1 00:00:00,000 --> 00:00:03,472 [MUSIC PLAYING] 2 00:00:03,472 --> 00:00:31,248 3 00:00:31,248 --> 00:00:34,720 [RUNNING WATER] 4 00:00:34,720 --> 00:00:47,120 5 00:00:47,120 --> 00:00:49,600 [WIND BLOWING] 6 00:00:49,600 --> 00:00:52,660 7 00:00:52,660 --> 00:00:56,990 >> Shofuso means pine breeze villa. 8 00:00:56,990 --> 00:00:58,950 [RUNNING WATER] 9 00:00:58,950 --> 00:01:03,300 The house was designed by Junzo Yoshimura in 1953, 10 00:01:03,300 --> 00:01:06,090 and is considered one of the most authentic Japanese sites 11 00:01:06,090 --> 00:01:08,400 outside of Japan today. 12 00:01:08,400 --> 00:01:14,400 [RUNNING WATER] 13 00:01:14,400 --> 00:01:17,760 >> The Japanese house was originally designed to be 14 00:01:17,760 --> 00:01:20,850 displayed at the Museum of Modern Art in New York, 15 00:01:20,850 --> 00:01:24,270 and was designed by an architect named Yoshimura Junzo. 16 00:01:24,270 --> 00:01:27,300 He traveled to a number of sites in Japan, 17 00:01:27,300 --> 00:01:30,750 and picked one for the main model 18 00:01:30,750 --> 00:01:33,270 that he based his house on. 19 00:01:33,270 --> 00:01:35,490 That building was the guest quarters 20 00:01:35,490 --> 00:01:41,070 of the Kojo-in Temple in Otsu, just outside of Kyoto, Japan. 21 00:01:41,070 --> 00:01:44,760 He adapted it to make it a little bit more 22 00:01:44,760 --> 00:01:48,270 modern, a little more interesting, and a little bit 23 00:01:48,270 --> 00:01:49,260 more accessible. 24 00:01:49,260 --> 00:01:51,902 >> It was built in Nagoya, reassembled in Manhattan, 25 00:01:51,902 --> 00:01:54,360 and then exhibited for a year and a half in New York before 26 00:01:54,360 --> 00:01:58,050 being disassembled and moved to Philadelphia in 1957. 27 00:01:58,050 --> 00:02:01,500 It was moved to the site of a previous Japanese garden 28 00:02:01,500 --> 00:02:03,510 and structure, the Buddhist Temple 29 00:02:03,510 --> 00:02:07,580 Gate, that had stood till 1955 until it burned to the ground. 30 00:02:07,580 --> 00:02:09,449 It's a shoin centered house, which 31 00:02:09,449 --> 00:02:10,919 means it's centered around a desk, 32 00:02:10,919 --> 00:02:12,502 and would have been the home of a very 33 00:02:12,502 --> 00:02:14,200 wealthy and educated person. 34 00:02:14,200 --> 00:02:18,090 >> A shoin is a place where a visitor to the house, 35 00:02:18,090 --> 00:02:21,090 or especially if it was a scholar, 36 00:02:21,090 --> 00:02:26,580 could sit on the floor, use the desk as a writing space 37 00:02:26,580 --> 00:02:30,870 or a reading space, and that would be made more convenient 38 00:02:30,870 --> 00:02:35,610 by the fact that it's lighted by a window immediately behind 39 00:02:35,610 --> 00:02:37,230 the desk. 40 00:02:37,230 --> 00:02:39,990 That window could be opened, or it 41 00:02:39,990 --> 00:02:45,140 can be closed off with white paper screens called shoji. 42 00:02:45,140 --> 00:02:47,930 The shoji have a wooden frame. 43 00:02:47,930 --> 00:02:49,890 Over the wooden frame, they stretch 44 00:02:49,890 --> 00:02:52,860 a thin layer of mulberry paper. 45 00:02:52,860 --> 00:02:56,700 That allows light to come in, but it keeps the wind out. 46 00:02:56,700 --> 00:02:58,920 And it also evens out the light, so 47 00:02:58,920 --> 00:03:00,990 that it doesn't give you the harsh shadows 48 00:03:00,990 --> 00:03:03,330 that direct sunlight might. 49 00:03:03,330 --> 00:03:06,990 And it's very easy light to read by, 50 00:03:06,990 --> 00:03:09,090 or to simply spend your time in. 51 00:03:09,090 --> 00:03:12,130 52 00:03:12,130 --> 00:03:16,330 The entrance to the house compound is through a gate. 53 00:03:16,330 --> 00:03:18,670 The gate is in a wall that's designed 54 00:03:18,670 --> 00:03:22,730 to reflect castle walls in Japan, 55 00:03:22,730 --> 00:03:27,250 or the walls around Buddhist temples, a masonry wall covered 56 00:03:27,250 --> 00:03:33,100 with a flat white stucco that then has a small tile 57 00:03:33,100 --> 00:03:35,200 roof on top of it. 58 00:03:35,200 --> 00:03:36,790 That wall can be really beautiful 59 00:03:36,790 --> 00:03:41,860 when the shadows of trees, branches, fall on it, 60 00:03:41,860 --> 00:03:45,110 or when the light plays across it 61 00:03:45,110 --> 00:03:46,570 at different times of the day. 62 00:03:46,570 --> 00:03:55,159 63 00:03:55,159 --> 00:03:57,200 >> Some of the distinctive architectural features 64 00:03:57,200 --> 00:04:00,500 of Shofuso are the sliding panel doors, 65 00:04:00,500 --> 00:04:02,780 which are actually walls. 66 00:04:02,780 --> 00:04:04,730 The entire building is surrounded 67 00:04:04,730 --> 00:04:07,065 on the exterior and the interior with sliding panels 68 00:04:07,065 --> 00:04:10,460 that are either wood on the exterior, which are the amado, 69 00:04:10,460 --> 00:04:13,670 and protect the house from the elements, or on the interior, 70 00:04:13,670 --> 00:04:16,519 there are paper doors, either thin paper doors that 71 00:04:16,519 --> 00:04:19,430 allow light through, called shoji, on the exterior, 72 00:04:19,430 --> 00:04:22,550 or paper panels that slide to enclose rooms, 73 00:04:22,550 --> 00:04:23,720 and they're fusuma. 