草稿:町屋

  關於位於日本東京的一處火車和電車站，請見「町屋站」。

位於名古屋船入町的東松家住宅是大型町屋的一個典例

位於京都的一所町屋的立面

奈良的老式布料店

町屋（日語：町屋（まちや））或町家（日語：町家（まちや））是日本各地常見的傳統木製排屋建築，典型的町屋常見於作為日本古都的京都。 町屋與「農家」共同構成了日本鄉土建築「民家」的兩類主要建築類型。

町屋的起源可追溯至日本的平安時代，此後經歷代傳承持續發展到江戶時代乃至明治時代。町屋裏通常居住着城市商人和工匠，這一階層在當時的日本被統稱為「町人」。町屋顧名思義便帶有「町人居住的屋子」的含義。

京町屋

通庭（通り庭）上的火袋

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

在京都的町屋，有時會被稱為「京町屋」或「京町家」，在幾個世紀以來形成了京都市中心建築的代表性特徵，從而也一定程度上代表了當時全日本範圍內「町屋」的標準形式。

典型的京都式町屋是一種長木屋，其臨街區域較為狹窄，可深入城市街區，內部通常還包含一個或多個小庭院花園，稱為「坪庭」（坪庭（つぼにわ））。町屋一般由土牆和陶瓦屋頂組成，常為一層、一層半或兩層高，在少數情況下可達三層。町屋的正面空間在傳統上常用作商店空間，稱為「店之間」（店の間），通常設有可以打開的滑動或摺疊百葉窗用以展示商品。

商店空間後面的其餘建築部分一般被劃分為不同的「居室部」，由帶有凸起木地板和榻榻米墊覆蓋物的分隔房間組成。此外還設有一個沒有木製地板的泥地服務區域，稱為「土間」或「通庭」（通り庭），其中包含廚房，也作為通往地塊後方，即倉庫所在的通道。

位於廚房上方的「火袋」既可作為煙囪用於排散煙氣和熱量，也可作為天窗在廚房內提供光線。傳統上，地塊的寬度是財富的象徵，典型的町屋地塊寬度為5.4至6米（18至20英尺），但深度可達20米（66英尺），因此被稱為「鰻之寢床」（うなぎの寝床）。

一座「町屋」中最大的起居房間位於主建築後方，可俯瞰將主屋與倉庫分隔開的花園，被稱為「座敷」，兼作接待貴賓或客戶的接待室。和大多數的傳統日本建築一樣，町屋內部里遍佈着的推拉門提供了相當大的靈活性；可以根據需求來打​​開、關閉乃至完全拆除這些門，以改變房間的數量、大小和形狀。但通常情況下，建築的其餘部分可能會被佈置成較小的房間，包括玄關（玄関）、佛間（仏間）、「中之間」（中の間）和「奧之間」（奥の間），兩者皆意為「中部房間」。

在一些場合中，町屋內的房間佈局會發生極大變化。例如在祇園祭期間家家戶戶會展示他們的家藏物品，包括屏風繪和其他藝術品以及傳家寶。町屋還會為服裝、裝飾品、御神輿、花車和節日所需的其他物品提供空間，並為節日遊行路線上的觀眾提供便利。

町屋的設計也非常適合京都的氣候；京都的冬天寒冷，夏天往往非常炎熱潮濕，可以添加或移除多層推拉門（「襖」和「障子」）來調節室內溫度；在冬天關上所有的屏風可以禦寒，而夏天將它們打開亦可一定程度上緩解炎熱和潮濕。

傳統上，町屋還會使用不同類型的屏風，這些屏風會隨着季節變化而被調整；如夏季一般使用編織的竹屏風以便空氣流通，同時有助於遮擋陽光。露天的花園庭院同樣有助於空氣流通，並將光線帶入房屋內。

設計元素

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.

町屋的正面設有木製的格子（格子（こうし））用以表示商店的類型。諸如絲綢或線料店、米販、「置屋」（藝伎店）和酒鋪等等，都有自己獨特的格子風格。格子的類型或風格至今仍以其所代表的商店類型來命名，如「絲屋格子」（糸屋格子（いとやごうし））或「米屋格子」（米屋格子（こめやごうし））。這些格子有時從建築物正面伸出，在這種情況下被稱為「出格子」（出格子（でごうし））。儘管大部分類型的格子通常不上色，花街（藝伎和花魁社區）的格子經常被漆成「紅殼」色（紅殻（べんがら）），一種朱紅色或赭色。

町屋二樓的立面一般不採用木材，而是採用土方結構，並帶有一種稱為「蟲籠窗」（虫籠窓（むしこまど））的獨特風格的窗戶。

町屋的主要入口由兩扇門組成。其中「大戶」（大戸（おおど））通常僅用於將貨物或大型物體運送到建築物中，而較小的「潛戶」（潜り戸（くぐりど））則用於日常用途，例如供人們出入。

町屋通常還包含小庭院花園。

社區

町屋社區與北京的胡同社區所相仿。眾多小街坊由密集的住宅組成，這些住宅分佈在一條狹窄的街道的兩側，有時住宅之間會有被稱為「路地」（路地（ろじ））的小巷以營造社區感。此外，許多地區在傳統上以其特產的單一工藝或產品而聞名，例如西陣社區便以其紡織品而聞名；工藝技術的分享極大地促進了該地區紡織品商人之間的社區感。

拆除

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 直譯：「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.

現況

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^?, 直譯：「pleasure quarter」) of Kyoto.

參見

• 民家
• 倉
• 排屋

外部連結

• Virtual Tour of a Kyoto Machiya （頁面存檔備份，存於互聯網檔案館） 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 （頁面存檔備份，存於互聯網檔案館）
• JNTO site -- Kyoto Machiya
• Japan Visitor -- Kyoto Townhouses （頁面存檔備份，存於互聯網檔案館）
• The Herbert Offen Research Collection of the Phillips Library at the Peabody Essex Museum, and important research collection in regards to Machiya