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Shokunin.com, Kyoto-shi (2026)

19/05/2026

[Sobayu]

At the end of a meal at a soba restaurant, "sobayu" is brought to your table. This smooth, mellow hot water is not mere cooking water; it is a concentrated essence of soba flavors and nutrients that have dissolved into it during the boiling process. Even during the Edo period, soba restaurants practiced the custom of serving sobayu at the conclusion of the meal. The style of drinking sobayu as the grand finale of a meal has been passed down to the present day as a quintessential element of sophisticated Japanese culture.

The "Honcho Shokukagami" (Mirror of Food in Our Empire), a comprehensive book on foods published in the 10th year of Genroku (1697), contains a description of drinking the water in which soba was boiled. This reveals that people were already enjoying sobayu more than 300 years ago.

The custom of drinking sobayu is said to have originated in famous soba-producing regions such as Shinshu. When travelers from Edo visited Shinshu, they were served sobayu immediately after their meal. When the curious travelers asked why, they were told, "Drinking sobayu after eating soba aids digestion." They brought this custom back to Edo, introducing it as the "Shinano Style," which became the catalyst for its widespread popularity among Edoites.

In those days, when processing technology was still undeveloped, soba often retained many hard buckwheat hulls, frequently causing indigestion and stomach upset. Soba is rich in high-quality protein, which forms the building blocks of the body, as well as vitamins B1 and B2, which support recovery from fatigue. However, because these nutrients dissolve easily in water, a significant amount transfers into the water during the boiling process. Therefore, drinking sobayu was a highly logical habit to absorb all the nutritional benefits of buckwheat without any waste.

Everyone may have their own preferred way to enjoy sobayu. First, pour it into the remaining dipping sauce to enjoy the exquisite harmony between the umami of the dashi broth and the aroma of the buckwheat. Adding a small amount of wasabi or green onions according to your preference will further elevate the fragrance. If you have extra sobayu left over, we highly recommend using it in your daily cooking. The water, infused with the rich umami of buckwheat, makes a perfect base for miso soup or broths. The natural thickness helps keep the dish hot, imparting a deeper, more profound flavor to your everyday soup.

Artisanal handcrafted tools can enrich your sobayu ritual even further. Kobo Aizawa's Straight Pot has a full capacity of approximately 400ml, making it the perfect size for serving about two cups of sobayu to the dining table. Its clean, stainless-steel appearance blends seamlessly into any table setting, whether Western or Japanese. The drip-free spout ensures smooth, clean pouring right down to the last drop. Additionally, Seiryugama's Soba Cup boasts a delightful texture that feels as if it clings naturally to your hands. When held with both hands, the gentle warmth of the sobayu radiates through the porcelain, bringing a soothing sense of comfort on cold days.

Savoring hot sobayu at a relaxed pace from your favorite vessel after enjoying a delicious meal—why not introduce such a peaceful moment into your daily life?

Kobo Aizawa's Straight Pot
https://www.shokunin.com/en/aizawa/pot.html
Seiryugama's Soba Set
https://www.shokunin.com/en/seiryu/soba.html
Kurikyu's Magewappa Soba Set
https://www.shokunin.com/en/kurikyu/soba.html
Otera Kohachiro Shoten's Kanamari M *Prices will increase in the near future due to the rising cost of raw materials. If you are considering a purchase, please place your order as soon as possible.
https://www.shokunin.com/en/otera/kanamari.html
Koishiwarayaki's Tobikanna Kozara
https://www.shokunin.com/en/koishiwara/

References
https://www.nikkoku.co.jp/entertainment/sobajiten/007.php
https://www.nikkoku-shop.net/blog/column/2025/1629/
https://otaruiroha.com/?p=244

18/05/2026

[SUMO]

Earlier this year, I took a night walk through the streets of Ryogoku. The powerful presence of the Kokugikan looming against the night sky, and the "furedaiko" (announcement drums) rolling through the streets to announce the upcoming tournament, immediately sparked my curiosity.