74 00:04:23,720 --> 00:04:26,810 All the panels can be removed for indoor-outdoor living 75 00:04:26,810 --> 00:04:30,020 to expand the spaces and to shrink the spaces as they 76 00:04:30,020 --> 00:04:32,270 would have been needed. 77 00:04:32,270 --> 00:04:34,550 Artist Hiroshi Senju, who is internationally 78 00:04:34,550 --> 00:04:36,650 renowned for his abstract paintings, 79 00:04:36,650 --> 00:04:40,100 created a series of fusuma murals entitled "Waterfall" 80 00:04:40,100 --> 00:04:41,510 for our interior. 81 00:04:41,510 --> 00:04:44,450 It's the only installation of its kind outside of Japan 82 00:04:44,450 --> 00:04:47,030 and represents our waterfalls. 83 00:04:47,030 --> 00:04:53,660 >> Mr. Senju saw the house and donated these murals, 84 00:04:53,660 --> 00:04:56,750 which represent waterfalls, to the house. 85 00:04:56,750 --> 00:04:59,060 Waterfalls are an important symbolic addition 86 00:04:59,060 --> 00:05:04,340 to the house because the water is designed to symbolically 87 00:05:04,340 --> 00:05:07,220 protect the house from probably its worst 88 00:05:07,220 --> 00:05:09,710 enemy in the world, fire. 89 00:05:09,710 --> 00:05:14,930 Mr. Senju also takes that theme and plays it out 90 00:05:14,930 --> 00:05:17,660 a little bit differently on each wall, 91 00:05:17,660 --> 00:05:21,020 with abstract sheets of water that 92 00:05:21,020 --> 00:05:25,520 appear to flow down the wall, painted with a pigment that 93 00:05:25,520 --> 00:05:28,580 picks up the light and reflects it back 94 00:05:28,580 --> 00:05:32,180 at you in different ways, depending on the time of day 95 00:05:32,180 --> 00:05:36,565 and the quality of light in the room. 96 00:05:36,565 --> 00:05:39,060 [RUNNING WATER] 97 00:05:39,060 --> 00:05:43,060 98 00:05:43,060 --> 00:05:45,910 >> Shofuso is at the site of the first Japanese garden in North 99 00:05:45,910 --> 00:05:46,910 America. 100 00:05:46,910 --> 00:05:49,870 It was built by the Japanese government for the 1876 101 00:05:49,870 --> 00:05:52,530 Centennial Exposition. 102 00:05:52,530 --> 00:05:56,020 Shofuso's gardens were designed by landscape architect Tansai 103 00:05:56,020 --> 00:05:58,960 Sano, and incorporate three different types of gardens 104 00:05:58,960 --> 00:06:00,400 onto our grounds. 105 00:06:00,400 --> 00:06:03,340 We have a pond and hill garden out in front of the house. 106 00:06:03,340 --> 00:06:07,829 107 00:06:07,829 --> 00:06:09,870 We have a tea garden that surrounds our teahouse. 108 00:06:09,870 --> 00:06:14,030 109 00:06:14,030 --> 00:06:15,880 And we have a small courtyard garden, 110 00:06:15,880 --> 00:06:18,430 which is enclosed by the rest of the building. 111 00:06:18,430 --> 00:06:21,730 >> The central design idea for the garden around the Japanese 112 00:06:21,730 --> 00:06:25,630 house is that it fits in with the house, 113 00:06:25,630 --> 00:06:28,510 and makes an integrated whole. 114 00:06:28,510 --> 00:06:31,150 When you sit in the main space, the space 115 00:06:31,150 --> 00:06:35,380 seems to flow out from the house, to the veranda, 116 00:06:35,380 --> 00:06:37,954 to the near part of the garden, to the middle of the garden, 117 00:06:37,954 --> 00:06:39,370 and to the far part of the garden, 118 00:06:39,370 --> 00:06:44,920 in a very seamless kind of flow that gives you 119 00:06:44,920 --> 00:06:47,410 a sense that the house and the garden 120 00:06:47,410 --> 00:06:52,840 are really integrated and intimately tied to one another. 121 00:06:52,840 --> 00:06:55,780 Part of this comes from the philosophy 122 00:06:55,780 --> 00:07:01,330 of how nature is actually viewed in Asia, as opposed to the way 123 00:07:01,330 --> 00:07:02,920 it's viewed in the West. 124 00:07:02,920 --> 00:07:06,520 In the West, we build our houses to keep the natural world out. 125 00:07:06,520 --> 00:07:09,310 We make strong, solid walls. 126 00:07:09,310 --> 00:07:13,210 We open them up with only small windows and doors 127 00:07:13,210 --> 00:07:15,770 so that we can close everything out. 128 00:07:15,770 --> 00:07:19,330 In Japan, the natural world is invited in. 129 00:07:19,330 --> 00:07:23,950 The seasons are enjoyed as a natural phenomenon 130 00:07:23,950 --> 00:07:26,920 that everyone appreciates. 131 00:07:26,920 --> 00:07:28,840 The garden is designed in the same way, 132 00:07:28,840 --> 00:07:32,670 so that the space of the house and the space of the garden, 133 00:07:32,670 --> 00:07:37,810 while separate, are very much in conversation with one another. 134 00:07:37,810 --> 00:07:42,310 It allows the viewer to see both mountains and water-- 135 00:07:42,310 --> 00:07:44,440 that is to say, the hills of the garden that are 136 00:07:44,440 --> 00:07:46,240 made to look like mountains-- 137 00:07:46,240 --> 00:07:49,700 and the water that flows through it. 138 00:07:49,700 --> 00:07:54,520 Those are symbols, in turn, of yin and yang, yin, 139 00:07:54,520 --> 00:07:58,750 the wet, dark principle of the universe, yang, 140 00:07:58,750 --> 00:08:01,610 the dry, warm principle of the universe, 141 00:08:01,610 --> 00:08:04,750 that are also equated with female and male. 142 00:08:04,750 --> 00:08:08,410 So the garden includes all these aspects 143 00:08:08,410 --> 00:08:11,230 that make it a philosophical statement, 144 00:08:11,230 --> 00:08:15,640 as well as a beautiful thing to look at. 145 00:08:15,640 --> 00:08:19,180 Looking out from the house, you see not only the garden, 146 00:08:19,180 --> 00:08:21,260 but the things that are beyond the garden. 