「ハレ」の日は、他の都市以上に贅を尽くし、ふだんの「ケ」の日は、他の都市以上に節制に励む（らしい）振れ幅の大きさが、名古屋のおもしろさ。その振れ幅に、さまざまな場面で遭遇し、感心します。
その「ハレ」の文化の、名古屋における極上の場所が、大正14年（1925）開業で、令和２年（2020）に重要文化財に指定された料亭「八勝館」。
In Nagoya, the third metropolitan area in Japan, on the days of Hare (sacred period), they spend more extravagantly than in other cities, meanwhile, on the days of Ke (profane period), they live more frugally than in other cities. The big fluctuation range is the attraction of Nagoya. Each time I encounter that in various situations, I am impressed.
The best place in Nagoya for the culture of Hare is the Japanese-style restaurant Hasshokan, which opened in 1910 and received designation of a national important cultural property in 2020.
Matsu-no-Ma Room (Pine Room) : It was a room in the mansion built by the lumber merchant. When the ventilation window under the window is opened, a checkered pattern appears.
4000坪の敷地を有し、明治時代に建てられた材木商・柴田孫助の別荘であったお屋敷に、増築や新築の棟を加えたつくりで、建築と庭のすばらしさでは、日本有数の料亭。特に、その名を高らしめているのが堀口捨己の設計による部屋の数々。
材木商が付けた八勝館の名の由来には、丘陵地のために八方に山々を眺める景勝の地だった説、敷地内に八景がある説、そして、向かいにある興正寺に寄進をして、この地を譲り受けた後、興正寺の迎賓館の役割も担う中、宿泊した高僧の一人、雲照律師が書いた禅語の額「八勝道（８つの正しい道）」に基づくという説の３つがあるそうです。
長い間旅館として営業し、その後、料亭専業となってからも、ご贔屓筋の宿泊は受け、少し前まで利用する方がいたそう。遡れば、堀口捨己が最初に関わり、日本建築学会賞を受賞した「御幸の間」も、昭和25年（1950）に名古屋で国体が開催された折、昭和天皇皇后両陛下のご宿泊所としてつくられたものでした。
「御幸の間」は、モダニズムで解釈した数寄屋の空間と、襖や欄間に貼り込んだ、インドネシア更紗などの染織布の断片（古代裂（きれ））の取り合わせで名高い建築。訪れたのは夏のため、古代裂を貼り付けた襖や障子は簾戸や御簾に替わり、空間の透きが高まって、見た目も涼やか。庭もいっそう近く感じます。戦後間もない建設当時、物資不足の中、最上の素材を取り揃えたそうですが、旧弊の銘木至上主義には陥らず、空間構成で、新しい時代の清新な伝統的建築を表現したように見えました。暑い時期、裂（きれ）は、欄間や飾り棚の一部に残るだけでしたが、秋になれば戻り、室の印象を大きく変えるはず。時間変化を演出する仕掛けの一つになっていました。
「菊の間」は、障子の桟や格天井の格子のモチーフを、部屋全体に発展させ、よりモダニズムが進化した室。ここの障子を簾戸に変えていなかったのは、それをすると、この空間の効果が減じてしまうからなのでしょう。「御幸の間」に残っていた季節変化を取り込む日本的感覚は、不変的な時間感覚に変化し、モダニズムが勝っていました。
訪れたのは、35度近い酷暑の日中で、ぐったりモード。食事の時間まで間があったので、「お水を一杯いただけないでしょうか。」とお願いすると、「そのようなサービスはしておりません。」とぴしゃり。一見さんに、無駄なサービスを一切しないのは、それも名古屋らしい。
With the site of 13000 m2, it was built in the middle Meiji Era (the late 19th century) as the mansion of a lumber dealer Magosuke Shibata. Later an extension part and new wings added. It is one of the leading Japanese-style restaurants in Japan in terms of architecture and garden. In particular, many rooms designed by architect Sutemi Horiguchi raise its prestige.
The lumber dealer gave the name Hassho-kan. There are three theories about the origin of name. The first was the theory that the site was a scenic spot where they could see mountains in eight directions due to the hilly landscape. The second was the theory that it had eight splendid views on the site. In both, Hassho meant eight famous sceneries. The third was that the lumber dealer took over the land from the Koshoji temple after having donated, the Hassho-kan later assumed the guest-house-like role of Koshoji Temple, and Unsho Ritsushi, who was one of the high priests and stayed at the hotel, wrote the Zen word "Hassho-do (eight right paths)" on the plaque.
After operating as a Japanese-style Inn for a long time, it became a full-time Japanese-style restaurant. However, it still accepted lodgings from its patrons. Until a while ago, there were guests who used it. Going back in time, the Miyuki-no-Ma Room, which Sutemi Horiguchi designed first of all, and won the Architectural Institute of Japan Award, was built as a lodging for the Showa Emperor and Empress when they attended the National Sports Festival held in Nagoya in 1950.
