit of historical Eastern tradition – to scrupulously upload “a drop of Ukrainian colour to the Eastern context.”

Dimly sunset-lit room with floor seating and center table for four people. In the background can be seen a nearby Japanese home's roof alongside a hanging tea kettle through two large rice paper screen doors.

Owned by way of a circle of relatives with youngsters, the century-old KYOTO HOUSE nonetheless wears a discernible level of its conventional heritage as exhibited by way of the rooms’ textured clay wall surfaces, unique tatami mats, shoji monitors, and a ground plan optimized for furniture positioned nearer to the bottom. The circle of relatives makes use of this segment of the house to degree conventional tea ceremonies and accommodate for in a single day visitors. The problem introduced to MAKHNO Studio was once discovering the gentlest trail towards recovery, using most effective touches of modernity with a conscientious care to deal with its historical atmosphere.

Wassily armchairs and small side stools set across tatami flooring with sliding rice paper partitions and windows nearby, with numerous contemporary and traditional ceramic pieces decorating a nearby storage shelf.

A couple of Wassily Chairs by way of Marcel Breuer for Knoll on paper might appear incongruous with the standard Eastern components, however positioned thoughtfully as visible bookends, the seamless tubular body and black leather-based blends pleasantly into its presented environment.

Golden gilded folding room screen decorated in traditional Japanese flower painting in background, with Wassily armchairs and small side stools near the front of the photo with tatami flooring throughout.

The inner is characterised by way of its “shoin-zukuri” or “find out about taste” detailing with origins spanning again to the dwellings of Zen clergymen and samurai of the fifteenth to sixteenth centuries, an architectural modus vivendi known by way of rooms incorporating rice paper walls and shoji sliding doorways.

Traditional Japanese futon with ornate reclaimed wood headboard across tatami floors with wall-sized gilded and art decorated folded room screen.

Three modern zoomorphic ceramic sculptures set across small antique Go boardgames playing table.

Red lotus leaf shaped lacquer tray with small cups and tea ceremony preparation items set across old weathered side table with small Buddha sculpture nearby.

Small vertical bamboo partition connecting the home's entryway into the other sections of the guest tea house.

Japanese woman in traditional kimono kneeling with traditional Japanese tea ceremony bowl, whisk and scoop in front of her on tatami mat and lone candle to the right dimly illuminating the room's corner. Partially shade covered view of surrounding garden is visible.

Japanese woman in traditional kimono kneeling with traditional Japanese tea ceremony bowl, whisk and scoop in front of her on tatami mat.

New components of Ukrainian aesthetics had been presented to interaction with the unique components, together with Ukrainian zoomorphic ceramics, plates, and earthenware by way of MAKNO Studio’s personal Slavko Odarchenko, art work by way of artist Oleksandr Babak, in addition to conventional and fashionable Eastern graphics. The additions are refined, with the sum of its impact upon the whole thing of the distance speaking the house operates now not as a museum, however as a usable house conscious of the current.

Abstract splattered brush stroke modern art painting by Oleksandr Babak in black and red hanging over a collection of Japanese calligraphy paintbrushes suspended by hook on stands across small surface dedicated to calligraphy.

Abstract splattered brush stroke modern art painting by Oleksandr Babak in black and red hanging from darkened corner of a room.

Calligraphy paintbrushes set to the left of a well worn paper journal.

The waves of time left lines on [the home], making it distinctive. Due to this fact, when reconstructing it, it was once essential to not spoil those emotions, however quite to refine and reinforce them by way of including a drop of Ukrainian colour to the Eastern context.

Entryway cabinet decorated with traditional Japanese artwork, scrolls, and small objects of decor set across black tile floor, sliding rice doors to the right and bamboo partition to the left.

A wall filled with the collection of Japanese artistic ceramics from different schools and periods in the background with floor seating and table for two in the foreground.

A minimalist ikebana association of seasonal crops is positioned as an embodiment of the foundations of wabi and sabi: an appreciation of the wonder inherent within the transience of time.

Detail of shelf filled with numerous Japanese ceramic bowls and small DIDO ceramic sculpture designed by MAKHNO Studios.

Detail shot of traditional Japanese hanging teapot, with garden views in the background.

MAKHNO Studio's Serhii Makhno on his stomach across a tatami floor interacting with a traditional Japanese hanging teapot, with garden views in the background.

Overhead shot of traditional Japanese wood boxes, a large stone, and small lacquer bowl all set on top of a Go boardgame board.

A “roji,” or small tea lawn, welcomes visitors with poetic landscaping embellished with Eastern ritual stones and Ukrainian DIDO artwork sculptures from the MAKHNO workshop. The small items are positioned as protecting totems, shielding occupants from dangerous vibes and undesirable visitors.

Front view of the home's small tea garden entry lined with gravel, surrounded by lush traditional Japanese landscaping and tile roof, gently illuminated at dusk by a wall mounted light and small Japanese stone lantern.

Front view of the home's small tea garden entry called "roji", with lush traditional Japanese landscaping and tile roof.

Corner detail shot of the home's small tea garden called "roji", decorated with Japanese ritual stones and Ukrainian DIDO art sculptures from the MAKHNO workshop situated near a moss-filled ceramic bowl.

The KYOTO HOUSE embodies the harmonious convergence of 2 distinct cultures, inviting people to immerse themselves within the serene simplicity of savoring tea, connecting with our senses, and in appreciation of Eastern heritage. Or as succinctly said by way of MAKHNO Studio’s founder, Serhii Makhno: “It is a house for tea and lifestyles.”

Images by way of Naoki Miyashita.

Gregory Han is a Senior Editor at Design Milk. A Los Angeles local with a profound love and interest for design, climbing, tide swimming pools, and street journeys, a number of his adventures and musings will also be discovered at gregoryhan.com.



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