147 00:08:21,260 --> 00:08:25,630 And that type of garden is actually called a shakkei, 148 00:08:25,630 --> 00:08:27,820 a borrowed view garden. 149 00:08:27,820 --> 00:08:29,920 Here at the Japanese house, we make 150 00:08:29,920 --> 00:08:32,000 it work in a number of ways. 151 00:08:32,000 --> 00:08:33,640 The house was originally designed 152 00:08:33,640 --> 00:08:35,860 so that we could look across the pond 153 00:08:35,860 --> 00:08:40,840 and see Memorial Hall, the large building that 154 00:08:40,840 --> 00:08:47,000 is the last remnant of the 1876 Centennial Celebration. 155 00:08:47,000 --> 00:08:48,910 The various elements of the garden 156 00:08:48,910 --> 00:08:51,490 all have symbolic meaning. 157 00:08:51,490 --> 00:08:54,610 We have a pair of trees in the garden that 158 00:08:54,610 --> 00:08:58,300 are both pine trees, but one is the male pine, 159 00:08:58,300 --> 00:09:00,190 the other is the female pine. 160 00:09:00,190 --> 00:09:04,240 It's not that they are literally that way, and one has flowers 161 00:09:04,240 --> 00:09:08,470 and the other one doesn't, but that they are symbolically 162 00:09:08,470 --> 00:09:13,600 shaped so that one looks large and vertical. 163 00:09:13,600 --> 00:09:17,470 The other looks softer, gentler, and more horizontal. 164 00:09:17,470 --> 00:09:20,972 165 00:09:20,972 --> 00:09:22,430 Everything in the garden is thought 166 00:09:22,430 --> 00:09:26,090 of as living and sentient. 167 00:09:26,090 --> 00:09:28,640 Even the trees, which clearly are 168 00:09:28,640 --> 00:09:30,920 living things, even though they move much more 169 00:09:30,920 --> 00:09:35,360 slowly than we do, are thought to have the Buddha nature-- 170 00:09:35,360 --> 00:09:39,290 that is to say, they are sentient beings that 171 00:09:39,290 --> 00:09:44,420 can someday become Buddhas. 172 00:09:44,420 --> 00:09:47,450 Many thinkers even think of the rocks and the water 173 00:09:47,450 --> 00:09:53,570 as having the Buddha nature, as being capable of awakening, 174 00:09:53,570 --> 00:09:59,246 or may be more awakened than any of us are all the time. 175 00:09:59,246 --> 00:10:00,725 [BIRDSONG] 176 00:10:00,725 --> 00:10:04,680 177 00:10:04,680 --> 00:10:07,030 Near the main entrance to the compound, 178 00:10:07,030 --> 00:10:11,650 there's a piece of stone that's not Japanese at all. 179 00:10:11,650 --> 00:10:14,610 It's actually a water stone from China, 180 00:10:14,610 --> 00:10:16,800 taken from the bed of a lake. 181 00:10:16,800 --> 00:10:23,280 And it's limestone that's been eroded into patterns. 182 00:10:23,280 --> 00:10:28,650 Those patterns are thought of as reflecting the li in Chinese, 183 00:10:28,650 --> 00:10:31,470 [JAPANESE] in Japanese, the principles 184 00:10:31,470 --> 00:10:34,770 of the universe, the logic behind which 185 00:10:34,770 --> 00:10:37,020 the universe works. 186 00:10:37,020 --> 00:10:41,970 Only that kind of logic allows soft water 187 00:10:41,970 --> 00:10:45,240 to eat away at hard stone. 188 00:10:45,240 --> 00:10:49,500 But time and the principles of the universe 189 00:10:49,500 --> 00:10:55,090 make beautiful objects out of even the plainest of stones. 190 00:10:55,090 --> 00:10:58,770 [INSECTS CHIRPING] 191 00:10:58,770 --> 00:11:01,680 One of the great natural features of the garden 192 00:11:01,680 --> 00:11:03,540 is our pond. 193 00:11:03,540 --> 00:11:06,360 Around the pond, there are many, many elements 194 00:11:06,360 --> 00:11:10,530 that work together to make it seem even more like a part 195 00:11:10,530 --> 00:11:12,360 of the natural world. 196 00:11:12,360 --> 00:11:14,490 Of course, if you are out in a forest, 197 00:11:14,490 --> 00:11:17,710 you would expect a pond to have some fish in it. 198 00:11:17,710 --> 00:11:22,710 So our pond has koi, beautiful fish that are bred 199 00:11:22,710 --> 00:11:26,970 and have been bred for centuries in Japan and China 200 00:11:26,970 --> 00:11:33,520 to have a brilliant coloration and intriguing patterns. 201 00:11:33,520 --> 00:11:38,030 The koi can't live in just a still pond, though. 202 00:11:38,030 --> 00:11:40,010 They need oxygen in the water. 203 00:11:40,010 --> 00:11:43,040 And the best way to get the oxygen naturally into the water 204 00:11:43,040 --> 00:11:44,900 is with a waterfall. 205 00:11:44,900 --> 00:11:48,050 So, we have one that flows into the pond 206 00:11:48,050 --> 00:11:53,000 and provides a visual sight to look at. 207 00:11:53,000 --> 00:11:57,260 It also provides the sound of water flowing into the pond 208 00:11:57,260 --> 00:11:58,430 all the time. 209 00:11:58,430 --> 00:12:03,920 And it helps the koi to breathe, to have oxygen in their water, 210 00:12:03,920 --> 00:12:06,110 so they can stay alive. 