The Miyuki-no-Ma Room (Imperial Visit Room) is famous for combination of the Japanese-traditional space interpreted by modernism and the fragments of ancient dyed and woven fabrics as Indonesian chintz attached to the sliding doors and transom. Because of the summer, they replaced sliding doors and shoji screens with bamboo blinds and sliding doors. The space became more transparent and looked cool. I felt the garden closer. At the time of construction in 1950, shortly after the war, the best materials were available despite the lack of supplies. However, Horiguchi did not fall into the fossilized famous materials supremacism and expressed the traditional architecture of the new era through space composition. In the hot season, the fabrics only remained in the transom and part of the cabinet, but they will return in the fall and should change the impression of the room. It was one of the mechanisms to produce time changes like traditional Japanese architecture.
The Kiku-no-Ma Room (Chrysanthemum Room) was more modernized, as Horiguchi amplified the lattice of shoji screens into every motif in the room. So, despite the summer, they didn't change the shoji screens into bamboo sliding doors since those would reduce the effect of this space. The Japanese sense of capturing the seasonal changes that remained in the Miyuki no Ma room changed into an immutable sense of time, and modernism prevailed in tradition.
I visited during a hot day of nearly 35 degrees C. I got exhausted. There was a time until mealtime. "Would you like to have a glass of water?” I asked. (In Japan, a free water is an ordinary service.) The staff answered, "We do not offer such a service." I was impressed that it was Nagoya that did not provide any useless service to a chance customer.
御幸の間 / Miyuki-no-Ma Room (Imperial Visit Room)
夏の間、障子が御簾に入れ替えられて、涼しさを演出し、古代裂（きれ）の貼り分けで山水を抽象的に描いた有名な襖も外され、風通しのいい大きな部屋が現れる。裂（きれ）は、欄間の壁と地袋に残るだけ。世界でも最初期の例という説のある光天井が、部屋を明るく照らし上げる。完成当時は、白木のため、いっそう明るく、それを見た先代の女将は、ちょっと安っぽいと言われたそう。
Miyuki-no-Ma Room (Imperial Visit Room) : It consist of the main room with 16-tatami-mat room, the next room with 10-tatami-mat room, and the passageway with 16 tatami mats. During the summer, the shoji screens replaced the bamboo blinds to create a cool atmosphere, and the famous fusuma sliding doors, on which Sutemi Horiguchi depicted landscapes abstractly with ancient fabrics, were also removed and made appear a large airy room. The light ceiling that is said as the earliest example in the world brighten up the room. When it was completed, it was brighter because of new unfinished wood, and the previous proprietress who saw it said it looked a little cheap.
Miyuki-no-Ma Room (Imperial Visit Room) : Sutemi Horiguchi reconstructed the design of the Katsura Rikyuu Imperial Villa and Rinshunkaku Palace in Sankeien Garden into modern designs. The opening in the toko-no-ma (alcove), which has been hollowed out into a beautiful square, derives from the Koshoin of the Katsura Rikyuu IImperial Villa, meanwhile the wooden board and batten ceiling originates in the fylfot ceiling in Rinshunkaku Palace. However, the fylfot ceiling, which used to create a rotating movement, was divided by a modern light ceiling with shoji screens in the center, and the allocation of the battens was uneven, resulting in a leap into a different sense.
Miyuki-no-Ma Room (Imperial Visit Room) : The circular windows called Shitajimado, which are arranged in Tsuke-shoin (buit-in table space), derives from the windows in Shoi-ken Tea Room of the Katsura Rikyuu Imperial Villa.
Miyuki-no-Ma Room (Imperial Visit Room) : See the passageway of the tatami mats and the garden beyond the bamboo blinds from the main room.
Miyuki-no-Ma Room (Imperial Visit Room) : See the garden from the passageway of the tatami mats. Each room in the Hassyo-kan Restaurant has an open terrace since Sutemi Horiguchi liked to install it. The open terrace in this room was based on the Tsukimidai terrace (moon-viewing terrace) in the Katsura Riyuu Imperial Villa.
入側に面して続く長いガラス戸の冬の寒さが尋常でなかったが、近年、真空ガラスに入れ替え、かなり改善された。竣工時にはガラス窓に入っていた中桟は、今は外され、座敷と庭のつながりが緊密になっていた。
Miyuki-no-Ma Room (Imperial Visit Room) : See the garden from the passageway of the tatami mats.
The long glass door was unusually cold in winter, but in recent years, it has been replaced with vacuum glass, which has improved the cold considerably. At the time of completion, the center crosspieces that were in the glass windows have now been removed, creating a close connection between the interior and the garden.
