WHAT IS MACHIYA？ー"Machiya" in Kyoto refers to traditional wooden townhouses that have long existed in the city’s urban areas. Most of these buildings were constructed from the Edo period(1603-1868) through the Meiji（1868-1912), Taisho（1912-1926), and early Showa eras(1926-1989). They typically served a dual purpose—functioning both as residences and as places of business, such as shops or workshops.
- Long and Narrow Layout ("Unagi no Nedoko")：Machiya are known for their unique floor plans—narrow street-facing facades with long, deep interiors. This design evolved due to historical tax systems that taxed properties based on street frontage.
- "Tori-niwa" (Indoor Earthen Corridor)：Running from the front to the back of the house, the tori-niwa is an unpaved corridor that connects different spaces and allows light, air, and rainwater to enter the home naturally. It's often where the kitchen and water areas are located.
- "Tsubo-niwa" (Small Inner Garden)：Machiya often feature a small courtyard garden in the middle or rear of the house. These tsubo-niwa bring natural light and ventilation into the home, while also offering a tranquil space for reflection.
- Wooden Lattice (Kōshi)：The street-facing facade is typically covered with wooden latticework. These lattices offer privacy, regulate sunlight, and also reflect the identity of the shop or household—sometimes even indicating the type of business.
- "Tsushi-nikai" (Low Second Floor)：The upper floors of traditional machiya are typically low-ceilinged and were historically used for storage or as living quarters for apprentices or workers. This architectural element gives machiya their characteristic silhouette.
- Harmony with Nature and Seasons：Machiya are designed to adapt to Kyoto’s humid summers and cold winters. Natural materials, airflow-conscious architecture, and seasonal adjustments (like bamboo blinds or sliding doors) create a living space in tune with the environment.
"Takabata" – A Traditional Nishijin Loom：From the Heian period (794–1185) through to the early Meiji era (late 1800s), a unique type of loom called the “takabata” was used in Kyoto’s Nishijin district—home to Japan’s most famous textile tradition, Nishijin-ori.The takabata, literally meaning “high loom,” was a two-person loom. One person sat below to weave, while another sat or stood above the loom to control the warp threads (vertical threads), lifting them by hand or with their feet to create the desired pattern.This elevated setup allowed for complex, hand-controlled weaving techniques, which were essential for creating the intricate and luxurious designs Nishijin textiles are known for.Because it required two skilled people working in harmony, the takabata represents not only the craftsmanship of the time, but also the collaborative spirit behind Japan’s traditional weaving culture.
Shimokashiwano: A Town of Looms and Living Heritage - Nestled in the heart of Kyoto’s Nishijin district, Kitanotenmangu-Shrine area is a quiet neighborhood where the rhythmic sound of looms once echoed through the narrow lanes.Here, traditional machiya houses served not only as family homes but also as small weaving workshops—spaces where generations wove not just fabric, but the very cultural fabric of Kyoto.Though quieter now, traces of this rich heritage remain—in the structure of the homes, in the stories of the people, and in the delicate patterns still woven on age-old machines.
Nishijin weaving is quietly fading from everyday life.
Fewer people wear kimono each year, and even among Japanese, many no longer know how to put one on.
As this shift continues, the lifestyle that once revolved around traditional looms within machiya townhouses now faces a serious risk of disappearing.
In the past, the streets of Nishijin echoed with the steady rhythm of weaving.
It was more than a sound—it was the heartbeat of the town, woven into daily life.
Today, that sound has all but vanished.
The looms that once stood at the center of these homes have gradually disappeared, and along with them, the memories and skills passed down through generations.
This is not just the loss of a technique—it is the quiet erosion of a culture deeply rooted in the rhythm of Japanese life.
Can we allow this part of our heritage to simply fade away?
Before we talk about preservation or revival, we must begin by remembering—by becoming aware.
By revisiting the culture of looms and machiya, we hope to reconnect with this living tradition and pass it on to the future.
This project begins with that simple but powerful intention: to document, to share, and to remember.
クレジット:
@2025KINO SPACE KYOTO, @2025BLUEWAY Research Institute