Sumo began as a ritual dedicated to the gods to pray for a bountiful harvest. Stories of gods testing their strength are recorded in the "Kojiki" (Records of Ancient Matters) and the "Nihon Shoki" (The Chronicles of Japan). This traditional sport, which originated from trials of strength and wrestling—an expression of the human fighting instinct—saw "Tenran-sumo" (sumo bouts performed before the Emperor) continue for 300 years. From the Kamakura period through the Sengoku period, it was actively practiced as combat training for samurai. Oda Nobunaga was also a passionate enthusiast of sumo, and he would even employ those who won through the tournaments as his retainers. Entering the Edo period, professional sumo wrestlers emerged from among masterless samurai (ronin) and men proud of their strength, and "Kanjin-sumo" came to be held across the country.

"Kanjin-sumo" refers to sumo tournaments held to raise funds required for building or repairing the main halls and gates of temples and shrines. In the early days of the Edo shogunate, these tournaments were held throughout the country, centered on Kyo, Osaka, and Edo. At one point, sumo performances were banned due to concerns over disturbing public morals, but during the peaceful and prosperous mid-Edo period, the shogunate shifted to permit Kanjin-sumo. In Edo, it was held in various locations such as Tomioka Hachiman Shrine in Fukagawa, Ekoin Temple in Honjo (Ryogoku), and Tenjin Shrine in Yushima. Later, it was increasingly held at Ekoin Temple, which became the main venue in Edo. With the emergence of legendary wrestlers and the appearance of a huge temporary structure made of reed screens erected within the temple grounds, "Kanjin Ozumo" was born. This marked the birth of professional sumo wrestlers who could support their livelihoods through the income earned from these performances.

Eventually, popular wrestlers were employed by daimyo families who favored sumo, and by winning, they played a role in raising the prestige of the daimyo's house name. There is a senryu poem that describes the lifestyle of these wrestlers: "A fine man who makes a living for a year in twenty days." Since a single tournament lasted for 10 fine days and there were two tournaments a year in spring and autumn, it meant they could get by just by wrestling for a total of 20 days in spring and autumn. In reality, life was apparently not quite that elegant, but it is a very intriguing senryu, isn't it?

The May Tournament has begun in Ryogoku, and tickets are already completely sold out. The area around Ryogoku must be bustling. The London tour last year, which was a massive success, is still fresh in our memory, and the interested gazes of the overseas spectators looking at Japanese tradition left a deep impression. In June, the Paris tour will be held for the first time in 30 years. I am already excited to see how "SUMO" will blend into the streets of Paris.

And please do not forget the sumo wrestlers at our store! These are incredibly charming porcelain dolls made by Ceramic Japan. There are four poses in total: "shiko" (stomping) and "shikiri" (preparing for the bout), along with the highly humorous "hirune" (napping) and "akubi" (yawning), all of which fit right in the palm of your hand. Perfect for an entranceway! These highly popular dolls are sure to bring a smile to your face just by looking at them.

The other item is straw craft made by Waramu, a group of artisans in Minami-Shinshu, Nagano Prefecture. They select and use six types of rice straw according to the characteristics of each product, including the rare ancient rice variety "Shirage mochigome" (Shirage glutinous rice).

Shirage mochigome is called "Kachi-wara" (winning straw) because it resists falling to the ground even when a storm hits. In the world of sumo, where touching the ground with any part of the body other than the soles of the feet ("tsuchi ga tsuku," meaning getting soiled with dirt) signifies a loss, this straw is regarded as an auspicious omen and is used for the "dohyo-dawara" (ring bales) of the official Grand Sumo tournaments. These days, I find myself fascinated not only by the powerful bouts themselves but also by the rich stories surrounding "SUMO."

Ceramic Japan's Sumo
https://www.shokunin.com/en/ceramicjapan/sumo.html
Waramu's Pot Mat
https://www.shokunin.com/en/waramu/potmat.html
Ginza Showroom
https://www.shokunin.com/en/showroom/ginza.html

References
https://www.sumo.or.jp/IrohaKnowledge/sumo_history/
https://www.library.metro.tokyo.lg.jp/portals/0/edo/tokyo_library/sumo/index.html

17/05/2026

[Chicken Adobo and Renge Fork]

The other day, I found some chicken drummettes at the supermarket for a very reasonable 68 g per 100 g, so tonight I made Filipino "chicken adobo" for the first time in a while.

