草稿:町屋

  关于位于日本东京的一处火车和电车站，请见「町屋站」。

位于名古屋船入町的東松家住宅是大型町屋的一个典例

Machiya façade in Kyoto

Old fabric shop in Nara

町屋（日语：町屋（まちや））或町家（日语：町家（まちや））是日本各地常见的传统木制排屋建筑，典型的町屋常见于作为日本古都的京都。 町屋与“农家”共同构成了日本乡土建筑“民家”的两类主要建筑类型。

町屋的起源可追溯至日本的平安时代，此后经历代传承持续发展到江户时代乃至明治时代。町屋里通常居住着城市商人和工匠，这一阶层在当时的日本被统称为“町人”。町屋顾名思义便带有“町人居住的屋子”的含义。

京町屋

Hibukuro over the tōriniwa

View from tōriniwa over the wood-floored engawa into the row of rooms alongside

在京都的町屋，有时会被称为“京町屋”或“京町家”，在几个世纪以来形成了京都市中心建筑的代表性特征，从而也一定程度上代表了当时全日本范围内“町屋”的标准形式。

典型的京都式町屋是一种长木屋，其临街区域较为狭窄，可深入城市街区，内部通常还包含一个或多个小庭院花园，称为“坪庭”（坪庭（つぼにわ））。町屋一般由土墙和陶瓦屋顶组成，常为一层、一层半或两层高，在少数情况下可达三层。町屋的正面空间在传统上常用作商店空间，称为“店之间”（店の間），通常设有可以打开的滑动或折叠百叶窗用以展示商品。

商店空间后面的其余建筑部分一般被划分为不同的“居室部”，由带有凸起木地板和榻榻米垫覆盖物的分隔房间组成。此外还设有一个没有木制地板的泥地服务区域，称为“土间”或“通庭”（通り庭），其中包含厨房，也作为通往地块后方，即仓库所在的通道。

位于厨房上方的“火袋”既可作为烟囱用于排散烟气和热量，也可作为天窗在厨房内提供光线。传统上，地块的宽度是财富的象征，典型的地块宽度为5.4至6米（18至20英尺），但可深达 20（66 英尺），因此被称为“鳗鱼床”。A hibukuro（火袋） above the kitchen would serve as a chimney, carrying smoke and heat away, and also serve as a skylight, bringing light into the kitchen. The plot's width was traditionally an index of wealth, and typical machiya plots would be just 5.4至6米（18至20英尺） wide but 20米（66英尺） deep, leading to the nickname unagi no nedoko, or 'eel beds'.

The largest residential room in a machiya, located in the rear of the main building and looking out over the garden which separated the main house from the storehouse, was known as the zashiki（座敷）, and doubled as a reception room for special guests or clients. The sliding doors which made up the walls in a machiya, as in most traditional Japanese buildings, provided a great degree of versatility; doors could be opened and closed or removed entirely to alter the number, size, and shape of rooms to suit the needs of the moment. Typically, however, the remainder of the building might be arranged to create smaller rooms, including an entrance hall or foyer (genkan（玄関）), butsuma（仏間）, naka no ma（中の間） and oku no ma（奥の間）, both of which mean simply 'central room'.

One occasion when rooms would be altered significantly is during the Gion Matsuri, when families would display their family treasures, including byōbu (folding screen) paintings and other artworks and heirlooms in the machiya. Machiya also provided space for costumes, decorations, portable shrines (omikoshi（御神輿）), floats, and other things needed for the festival, as well as hosting spectators along the festival's parade route.

The design of a machiya was also well-suited for the climate of Kyoto; with cold winters and often exceedingly-hot, humid summers, multiple layers of sliding doors (fusuma and shōji) could be added or removed to moderate the temperature inside; closing all the screens in the winter would offer some protection from the cold, while opening them all in the summer offered some respite from the heat and humidity.

Machiya homes traditionally also made use of different types of screens which would be changed with the seasons; woven bamboo screens used in summer allowed air to flow through, but helped to block the sun. The open air garden courtyards likewise aided in air circulation and brought light into the house.

Design elements

Façade of a shop in the historic Matsuyama merchant quarter of Uda city, Nara prefecture; an example of machiya design, featuring kōshi latticework on the ground floor, earthwork walls on the second story with mushikomado windows and clay roof tiles.