211 00:12:06,110 --> 00:12:09,710 There's also a mulberry tree planted over the stream leading 212 00:12:09,710 --> 00:12:11,180 into the pond. 213 00:12:11,180 --> 00:12:15,660 And that's a kind of symbolic way of feeding the fish. 214 00:12:15,660 --> 00:12:20,510 The mulberry berries can drop off of the tree into the stream 215 00:12:20,510 --> 00:12:22,250 and flow down into the pond. 216 00:12:22,250 --> 00:12:25,160 And then the fish can enjoy them. 217 00:12:25,160 --> 00:12:28,250 In fact, the fish eat a lot of other things, too. 218 00:12:28,250 --> 00:12:33,290 But at least symbolically, we have a whole natural world, 219 00:12:33,290 --> 00:12:38,600 plants feeding the fish, the fish living in the pond, 220 00:12:38,600 --> 00:12:42,710 the water and the waterfall, all working together 221 00:12:42,710 --> 00:12:46,700 to make a natural universe within the walls 222 00:12:46,700 --> 00:12:47,920 of the Japanese garden. 223 00:12:47,920 --> 00:12:56,130 224 00:12:56,130 --> 00:12:58,320 In addition to the natural elements in our garden, 225 00:12:58,320 --> 00:13:01,080 there are a number of man-made features, as well. 226 00:13:01,080 --> 00:13:03,930 They're made of stone that harmonizes nicely 227 00:13:03,930 --> 00:13:06,390 with the natural stones of the garden. 228 00:13:06,390 --> 00:13:10,670 But they're hand-carved, beautiful objects 229 00:13:10,670 --> 00:13:13,060 that, in some cases, are functional, as well. 230 00:13:13,060 --> 00:13:15,840 231 00:13:15,840 --> 00:13:19,230 We have a number of lanterns in different styles, 232 00:13:19,230 --> 00:13:23,790 one by the pond that's very low, and whose light could shine out 233 00:13:23,790 --> 00:13:27,130 across the pond in a beautiful reflection. 234 00:13:27,130 --> 00:13:30,520 That kind of lantern is called a yukimi doro. 235 00:13:30,520 --> 00:13:32,820 Yukimi has two meanings. 236 00:13:32,820 --> 00:13:34,460 Doro means lantern. 237 00:13:34,460 --> 00:13:37,740 Yukimi can mean to look at snow, but it can also 238 00:13:37,740 --> 00:13:43,050 mean to look at while moving, so that you might think 239 00:13:43,050 --> 00:13:46,620 of the change in the reflection of the light off of the pond 240 00:13:46,620 --> 00:13:48,720 as you walked around it. 241 00:13:48,720 --> 00:13:52,080 There are other lanterns placed near intersections 242 00:13:52,080 --> 00:13:54,870 of the paths, so that those areas could 243 00:13:54,870 --> 00:13:56,880 be lighted at night. 244 00:13:56,880 --> 00:14:01,050 In addition, we have two Buddhist objects in our garden. 245 00:14:01,050 --> 00:14:03,810 One is a pagoda that was given to the house 246 00:14:03,810 --> 00:14:07,350 by the Mayor of the city of Kyoto in 1959, 247 00:14:07,350 --> 00:14:10,440 when the house was brought here from New York. 248 00:14:10,440 --> 00:14:15,850 The second one is a large statue of the Bodhisattva Jizo. 249 00:14:15,850 --> 00:14:19,650 Jizo is a guardian of children who 250 00:14:19,650 --> 00:14:23,670 is thought of as a spiritual force that 251 00:14:23,670 --> 00:14:29,890 can help any child that might die into their next life. 252 00:14:29,890 --> 00:14:34,660 He stands in one corner of the garden like a quiet guardian, 253 00:14:34,660 --> 00:14:36,550 keeping watch over things and just 254 00:14:36,550 --> 00:14:39,860 making sure that our garden is always peaceful and quiet. 255 00:14:39,860 --> 00:14:42,390 256 00:14:42,390 --> 00:14:46,930 The materials of the house are almost all very natural. 257 00:14:46,930 --> 00:14:51,070 The wood is hinoki, an evergreen that 258 00:14:51,070 --> 00:14:56,550 produces a natural insecticide, like we would think of cedar. 259 00:14:56,550 --> 00:14:59,590 Hinoki is very easy wood to work. 260 00:14:59,590 --> 00:15:02,410 It has an interesting property that after, it's 261 00:15:02,410 --> 00:15:08,320 been planed or cut and exposed to oxygen for a few years, 262 00:15:08,320 --> 00:15:11,670 it becomes harder, and then becomes 263 00:15:11,670 --> 00:15:13,930 a more durable material. 264 00:15:13,930 --> 00:15:16,990 That allows the makers of the house 265 00:15:16,990 --> 00:15:19,850 to use it without any finish. 266 00:15:19,850 --> 00:15:23,650 So there's no varnish, there's no paint, put on it. 267 00:15:23,650 --> 00:15:26,770 The natural color of the wood can be enjoyed. 268 00:15:26,770 --> 00:15:31,300 And it allows the carpenters to make complicated, fitted joints 269 00:15:31,300 --> 00:15:33,820 and hold the house together, almost like a three 270 00:15:33,820 --> 00:15:35,680 dimensional jigsaw puzzle. 271 00:15:35,680 --> 00:15:38,710 Some of those joints are held together not by a nail, 272 00:15:38,710 --> 00:15:42,610 but by a pin that goes all the way through the joint from one 273 00:15:42,610 --> 00:15:43,760 side to the other. 274 00:15:43,760 --> 00:15:49,390 The ends of the pin are covered with kugi kakushi, star shaped 275 00:15:49,390 --> 00:15:52,900 or flower shaped ornaments that punctuate 276 00:15:52,900 --> 00:15:54,940 the spaces of the beams. 