Adobo is a dish where meat or seafood is marinated in vinegar, soy sauce, sugar, black pepper, and bay leaves, then seared until fragrant and simmered thoroughly. Both the searing and simmering can be completed entirely in a single Rikucho Ogasawara's Fish Pan. Since it pairs beautifully with white rice, I highly recommend serving it as a one-plate meal on a Hasami's Plate along with some side vegetables.

Today, there was an item that played a fantastic role on that plate of chicken adobo: Yosh*ta Handi-Design Studio's "Renge Fork." Not only can you use it to scoop up rice just like a regular Chinese soup spoon, but you can also use the prongs at the tip to pierce the meat or eat broccoli like a fork. It is also very convenient for cutting soft items like boiled eggs.

This dinner truly made me appreciate how well a one-plate dish pairs with the Renge Fork, which beautifully performs two roles in one. You can see and hold the Renge Fork in person at our showrooms. Please come and experience how naturally it fits in your hand.

Yosh*ta Handi-Design Studio's Renge Fork
https://www.shokunin.com/en/yosh*ta/cutlery.html
Hasami's Plate
https://www.shokunin.com/en/Hasami/plate.html
Rikucho Ogasawara's Fish Pan
https://www.shokunin.com/en/rikucho/fishpan.html
Honma Kazuu Shoten's Straw Pot Stand L
https://www.shokunin.com/en/honma/nabeshiki.html
Okubo House Mokkosha's Ladle Spoon
https://www.shokunin.com/en/okubo/otama.html
Showroom Information
https://www.shokunin.com/en/showroom/
Chicken Adobo (Recipe)
https://philippinetravel.jp/filipino-recipes/chicken-adobo/
Adobo in the Philippines (Article)
https://en.shokunin.com/archives/51912629.html

14/05/2026

[Shirakawa-go]

The famous opening line, "The train came out of the long tunnel into the snow country," flashed through my mind as a brilliant, almost blinding landscape of pure white snow unfolded before my eyes. I had set out from Meitetsu Nagoya Station on a highway bus bound for Shirakawa-go in Gifu Prefecture. Because of the early morning departure, I fell into a light doze soon after boarding. I woke up just as we entered a tunnel on the expressway, and the moment we emerged, it was a world of silver. For someone from Kyushu who has rarely experienced snow, this sight alone filled my heart with anticipation.

The Ogimachi Gassho-zukuri Village in Shirakawa-go is an agricultural mountain community surrounded by peaks in Shirakawa Village, Ono District, Gifu Prefecture. It is one of Japan's heaviest snowfall areas, covered in snow for about four to five months each winter. In 1995, along with Gokayama in Toyama Prefecture, it was registered as a UNESCO World Cultural Heritage site as the "Historic Villages of Shirakawa-go and Gokayama." The characteristic steeply pitched roofs of the gassho-zukuri houses were designed not only to withstand the weight of the snow but also to facilitate sericulture (silkworm raising) in the attic spaces—a necessity for a region where flat land was scarce and farming alone was insufficient for a livelihood. In 1971, the village of Ogimachi established three principles: "Do not sell, do not rent, and do not destroy," working together to protect the scenery of Shirakawa-go. The re-thatching of the roofs is carried out by the entire village under the spirit of Yui, a system of mutual aid where residents support one another. Witnessing the structure of a gassho-zukuri house, where thick, solid timbers are meticulously and powerfully lashed together, I felt the profound sentiments of the people who have passed down a way of life in this harsh environment through cooperation. At the same time, I felt that protecting this landscape is not the responsibility of the residents alone, but rests equally upon us who visit.

Although a short distance from the center of the village, the Gassho-zukuri Minkaen (Open-air Museum) is a highly recommended spot where you can observe these houses closely in a serene setting. This outdoor museum features relocated houses that were actually lived in, preserving 25 buildings, including nine designated as Important Cultural Properties of Gifu Prefecture. I only passed a few people within the grounds; most were solo travelers with cameras, quietly taking in the sights. The sunlight reflecting off the untouched, pristine snow was so dazzling that I was moved to wordless emotion, realizing that such a beautiful winter landscape existed in Japan.