The front of a machiya features wooden lattices, or kōshi（格子）, the styles of which were once indicative of the type of shop the machiya held. Silk or thread shops, rice sellers, okiya (geisha houses), and liquor stores, among others, each had their own distinctive style of latticework. The types or styles of latticework are still today known by names using shop types, such as itoya-gōshi (糸屋格子^?, 直译为「thread shop lattice」) or komeya-gōshi (米屋格子^?, 直译为「rice shop lattice」). These lattices sometimes jut out from the front of the building, in which case they are known as degōshi（出格子）. Normally unpainted, the kōshi of hanamachi (geisha and oiran communities) were frequently painted in bengara（紅殻）, a vermillion or red ochre color.

The façade of the second story of a machiya is generally not made of wood, but of earthwork, with a distinctive style of window known as mushiko mado (虫籠窓^?, 直译为「insect cage window」).

The main entrance into a machiya consists of two doors. The ō-do (大戸^?, 直译为「big door」) was generally used only to transport goods, or large objects, into the building, while the smaller kugurido（潜り戸）, or 'side door', was for normal, everyday use, i.e. for people to enter and exit.

Machiya often contain small courtyard gardens.

Community

Machiya communities can be compared to the hutongs of Beijing. Small neighborhoods made up of closely grouped homes organized on both sides of a narrow street, sometimes with small alleyways (roji（路地）) in between the homes, help to create a strong sense of community. In addition, many areas were traditionally defined by a single craft or product. The Nishijin neighborhood, for example, is famous for its textiles; sharing a craft contributed greatly to a sense of community among fellow textile merchants in this area.

Destruction

Machiya, despite their status as part of Japan's cultural heritage, have undergone rapid decline in numbers in recent decades, with many being demolished in order to provide space for new buildings. Many reasons for this decline exist; machiya are considered to be difficult and expensive to maintain, are subject to greater risk of damage from fires or earthquakes than modern buildings, and are considered old-fashioned and outdated by some. In a survey conducted in 2003, over 50% of machiya residents noted that it is financially difficult to maintain a machiya.

Between 1993 and 2003, over 13% of the machiya in Kyoto were demolished. Roughly forty percent of those demolished were replaced with new modern houses, and another 40% were replaced with high-rise apartment buildings, parking lots, or modern-style commercial shops Of those machiya remaining, over 80% have suffered significant losses to the traditional appearance of their façades. Roughly 20% of Kyoto's machiya have been altered in a process called 直译为「signboard architecture」（看板建築，kanban kenchiku）, retaining the basic shape of a machiya, but their façades have been completely covered over in cement, which replaces the wooden lattices of the first story and mushikomado windows and earthwork walls of the second story. Many of these kanban kenchiku machiya have also lost their tile roofs, becoming more boxed-out in shape; many have also had aluminum or steel shutters installed, as are commonly seen in small urban shops around the world.

In response to the decline in machiya numbers, however, some groups have formed with the express aim of restoring and protecting the machiya found in Kyoto. One such institution, the Machiya Machizukuri Fund, was established in 2005 with the backing of a Tokyo-based benefactor. The group works alongside individual machiya owners to restore their buildings and to have them designated as "Structures of Scenic Importance"（景観重要建造物，keikan jūyō kenzōbutsu）; under this designation, the structures are protected from demolition without the permission of the mayor of Kyoto, and a stipend is provided by the city government to the owners of the machiya to help support the upkeep of the building. Many of these restored buildings serve, at least in part, as community centers.

Iori, a company founded by art collector, author, and traditional culture advocate Alex Kerr in 2004 to save old machiya, owns a number of machiya which it restored, maintains, and rents to travelers. The company's main office, itself located in a machiya, houses a traditional arts practice space, including a full-size Noh stage.

现况

There are many machiya remaining in Kyoto. Many are private residences, while others operating as businesses, notably cafes, and a few are museums. The largest machiya in Kyoto is Sumiya in Shimabara, the traditional yūkaku (遊廓/遊郭^?, 直译为「pleasure quarter」) of Kyoto.

参见

• 民家
• Kura (storehouse)
• Terraced houses

外部链接

• Virtual Tour of a Kyoto Machiya （页面存档备份，存于互联网档案馆） at the Boston Children's Museum (which shipped it from Japan).
• Kyoto Machiya Resource
• Living in Machiya
• Traditional Kyoto architecture
• Sugimoto Residence -- A Kyoto Machiya
• Japanese Architecture and Art Net Users System: Machiya （页面存档备份，存于互联网档案馆）
• JNTO site -- Kyoto Machiya
• Japan Visitor -- Kyoto Townhouses （页面存档备份，存于互联网档案馆）
• The Herbert Offen Research Collection of the Phillips Library at the Peabody Essex Museum, and important research collection in regards to Machiya