277 00:15:54,940 --> 00:15:56,380 [BIRDSONG] 278 00:15:56,380 --> 00:16:02,760 279 00:16:02,760 --> 00:16:04,880 The roof of the house is made from layer 280 00:16:04,880 --> 00:16:08,720 upon layer of bark taken from the hinoki tree. 281 00:16:08,720 --> 00:16:12,620 >> It's a curved roof made of 12 inches of hinoki bark in strips 282 00:16:12,620 --> 00:16:15,410 a half inch wide by 12 inches long. 283 00:16:15,410 --> 00:16:18,740 150 different people in Japan still know how to do this. 284 00:16:18,740 --> 00:16:20,640 And when we have the roof repaired, 285 00:16:20,640 --> 00:16:23,300 we have to bring craftsman over, and they sit up on the roof, 286 00:16:23,300 --> 00:16:25,020 and they replace swaths of our roof 287 00:16:25,020 --> 00:16:27,590 till it's 12 inches thick and ready to withstand 288 00:16:27,590 --> 00:16:30,050 the elements again. 289 00:16:30,050 --> 00:16:33,410 >> For the main part of the house, there are no gutters, 290 00:16:33,410 --> 00:16:36,050 at least not suspended by the roof. 291 00:16:36,050 --> 00:16:39,140 The rain falls onto the roof, comes off, 292 00:16:39,140 --> 00:16:41,480 and there's actually a stone structure 293 00:16:41,480 --> 00:16:44,570 built into the ground around the edges of the veranda 294 00:16:44,570 --> 00:16:49,370 to catch the rain and run it off into the pond. 295 00:16:49,370 --> 00:16:53,210 But the teahouse and the bathhouse don't work that way. 296 00:16:53,210 --> 00:16:58,040 Their roofs are made of hinoki shingles rather than 297 00:16:58,040 --> 00:17:00,080 simply hinoki bark. 298 00:17:00,080 --> 00:17:02,840 And they're a little bit smoother, 299 00:17:02,840 --> 00:17:05,930 so the rain falls a lot faster. 300 00:17:05,930 --> 00:17:07,849 At the corner of the copper gutters, 301 00:17:07,849 --> 00:17:11,619 there are, instead of downspouts, chains. 302 00:17:11,619 --> 00:17:15,440 The chains lead the water simply down to the stream 303 00:17:15,440 --> 00:17:17,150 and away from the house. 304 00:17:17,150 --> 00:17:20,510 And they have the added benefit that in a light rain, 305 00:17:20,510 --> 00:17:23,000 the sound of the water makes a light tinkling noise 306 00:17:23,000 --> 00:17:25,069 as it comes down the chain. 307 00:17:25,069 --> 00:17:28,010 It's another example of how the house, rather 308 00:17:28,010 --> 00:17:31,280 than fighting against nature, uses nature 309 00:17:31,280 --> 00:17:32,720 to enhance its own beauty. 310 00:17:32,720 --> 00:17:51,730 311 00:17:51,730 --> 00:17:53,380 >> As a traditional Japanese house, 312 00:17:53,380 --> 00:17:55,890 all visitors to Shofuso have to remove their shoes. 313 00:17:55,890 --> 00:17:58,505 314 00:17:58,505 --> 00:18:00,240 It's a Japanese tradition, but it's 315 00:18:00,240 --> 00:18:04,800 also to preserve the materials that Shofuso is made of. 316 00:18:04,800 --> 00:18:06,570 The tatami mats are the straw mats 317 00:18:06,570 --> 00:18:08,520 that are on the floor throughout Shofuso. 318 00:18:08,520 --> 00:18:10,650 They're about an inch and a half thick. 319 00:18:10,650 --> 00:18:15,410 It's rice straw bound together, very soft under foot. 320 00:18:15,410 --> 00:18:18,090 The size of the tatami mats is three foot 321 00:18:18,090 --> 00:18:21,540 by six foot approximately, which traditionally in Japan, is 322 00:18:21,540 --> 00:18:23,250 the amount of space one person would 323 00:18:23,250 --> 00:18:28,150 need to live, to sleep, to eat, and to live through the day. 324 00:18:28,150 --> 00:18:31,470 So a tatami room that has four tatami mats 325 00:18:31,470 --> 00:18:36,470 would be considered large enough for four people. 326 00:18:36,470 --> 00:18:38,600 The kitchen that's attached to Shofuso 327 00:18:38,600 --> 00:18:40,880 would not have been part of the original structure, 328 00:18:40,880 --> 00:18:46,100 but was added by Junzo Yoshimura for exhibition purposes. 329 00:18:46,100 --> 00:18:51,530 >> Yoshimura decided to contrast a little bit with the austerity 330 00:18:51,530 --> 00:18:53,840 of the shoin style. 331 00:18:53,840 --> 00:18:56,720 He would put a kitchen on the building that 332 00:18:56,720 --> 00:19:01,670 showed the style of a farmhouse maybe from the late 17th 333 00:19:01,670 --> 00:19:03,950 or early 18th century. 334 00:19:03,950 --> 00:19:07,820 The beams are a lot less smoothly carved, show a lot 335 00:19:07,820 --> 00:19:10,700 more of their natural form. 336 00:19:10,700 --> 00:19:14,660 And the wood is a little bit darker. 337 00:19:14,660 --> 00:19:18,230 >> The kitchen is a traditional 17th century Japanese-style 338 00:19:18,230 --> 00:19:19,130 kitchen. 339 00:19:19,130 --> 00:19:24,950 The oven has a basin for broth, a wok, and a rice cooker. 340 00:19:24,950 --> 00:19:28,070 >> The cabinet on one wall of the kitchen is one of the last 341 00:19:28,070 --> 00:19:31,250 pieces of furniture that came with the house when it was 342 00:19:31,250 --> 00:19:35,970 originally brought from Japan in the 1950s. 343 00:19:35,970 --> 00:19:39,290 This tansu is designed so that it 344 00:19:39,290 --> 00:19:41,780 has spaces to store all the things you 345 00:19:41,780 --> 00:19:44,870 might need in the kitchen, plates, cups, 346 00:19:44,870 --> 00:19:50,360 but also has open work on a number of the panels, 347 00:19:50,360 --> 00:19:53,960 so that you could actually store food inside and close it off. 348 00:19:53,960 --> 00:19:56,450 It's what the Amish would have called a fly safe. 349 00:19:56,450 --> 00:20:00,600 350 00:20:00,600 --> 00:20:03,790 >> The bathhouse has a traditional Japanese soaking 351 00:20:03,790 --> 00:20:05,020 bath on one side. 352 00:20:05,020 --> 00:20:07,930 And it has a traditional urinal and squat toilet 353 00:20:07,930 --> 00:20:09,340 on the other side. 354 00:20:09,340 --> 00:20:12,760 >> In the bath, they use a lot of bamboo. 