Stepping into a gassho-zukuri house that serves as a rest area to warm up with some zenzai (sweet red bean soup), I was surprised to find an irori (sunken hearth) in use. Drawn to the crackling fire in the winter chill, I took a seat by the hearth. Before long, a French woman traveling alone joined me, and a natural conversation began about our travels and what had impressed us most. I imagined the lives of the people in this snow country—how, despite the harsh cold and deep snow outside, the warmth of the irori and the presence of family must have filled the home. What struck me most about my first experience with an irori was the smoke. The interior was smokier than I had imagined, and due to the structure of the gassho-zukuri, the smoke rose higher and higher. Climbing the ladder-like stairs to the third floor, the smoke stung my eyes. I realized then that this very smoke provided insect-repelling and preservative effects for the attic timbers and thatch, allowing the gassho-zukuri to last for generations. There is a world of difference between knowing something through imagination or knowledge and experiencing it firsthand. Along with the scent of smoke that clung firmly to my clothes and hair, the beautiful, original landscape of Japan created by the gassho-zukuri and the snow became an unforgettable memory etched in my heart.

Gassho-zukuri is the culmination of human wisdom and ingenuity, utilizing the blessings of a harsh yet rich nature to adapt to a severe environment. Many of the crafts we carry at Shokunin.com are also made from natural materials such as plants, stone, and earth, combined with the local climate and the skill and experience of artisans. They are all expressions of the wisdom and ingenuity of Japanese life. Encountering these products firsthand at our showroom might lead to an unexpected discovery. We look forward to seeing you at our showroom to help make your experience a wonderful one.

Showroom Information
https://www.shokunin.com/en/showroom/
Gassho-zukuri Minkaen
https://maps.app.goo.gl/coeWzNUmJ1iCjfqU7

References
https://www.kankou-gifu.jp/article/detail_11.html
https://shirakawa-go.gr.jp/highlights/
https://en.wikipedia.org/wiki/Historic_Villages_of_Shirakawa-g%C5%8D_and_Gokayama
https://www.shirakawago-minkaen.jp/facilities

13/05/2026

[Price Revision Notice]

Due to the rising cost of raw materials, several items will increase in price on 2026/5/30-2026/7/1. If you are considering purchasing, please place your order before then.

fresco
https://www.shokunin.com/en/fresco/kasumibowl.html
FUTAGAMI
https://www.shokunin.com/en/futagami/coaster.html
Nousaku
https://www.shokunin.com/en/nousaku/glass.html
SIWA
https://www.shokunin.com/en/siwa/
Kuwana Imono
https://www.shokunin.com/en/kuwana/kayariki.html

10/05/2026

[The Connection Between Nordic Design and Mingei]

Visiting the Aalto House in Finland, I noticed elements of Japan—such as sudare (bamboo screens) and sliding doors—woven throughout the space. Since then, I have often contemplated the relationship between Japanese and Nordic craftsmanship.

The Aalto House was the residence of the world-renowned Finnish architect Alvar Aalto. Although he never visited Japan, he reportedly drew significant inspiration from the country. When I lived in Denmark, I was surprised to realize how deeply Japan and the Nordic countries are drawn to each other’s cultures and designs. The simple, minimalist beauty that strips away unnecessary ornamentation and designs that highlight the essence of natural materials—the peculiar sense of "fitting just right" when looking at Japanese and Nordic crafts likely stems from this shared aesthetic. In recent years, a new interior style called "Japandi"—a portmanteau of "Japanese" and "Scandinavian"—has emerged in the West.

The origins of what is now called "Nordic design" primarily emerged during the Mid-Century era, around the 1950s. Iconic designers such as Alvar Aalto, Eero Saarinen, Arne Jacobsen, Hans J. Wegner, and Kaj Franck produced one masterpiece after another. Through exhibitions like "Good Design" at MoMA in New York (1950–1955), which showcased "good lifestyle products," and "Design in Scandinavia," which toured American cities over four years starting in 1954, Nordic design became a global phenomenon via the United States. These masterpieces have been loved across borders, forming the foundation of Nordic design that continues today.