Miyuki-no-Ma Room (Imperial Visit Room) : On the transoms of the main room, ancient fabrics are attached. The battens on the ceiling are unevenly distributed.
Miyuki-no-Ma Room (Imperial Visit Room) : See the ground shelf and the Shitajimado window beside the Toko-no-Ma (alcove). On the ground shelf, ancient fabrics are attached.
菊の間 / Kiku-no-Ma Room (Chrysanthemum Room)
光天井の格子は取り外せず、蛍光灯交換のために、格子の間から差し込んで、回転するための引っ込み孔を、天井の中に設けている。太鼓張りの欄間障子は、障子の間に蛍光灯（今はLED）を入れ、濃淡を演出。畳床は、大正時代のつくりのため、現代の畳床とは違い、ふかふかして柔らかい。
Kiku-no-Ma Room (Chrysanthemum Room) : It is renovated by Sutemi Horiguchi in 1958. The two rooms of the lumber merchant's mansion were converted into one room, and the ceiling and fittings were redesigned while remaining the most of the original structure. The motif of lattice on shoji bars and coffered ceiling lattices are repeated in the room, and the tatami floor divided into four in the Toko-no-Ma (alcove) also evokes the lattice.
The lattice of the light ceiling is not enable to remove, and a retraction hole is provided inside the ceiling for inserting the fluorescent lamp between the lattices and rotating for replacing it. Fluorescent lamp (currently LED) are also installed inside the shoji screens on the transom to create light and shade. The tatami floor in the Toko-no-Ma (alcove) is carried out in the Taisho era, so unlike modern tatami floors, it is fluffy and soft.
Kiku-no-Ma Room (Chrysanthemum Room) : The lattice motif was repeated many times in the shoji screens on the vertical surface, the light ceilings, the coffered ceilings, and the rod-rim ceiling on the horizontal surface, creating a modern impression.
欄間は、元々の屋敷のもので、明治時代の有名な指物師によるもの。次の間の光天井の懐を利用して、欄間上部に壁吹出しの空調を組み込んでいる。次の間の光天井には、ビルトインの空調機の影が落ちておらず、マジックのよう。
Kiku-no-Ma Room (Chrysanthemum Room) : See from the main room to the next room. Sutemi Horiguchi designed the fusuma sliding doors with gold gilt paper. Because of the damage, the original paper of the two rooms was used only for the fusuma sliding doors in the main room, and white Japanese paper was pasted for a deficiency. If I hadn't known about the story, I would have thought that the design like pasting with an arithmetic progression was made by Sutemi Horiguchi.
The transom derives from the original mansion and was produced by a famous joiner more than 100 years. Utilizing the inside of the light ceiling in the next room, an air conditioner that blows out from the wall is installed in the upper part of the transom. The light ceiling in the next room does not cast the shadow of the built-in air conditioner. That is like magic.
桜の間 / Sakura-no-Ma Room (Cherry Room)
Sakura-no-Ma Room (Cherry Room) : This room was added by Sutemi Horiguchi in 1958. It consists of the main room with13.5 tatami mats, the next room with 7.5 tatami mats, and the entrance with 2 tatami mats. The impression changes considerably depending on the viewing angle.
「桜の間」と「御幸の間」のみ、空気管を張り巡らせた、特殊な火災報知器を使用し、火災報知器の存在は、教えてもらわない限り見えない。今は職人が途絶え、新設できない技術を維持することが、オーナーの空間に対する高い美意識を伝える。
Sakura-no-Ma Room (Cherry Room) : The composition of the oblique ceiling and flat ceiling is traditional, but by the effect of the light ceilings on the edge and rise of the flat ceiling, the room is transformed into a modern space. Similar to the Kiku-no-Ma Room, the shoji screens with fluorescent lights (now LED) inside were installed on the transom, and that create a somewhat different atmosphere. The shoji screens on the interior porch was designed by Sumi Horiguchi so that it can be neatly stored away.
Only the Sakura-no-Ma Room and the Miyuki no Ma Room use special fire alarms with air pipes, and the presence of fire alarms cannot be seen unless you know it. Now the craftsmen with technique are no longer available, and the system cannot be newly built. That conveys the high aesthetic sense of the owner for space.
女将によれば、丸い照明は、建設当時のドイツの最新の照明器具だと、ここを訪れた何人もの建築関係者が話していたそう。左側の格子ルーバーの照明の立上り、右側のダウンライトの平天井の立上りに、障子貼りの照明を設けているが、堀口捨己によれば、天井が暗くなりすぎないようにするための仕掛け。
Sakura-no-Ma Room (Cherry Room) : From this angle, the design is dense and complex. Since the Hassho-kan Restaurant was Japanese-style inns, sanitary facilities and storage spaces required by the Ryokan Law were provided behind each fusuma and shoji screens. The proprietress talked that the convenience of the guest room was very good for both the customer and the management side. After closing the inn, the owner removed unnecessary equipment and modified it to suit Sutemi Horiguchi's space.