355 00:20:12,760 --> 00:20:17,020 It's a good place for it because it's very humid in Japan, 356 00:20:17,020 --> 00:20:22,960 and the bamboo tends to split if the weather is too dry. 357 00:20:22,960 --> 00:20:26,020 The bamboo can be laid along the floor, 358 00:20:26,020 --> 00:20:28,810 allowing water to actually pass through it. 359 00:20:28,810 --> 00:20:34,540 So it can be a good place to rinse a tea bowl or wash 360 00:20:34,540 --> 00:20:36,350 yourself, and that sort of thing. 361 00:20:36,350 --> 00:20:39,010 >> We also have a tea garden, which is a traditional type 362 00:20:39,010 --> 00:20:41,650 of garden that would be outside of a Japanese teahouse that 363 00:20:41,650 --> 00:20:44,530 guests would make their way through to come to the teahouse 364 00:20:44,530 --> 00:20:46,270 when they were called by the host. 365 00:20:46,270 --> 00:20:49,870 >> Off to one side, we have a small structure called 366 00:20:49,870 --> 00:20:52,150 a teahouse, or chashitsu. 367 00:20:52,150 --> 00:20:55,210 It's a building designed for serving tea, 368 00:20:55,210 --> 00:20:57,130 especially for serving tea and what, 369 00:20:57,130 --> 00:21:00,250 in English, we often call the tea ceremony, 370 00:21:00,250 --> 00:21:03,620 and what in Japanese is called chanoyu. 371 00:21:03,620 --> 00:21:07,150 Chanoyu is not only the act of serving that tea. 372 00:21:07,150 --> 00:21:12,550 It's the practice, the study, the discipline, 373 00:21:12,550 --> 00:21:20,260 of the tea master, who builds their tea from many elements 374 00:21:20,260 --> 00:21:24,700 and brings their taste to a kind of perfection. 375 00:21:24,700 --> 00:21:28,332 In a typical roji, or tea garden, in Japan, 376 00:21:28,332 --> 00:21:30,040 you would find that the garden is divided 377 00:21:30,040 --> 00:21:32,710 into an outer section and an inner section, 378 00:21:32,710 --> 00:21:36,120 usually by a gateway in the middle of it. 379 00:21:36,120 --> 00:21:37,870 Our garden at the Japanese house, 380 00:21:37,870 --> 00:21:41,530 however, is not divided by a fence or a gate, 381 00:21:41,530 --> 00:21:43,930 but actually divided by a stream that passes 382 00:21:43,930 --> 00:21:45,560 through the middle of it. 383 00:21:45,560 --> 00:21:50,050 So when we pass from the outer garden over a small slab stone 384 00:21:50,050 --> 00:21:55,270 bridge into the inner garden, we go through the same kind 385 00:21:55,270 --> 00:21:59,110 of psychological change of intimacy 386 00:21:59,110 --> 00:22:02,440 that happens in a tea garden in Japan 387 00:22:02,440 --> 00:22:04,990 when you pass through that central gate. 388 00:22:04,990 --> 00:22:08,380 The path goes beside a wash basin 389 00:22:08,380 --> 00:22:11,860 called a chozubachi, or sometimes a tsukubai, 390 00:22:11,860 --> 00:22:13,450 in Japanese. 391 00:22:13,450 --> 00:22:17,020 And right next to that is a stone lantern, 392 00:22:17,020 --> 00:22:22,390 allowing the visitor to use that wash basin even 393 00:22:22,390 --> 00:22:25,400 in the dead of night, because tea ceremonies can be, 394 00:22:25,400 --> 00:22:28,670 of course, performed not only in the middle of the day, 395 00:22:28,670 --> 00:22:31,990 but any time, day or night. 396 00:22:31,990 --> 00:22:35,530 After washing their hands and rinsing their mouth 397 00:22:35,530 --> 00:22:41,560 at the stone basin, the guest would then go into the teahouse 398 00:22:41,560 --> 00:22:43,670 through a small door. 399 00:22:43,670 --> 00:22:46,750 Everyone enters the teahouse at the same level. 400 00:22:46,750 --> 00:22:51,550 It doesn't matter if you're a warlord, a captain of industry, 401 00:22:51,550 --> 00:22:53,800 the President of the United States, 402 00:22:53,800 --> 00:22:56,470 or just an ordinary person. 403 00:22:56,470 --> 00:23:00,400 Everyone has to go into the room from the floor level up. 404 00:23:00,400 --> 00:23:02,020 And it's a great equalizer. 405 00:23:02,020 --> 00:23:04,300 It makes everyone in the ceremony 406 00:23:04,300 --> 00:23:08,710 feel as though they're the same kind of person as the people 407 00:23:08,710 --> 00:23:09,757 next to them. 408 00:23:09,757 --> 00:23:11,010 >> [JAPANESE] 409 00:23:11,010 --> 00:23:13,900 >> The teahouse is for traditional Japanese tea. 410 00:23:13,900 --> 00:23:17,450 It's a very small room with a very low ceiling. 411 00:23:17,450 --> 00:23:20,500 There's a small hearth for heating water. 412 00:23:20,500 --> 00:23:24,040 There's a tokonoma, which is a ceremonial niche for exhibiting 413 00:23:24,040 --> 00:23:27,790 a scroll and an ikebana arrangement. 414 00:23:27,790 --> 00:23:29,710 >> Natural materials are especially important 415 00:23:29,710 --> 00:23:33,790 in the teahouse, where you're really close to them. 416 00:23:33,790 --> 00:23:38,080 The space is very small, only about nine feet square. 