Looking at the history of Nordic Mid-Century design and the Japanese Mingei (folk art) movement, one finds many connections. Gregor Paulsson, chairman of the Swedish Society of Crafts and Design, published "Better Things for Everyday Living" (Vackrare vardagsvara) in 1919. In it, Paulsson argued how the design of everyday objects could improve lives, advocating that artists should collaborate directly with factories to provide high-quality daily goods to all social classes. This was approximately seven years before Soetsu Yanagi coined the term "Mingei" in 1925 and proposed "Yo-no-Bi" (the beauty of utility) through the Mingei movement.

Almost simultaneously, movements to re-evaluate traditional handicrafts and rethink the beauty of everyday objects occurred in both Japan and the Nordic countries. While Soetsu Yanagi shone a spotlight on ordinary goods previously dismissed as "getemono" (low-quality items) to protect vanishing traditions of handwork, Paulsson aimed to democratize beautiful daily objects through the power of factories. While Nordic design and Mingei share a common belief in the "beauty of life" and "beauty of utility," their approaches differed fundamentally—anonymity versus authorship, and handwork versus mass production.

In fact, Soetsu Yanagi and Shoji Hamada first visited Sweden in 1929. Their visits to Skansen, the world's first open-air museum, and the Nordic Museum (Nordiska Museet) significantly influenced the founding of the Japan Folk Crafts Museum. In the museum's prospectus, Yanagi stated, "Let us first refine objects in quality rather than perfecting them in quantity." Inspired by the Swedish model of introducing handicrafts through demonstrations, he resolved in Sweden to build a collection guided by his own unique aesthetic eye. Furthermore, Wilhelm Kåge and Stig Lindberg—designers representing the famous Swedish pottery Gustavsberg—and Kaj Franck of Finland’s Arabia visited Japan in the 1950s. They brought the spirit of Nordic design to Japan while introducing Japanese crafts back to their home countries.

Sori Yanagi, a leading product designer of Japanese modernism and the son of Soetsu Yanagi, is known for creating many long-selling items that balance design and utility. By giving form to "Yo-no-Bi" through mass production—an approach shared with Nordic design—Sori Yanagi succeeded in delivering beautiful, high-quality everyday objects to a wider audience. The aesthetics and attitudes toward craftsmanship born in the distinct lands of Japan and the Nordic region, along with the paths carved by their predecessors, will undoubtedly continue to create timeless products that enrich the lives of people around the world.

Showroom Information
https://www.shokunin.com/en/showroom/
Shoji Hamada Memorial Mashiko Sankokan Museum
https://maps.app.goo.gl/7j8uiPaHbXW2Qret8
Kogensha Sendai
https://maps.app.goo.gl/J1szbMYqEFuAasZs6

References
Chiharu Watabe, "The Concept of Nordic Design," Seibundo Shinkosha (2022)
https://www.alexcious.com/en/campaign/japanesemodern
https://tacksamycket.jp/blogs/nordic-guide/nordic-tableware-utility-beauty-yanagi-soetsu

09/05/2026

[Choosing the Right Teaware to Enjoy Japanese Tea]

We have entered the season of vibrant, fresh greenery. Every year, around May 2nd, the 88th day from the first day of spring, known as "Hachiju-hachiya" (the 88th night), marks the transition from spring to summer. Shincha (new tea) harvested during this period is cherished as a lucky charm for health and longevity. While I often rely on the convenience of tea bags for my daily cup, the desire to mindfully savor the blessings of the season led me to look closer at teaware, only to be surprised by the profound variety available.

The names are diverse: yunomi, kumidashi, senchawan, and gyokuro-chawan. As someone not accustomed to brewing tea in a kyusu (teapot) on a daily basis, I didn't clearly understand the differences and wondered which one to choose if I were to welcome just one type into my home. Surprisingly, sobachoko (soba dipping cups) are also strong candidates. Each piece varies in material, shape, thickness, and how it releases aroma or feels against the lips. These distinct characteristics seem to influence the very taste of the tea, and selecting a vessel that matches the season or the spirit of hospitality seems to make the experience even more delicious.

Yunomi is the most familiar type of teaware. They are often cylindrical and designed for easy daily use. Sized to be held in one hand, they transmit a comforting warmth and fit naturally with meals or daily snacks. They are well-suited for Bancha or Hojicha.