According to the proprietress, many architects who visited here said that the round lights were the latest lighting fixtures imported from Germany at the time of construction. The lightings are installed on the rise side of the lattice louver on the left side and the right side on the flat ceiling. According to Sutemi Horiguchi, those are a device to keep the ceiling from getting too dark.
Sakura-no-Ma (Cherry Room) : It is said that a triangular shelf derives from the shelf in Shugakuin Riyuu Imperial Villa. On the ground shelf, ancient fabrics are attached.
残月の間 / Zangetu-no-Ma Room (Morning Moon Room)
Zangetu-no-Ma Room (Morning Moon Room) : It was built in 1950 by Sutemi Horiguchi. It design originates in the Zangetsu-tei Tea Room in the head residence of the Omotesenke school of tea ceremony.
松の間 / Matsu-no-Ma Room (Pine Room)
Matsu-no-Ma Room (Pine Room) : It was built in the middle Meiji Era (the late 19th century). See the main room, passageway and the ventilation window called Muso-mado.
田舎家 / Inaka-ya (Country House)
関東大震災により、名古屋に疎開して来たのが、大実業家であり、千利休以来の大茶人と呼ばれた益田孝こと益田鈍翁。八勝館の近在にあった高松家の所有する田舎家で、名古屋の財界人に鈍翁流の茶を広めたところ、そこに呼ばれた初代が気に入って、同じように田舎家を移築したと伝わる。その後、ここでは、松永安左エ門や畠山即翁、小林一三のような茶人としても高名な企業家が茶を楽しみ、北大路魯山人が陶器をつくり、イサムノグチが宿泊した。
Inaka-ya (Country House) : See the interior of a thatched Inaka-ya (Country House). Its seat surrounds the sunken hearth. The house was relocated from Shiga Prefecture in the 1920's and rebuilt.
After the Great Kanto Earthquake, Masuda Takashi, also known as Masuda Don-ou, was evacuated to Nagoya. In a country house owned by the Takamatsu family near the Hassho-kan Restaurant, he held the Don-ou sytle tea ceremony for Nagoya financiers. The founder of the Hassho-kan Restaurant liked it and relocated a country house in the same way. Later, the famous entrepreneurs, who were also the famous masters of tea ceremony, such as Yasuzaemon Matsunaga, Sokuo Hatakeyama, and Ichizo Kobayashi enjoyed tea here, artist Rosanjin Kitaoji made pottery, and artist Isamu Noguchi stayed here.
庭 / Inaka-ya (Country House)
Garden : See the Inaka-ya (Country House) from the garden.
Garden : The raised floor building on the right is the Miyuki-no-Ma Room, with a protruding open terrace modeled after the Tsukimidai terrace (moon-viewing terrace) in the Katsura Riyuu Imperial Villa.
Garden : See the garden from the open terrace in the Miyuki-no-Ma Room. The topography is the original landscape of this place. When the garden was created, most stones were from this region, but now stones from other regions were added. The Hassho-kan restaurant took over those when a nearby mansion was rebuilt into an apartment. In the same way, stone Buddhas were also inherited and placed everywhere. The garden is always ever-changing.
Garden : See the approach. A guest can circulate the entire garden. The maples are wonderful, and it should create a spectacular view in the autumn. The thatched roof on the right is the Inaka-ya (Country House).
Garden : See the approach. A splendid cedar moss grows. The staffs carefully take care of it every day.
Garden : A stream is also created.
Garden : Whitecaps are foaming in the stream.
Garden : See the New Tatami Room Wing that used to be a separate building once. Thanks to Sutemi Horiguchi's advice, it connected with the Main Wing as today.
玄関 / Entrance
Entrance : It maintains the old-style entrance.
門 / Gate
Gate : The plaque on the gate was written by Unsho Ritsushi Discipliner. One of the theories about the origin of Hassho-kan's name, is the Zen word "Hassho-do" that means eight right paths. This would be the plaque ?
ロゴ / Logo
Staff's costumes : Hassho-kan's logo written on the costume is cool.
ご感想はこちらへ / Click here for your impressions
参考文献 / reference
八勝館のホームページ
”新建築1958年３月号” (新建築社,1958)
”新建築1964年６月号” (新建築社,1964)
”現代日本建築家全集（４）堀口捨己” (栗田勇,三一書房,1971)
”住宅建築2010年10月号” (建築資料研究社,2010)
文化遺産オンライン（文化庁）
Cultural Heritage Online (Agency for Cultural Affairs)
Wikipedia
写真の無断使用、転用はご遠慮下さい。/ Please do not use or upload our photos without permission.