417 00:23:38,080 --> 00:23:39,790 Through the center of it, there's 418 00:23:39,790 --> 00:23:45,730 a pillar that is so unfinished that they left the bark on it, 419 00:23:45,730 --> 00:23:47,950 almost as though the trees were growing right 420 00:23:47,950 --> 00:23:50,230 through the center of the house. 421 00:23:50,230 --> 00:23:53,080 Other materials in that part of the building 422 00:23:53,080 --> 00:23:58,930 include woven hinoki strips to make the ceilings, 423 00:23:58,930 --> 00:24:01,030 and of course, tatami mats. 424 00:24:01,030 --> 00:24:05,820 425 00:24:05,820 --> 00:24:09,240 The Japanese tea ceremony in the 16th century 426 00:24:09,240 --> 00:24:13,470 generated two concepts that are thought 427 00:24:13,470 --> 00:24:16,950 of as the sort of ruling aesthetic principles for tea 428 00:24:16,950 --> 00:24:18,180 practice. 429 00:24:18,180 --> 00:24:21,750 The two ideas are called wabi and sabi. 430 00:24:21,750 --> 00:24:27,300 Wabi roughly means simplicity, keeping things simple, 431 00:24:27,300 --> 00:24:30,330 not necessarily taking shortcuts, but keeping 432 00:24:30,330 --> 00:24:34,440 things simple and undecorated. 433 00:24:34,440 --> 00:24:40,200 You might think of the plain wooden surfaces of the timbers 434 00:24:40,200 --> 00:24:43,770 in the Japanese houses, a beautiful example of wabi. 435 00:24:43,770 --> 00:24:46,020 They're not decorated in any way. 436 00:24:46,020 --> 00:24:49,140 They just use their own natural shape 437 00:24:49,140 --> 00:24:52,980 as a kind of beauty in and of itself. 438 00:24:52,980 --> 00:24:55,110 Sabi is a related concept. 439 00:24:55,110 --> 00:24:58,620 It has to do with simplicity, but it has even more 440 00:24:58,620 --> 00:25:04,260 to do with something being loved and used over generations, 441 00:25:04,260 --> 00:25:06,810 even hundreds of years. 442 00:25:06,810 --> 00:25:10,230 One of the examples of it that we see at the Japanese house 443 00:25:10,230 --> 00:25:12,960 is in the repairs that have been made 444 00:25:12,960 --> 00:25:16,490 to the edges of the veranda. 445 00:25:16,490 --> 00:25:19,770 On a couple of occasions, we've had Japanese carpenters 446 00:25:19,770 --> 00:25:23,970 visit and repair those parts. 447 00:25:23,970 --> 00:25:28,050 Now, an American carpenter might simply pull out the whole board 448 00:25:28,050 --> 00:25:29,460 and replace it. 449 00:25:29,460 --> 00:25:31,590 But the Japanese carpenters instead 450 00:25:31,590 --> 00:25:38,640 will cut a shape that is an appealing shape into the wood, 451 00:25:38,640 --> 00:25:42,510 take away the old damaged wood, and replace it 452 00:25:42,510 --> 00:25:47,010 with wood that almost perfectly matches the old wood. 453 00:25:47,010 --> 00:25:49,260 There's a slight difference in color, 454 00:25:49,260 --> 00:25:53,520 but that difference points to the way the house has 455 00:25:53,520 --> 00:25:56,740 been used, loved, and aged. 456 00:25:56,740 --> 00:26:00,420 And it's a very sabi kind of detail. 457 00:26:00,420 --> 00:26:04,530 In many ways, the design seems to really reflect 458 00:26:04,530 --> 00:26:10,050 the principles of Zen, the ideas of bringing yourself 459 00:26:10,050 --> 00:26:15,750 to a centered, quiet place, setting stably, being where 460 00:26:15,750 --> 00:26:17,250 you are, when you're there. 461 00:26:17,250 --> 00:26:27,632 462 00:26:27,632 --> 00:26:29,840 >> When you're in a tea room, whether you're the host 463 00:26:29,840 --> 00:26:32,840 or the guest, you should be completely focused on what 464 00:26:32,840 --> 00:26:35,120 you're doing at any given moment. 465 00:26:35,120 --> 00:26:37,040 You should not think about anything 466 00:26:37,040 --> 00:26:39,249 that happened before you came into the tea room. 467 00:26:39,249 --> 00:26:40,790 You shouldn't think about what you're 468 00:26:40,790 --> 00:26:42,680 going to do when you go home. 469 00:26:42,680 --> 00:26:44,630 For that moment, when you're there, 470 00:26:44,630 --> 00:26:47,240 when you're watching the most prepare tea, 471 00:26:47,240 --> 00:26:49,430 and when you're drinking it, especially when you're 472 00:26:49,430 --> 00:26:52,730 drinking it, you're thinking only about what's 473 00:26:52,730 --> 00:26:56,120 happening right in front of you, the tea that you're drinking, 474 00:26:56,120 --> 00:26:58,280 the preparation that you're watching. 475 00:26:58,280 --> 00:27:00,670 And also the other people in the room. 476 00:27:00,670 --> 00:27:04,000 So as we practice tea ceremony, we practice that focus. 477 00:27:04,000 --> 00:27:07,580 We practice maintaining a very calm and very tranquil 478 00:27:07,580 --> 00:27:08,990 state of mind. 479 00:27:08,990 --> 00:27:12,600 We want to keep a very tranquil mood throughout the room. 480 00:27:12,600 --> 00:27:16,370 We want to make sure that there's nothing that disturbs 481 00:27:16,370 --> 00:27:18,260 the state of mind of the guest. 482 00:27:18,260 --> 00:27:20,450 So it can be a meditative experience, 483 00:27:20,450 --> 00:27:23,150 if people want it to be, or even if they're 484 00:27:23,150 --> 00:27:25,730 just sitting and chatting and have a good time, 485 00:27:25,730 --> 00:27:29,285 there's nothing to disrupt their good mood. 486 00:27:29,285 --> 00:27:32,240 The scroll that's hanging in the room today 487 00:27:32,240 --> 00:27:34,880 has a very simple phrase on it. 488 00:27:34,880 --> 00:27:37,010 It's [NON-ENGLISH]. 