Kumidashi typically have a wide mouth and a shallower profile. Often used with a saucer (chataku) when hosting guests, their shape allows the aroma to spread and the rising steam to be seen, creating a relaxing atmosphere.

Senchawan are small and thin-walled. They are ideal for savoring high-quality Sencha brewed at lower temperatures. Vessels made of white porcelain or finished with pale glazes accentuate the color of the tea, allowing for visual enjoyment as well.

Gyokuro-chawan are specialized vessels for slowly appreciating the umami and aroma of Gyokuro. They are remarkably small, thin, and delicate. They facilitate a luxurious moment where one can perceive the soft fragrance and the sweetness that spreads across the palate.

Finally, while Sobachoko were originally intended for dipping sauce, their exquisite shape and size—with a wide opening and a well-proportioned body—make them incredibly versatile. They serve perfectly well as tea vessels and even suit coffee, much like a mug.

Under the cheerful early summer sun, a light vessel that fits comfortably in the hand feels just right. Simple yet characterful ware enhances the refreshing scent of green tea and harmonizes beautifully with Hojicha or Bancha. After much deliberation, the one thing I decided on was that I wanted to enjoy the color of the tea alongside the shifting seasons.

The smooth texture of Seiryugama’s work features a white glaze named "Zansetsu" (Lingering Snow), which expresses a mountain during the spring thaw and is synonymous with the kiln. While retaining a natural and gentle feel, this vessel allows the vivid, fresh green of the tea to stand out beautifully against the soft white background. Each time I pour a cup, I feel the refreshing presence of early summer, promising a truly enriching moment.

Seiryugama's Yunomi (Teacup)
https://www.shokunin.com/en/seiryu/yunomi.html
Seiryugama's Kumidashi
https://www.shokunin.com/en/seiryu/kumidashi.html
Seiryugama's Senchawan (Sencha Cup)
https://www.shokunin.com/en/seiryu/sencha.html
Seiryugama's Sobachoko
https://www.shokunin.com/en/seiryu/soba.html

References
https://www.nihonwasyokutakubunka.com/column/2942
https://www.e-cha.co.jp/contents/yunomi-erabikata/
https://nihoncha-salon.com/senchadou/what-is-senchawan/

08/05/2026

[A New Landscape Unfolding at Otaru Port]

When thinking of the iconic scenery of Otaru, Hokkaido, the Otaru Canal immediately comes to mind. However, the proximity of the port to the city center is another landscape uniquely characteristic of Otaru. The port is right at the edge of the city, with the gentle slope of Chuo-dori Street leading directly from Otaru Station to Pier No. 3. This area is familiar to citizens as the venue for the "Otaru Ushio Matsuri," the city's largest festival held every summer, and it is a place where one can easily stop by while sightseeing. I also find myself visiting occasionally, just to gaze out at the sea.

Redevelopment of this area began in 2014, with improvements made to the wharves and terminal facilities. Since 2024, the port has begun welcoming large 140,000-ton class cruise ships, with 33 port calls recorded last year. On days when these massive vessels are moored, the scenery at the pier feels even more dynamic.

The other day, I visited the newly developed green space, "Otaru Port Square." The park is an open space where you can feel the sea close at hand, and with many people relaxing on benches, it seems set to become a new seaside retreat. Looking down at my feet, I noticed a difference in the colors of the paving blocks. This design marks the former site of the "Chuo Sanbashi" (Central Pier), which once bustled with people. Compared to the current piers, this pier, which thrived from the Meiji to the Taisho era, felt quite small.

Around 1923, when the Otaru Canal was completed, passengers would transfer from large ships anchored offshore to small wooden boats called "hashike" (barges) to land at this very pier. It is said that at its peak, as many as 600 barges bustled about, making the port incredibly lively. Eventually, as modern piers were developed, the Central Pier fulfilled its role and disappeared. Yet, standing here, one's imagination expands, picturing the countless people who once stepped onto this land with hearts full of expectation.

Beyond the square stands a tourist boat terminal with a modern design. The form of the roof, stretching toward the sky, is said to symbolize the future expansion of Otaru City. By overlaying a design oriented toward the future onto a site where one can sense past history, the space itself becomes a continuous expression. It made me realize once again the power and fascination of design.

From here, you can also take a sightseeing boat to tour the Niseko-Shakotan-Otaru Kaigan Quasi-National Park. Watching the sparkling sea, I felt my heart naturally grow calm. In today's information-saturated society, it is important to occasionally stop and take the time to slowly take in the scenery.

Otaru Port Square is just a few minutes' walk from our Otaru Showroom along the canal. When you visit us, please consider extending your walk to this area.

Otaru Showroom
https://www.shokunin.com/en/showroom/otaru.html
Otaru Port Square
https://maps.app.goo.gl/tFXQqAztDBw5Tj9u5

Reference
https://www.kanchi.or.jp/minato/vol/pdf/150/150_07.pdf

04/05/2026

[Kudan House]

Kudansh*ta, where the Nippon Budokan and Yasukuni Shrine are located, is a recommended area for a leisurely stroll, as it is not as crowded as one might expect despite having many famous spots. Kagurazaka is within walking distance if you extend your walk a little, and Jinbocho, the town of curry and secondhand bookstores, is also close by. Did you know that in a corner of Kudansh*ta stands a historical Western-style mansion called "Kudan House"? Originally the residence of businessman Mankichi Yamaguchi, this mansion was built in 1927 in a Spanish-influenced style by the most popular architects and designers of the time.

The Yamaguchi family was a wealthy farming family in Oguni, Kariwa District (now Ogunimachi, Nagaoka City, Niigata Prefecture), and served as the village headmen (Oshoya) who managed the region. Since the Meiji era, they have founded many businesses in oil, railways, finance, and electric power, contributing significantly to the development of Niigata Prefecture. The owner of the "Former Mankichi Yamaguchi Residence," the fifth-generation Mankichi, was born in 1897. After experiencing the Great Kanto Earthquake, he was deeply impressed by Tachu Naito, known as the "Father of Earthquake-Resistant Construction," and adopted Naito's structural design of wall-type reinforced concrete. As a result, while many wooden buildings were destroyed in the Great Tokyo Air Raid of 1945, Kudan House escaped the disaster and remains almost exactly as it was when it was first built.

Mankichi also possessed excellent artistic sensitivity and was deeply committed not only to the building itself but also to the furniture and decorative fittings; the cost of the decorations was reportedly almost equal to the construction cost of the building. Many of these decorations still remain inside and outside the building today, but during the war, they were "evacuated" to Nagaoka to avoid the air raids. However, Nagaoka was also subjected to air raids, and there were various dramas, such as the items being burned along with the railway freight cars during transport. After the end of the war, like many other valuable buildings, it was requisitioned by the GHQ. After its return, it was left in the hands of others for nearly 20 years before being used again as a residence by the family of Mankichi Yamaguchi's son from 1963. It is a miraculous building that has survived 90 years of turbulent times without being demolished, remaining in almost its original form despite its location in the heart of Chiyoda-ku, Tokyo.

Inside the residence, the earthquake resistance is remarkable, with walls reaching a thickness of 8 sun (approx. 24 cm). In addition to its charming appearance with arches and Spanish tiles, the mansion is an open residence where one can feel the four seasons, featuring numerous semi-outdoor spaces such as a Japanese-style room for guests, a living room designed as a dance hall, a screen porch facing the garden, a veranda on the second floor, and a rooftop on the third floor. The underground space, where a boiler technician lived and worked, was also surprisingly spacious.

Usually, it is a Registered Tangible Cultural Property of Japan that is closed to the public, but it can be visited during exhibitions and events. You can enjoy a space where historical architecture, art, and new power and sensitivity merge, so please check it out. Currently, "MARTIN MARGIELA AT KUDAN HOUSE" seems to be held there. How about including it in your walking route during this pleasant May season?

Kudan House (Mankichi Yamaguchi Residence)
https://maps.app.goo.gl/WhnMSUwuLru3SGB27
Ginza Showroom
https://www.shokunin.com/en/showroom/ginza.html

References
https://kudan.house/
https://martinmargielaatkudanhouse.jp/

Shokunin.com

19/05/2026

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