489 00:27:37,010 --> 00:27:42,340 And meaning of that is, tea and zen are one, one taste. 490 00:27:42,340 --> 00:27:46,160 We often say that the taste of tea in the bowl 491 00:27:46,160 --> 00:27:47,780 is the taste of Zen. 492 00:27:47,780 --> 00:27:50,590 And so, the scroll reflects that idea, also. 493 00:27:50,590 --> 00:27:56,080 Zen is, of course, one branch or sect of Buddhism. 494 00:27:56,080 --> 00:28:00,470 It's a branch where the primary thing that's emphasized 495 00:28:00,470 --> 00:28:06,230 is Zen, Zen being the Japanese pronunciation 496 00:28:06,230 --> 00:28:11,220 of the Chinese transliteration of the Indian term 497 00:28:11,220 --> 00:28:16,400 [INDIAN] meaning meditation, stillness. 498 00:28:16,400 --> 00:28:21,140 It's a branch of Buddhism that's all about personal experience 499 00:28:21,140 --> 00:28:22,280 and personal practice. 500 00:28:22,280 --> 00:28:35,200 501 00:28:35,200 --> 00:28:40,120 The ideas of shin, gyo and so are 502 00:28:40,120 --> 00:28:43,960 three concepts that are developed out 503 00:28:43,960 --> 00:28:47,820 of the Zen Buddhist world. 504 00:28:47,820 --> 00:28:52,630 In Zen, we talk about ways to perceive and understand 505 00:28:52,630 --> 00:28:54,290 the world around you. 506 00:28:54,290 --> 00:28:58,000 One way is the ordinary kind of perception that we have, 507 00:28:58,000 --> 00:29:01,780 which at its best, shows us all the details, all 508 00:29:01,780 --> 00:29:06,110 the complexities, of life. 509 00:29:06,110 --> 00:29:10,420 On the other hand, after meditating for a long time, 510 00:29:10,420 --> 00:29:13,360 one attains a state where all those details cease 511 00:29:13,360 --> 00:29:17,110 to matter completely, and you are reduced 512 00:29:17,110 --> 00:29:20,260 to the simplest of essences. 513 00:29:20,260 --> 00:29:24,250 Well, that first state with all the details is called shin. 514 00:29:24,250 --> 00:29:30,160 Shin can be translated as truth, or simply that state 515 00:29:30,160 --> 00:29:34,540 with all of the meticulous details of the universe. 516 00:29:34,540 --> 00:29:37,990 Its opposite is called so. 517 00:29:37,990 --> 00:29:41,130 So is written with a character that means grass. 518 00:29:41,130 --> 00:29:46,990 And these terms originally were used for calligraphy criticism, 519 00:29:46,990 --> 00:29:53,500 and developed to talk about this pure, straight form in shin, 520 00:29:53,500 --> 00:29:58,370 the very loose and cursive form of so. 521 00:29:58,370 --> 00:30:01,970 The Zen practitioner then learns to understand 522 00:30:01,970 --> 00:30:06,610 that neither the shin perception of all the details, 523 00:30:06,610 --> 00:30:09,820 nor the so perception of none of the details, 524 00:30:09,820 --> 00:30:12,940 is really perfect perception. 525 00:30:12,940 --> 00:30:15,700 Perfect perception comes when you 526 00:30:15,700 --> 00:30:18,190 transcend the distinction between shin 527 00:30:18,190 --> 00:30:23,980 and so into the perception called gyo, semi-cursive, 528 00:30:23,980 --> 00:30:27,520 if you take it back to the calligraphy concept. 529 00:30:27,520 --> 00:30:31,480 At the Japanese house, those three concepts 530 00:30:31,480 --> 00:30:34,100 show up in a number of ways. 531 00:30:34,100 --> 00:30:36,160 One way is in our pathways. 532 00:30:36,160 --> 00:30:40,270 We have some areas that are paved with straight stones that 533 00:30:40,270 --> 00:30:45,550 are placed perfectly together in a very formal, a very straight, 534 00:30:45,550 --> 00:30:48,852 kind of way, that we would call shin. 535 00:30:48,852 --> 00:30:54,460 In other areas, we have flagstones or stepping stones 536 00:30:54,460 --> 00:30:58,120 that are separated, that are in random shapes. 537 00:30:58,120 --> 00:31:00,340 The most random of those shapes are what 538 00:31:00,340 --> 00:31:03,070 we would call a so pathway. 539 00:31:03,070 --> 00:31:05,620 Between them, you might think of a pathway 540 00:31:05,620 --> 00:31:10,750 that has straight edges, but irregular stones in the center. 541 00:31:10,750 --> 00:31:13,350 That would be the gyo style pathway. 542 00:31:13,350 --> 00:31:18,839 543 00:31:18,839 --> 00:31:20,336 [BIRDSONG] 544 00:31:20,336 --> 00:31:23,829 545 00:31:23,829 --> 00:31:25,330 [MOVING WATER] 546 00:31:25,330 --> 00:31:27,790 >> Since there has been a Japanese presence at our site 547 00:31:27,790 --> 00:31:32,170 since 1876, and we at this site have been the repeated 548 00:31:32,170 --> 00:31:34,810 recipients of gifts from the people of Japan, 549 00:31:34,810 --> 00:31:37,720 starting with that first garden in 1876, 550 00:31:37,720 --> 00:31:40,760 through the Buddhist temple gate installed in 1909, 551 00:31:40,760 --> 00:31:44,320 through Shofuso's installation in 1957, 552 00:31:44,320 --> 00:31:48,670 and then Hiroshi Senju's gift of fusuma paintings in 2007. 553 00:31:48,670 --> 00:31:50,770 Shufosu is the physical embodiment 554 00:31:50,770 --> 00:31:52,779 of the longtime friendship between Japan 555 00:31:52,779 --> 00:31:54,070 and the people of Philadelphia. 556 00:31:54,070 --> 00:31:57,420 [MUSIC PLAYING] 557 00:31:57,420 --> 00:32:43,712