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High ceilings in a vital room or family room can be flashy as desired. Ceiling on a couple’s residence and this exuberant teak slices orderly organized. They put him in a center and in several other parts.In a vital room with high tilted ceilings, for example, elongated wooden ornaments in a center to reduce curve. While in a family room lower, usually a wooden crowd placed in a center of space.

We can used a rest of teak to separate into tiny planks magnitude 5 cm x 1cm. These tiny play are cut along a 60cm and above are prepared with plywood. Once finished, he remained stranded in a ceiling. Practical course.Decorative timber so it stands out since it blends with white ceiling. While a orange walls give a atmosphere some-more contented and young. The building was also interesting. Ceramic building was given a list of teak timber in some places.

In one dilemma there is usually a tiny list for potted plants and accessories. On a walls were hung with usually one framed calligraphy and framed photographs.This room looks some-more good with family room, that only finished a runner and pillows to watch television. Nun during a back, there is a wall attire done of rags of healthy stones and ceramics. Arrangement was done interesting.Well, we could feel, apparently elementary arrangement can emanate a space feels spacious. Decorative teak timber structure also contributes to a atmosphere does not indispensably turn monotonous.

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Torii gate at Miyajima Island
(Photography: Author)

This Japanese concept of impermanence is depicted in other areas of their culture. An examination of kanji characters, the Japanese writing system borrowed from the Chinese, convey the characters for house and other buildings as the topmost element, clearly symbolising a roof structure (Yagi, 1992).This symbolism of a solid roof with space below is typical of Shoin architecture, and will be discussed later. However, the Japanese language is a complex system that often breaks its own rules, with various grammatical conventions not being retained in a sentence that could even see the subject or object, or even both, being omitted or just being implied in the context of the sentence (Bognar, 1988). This linguistic attitude is carried through to the popular haiku style of poetry. The haiku style demands that you engage in the poem and contemplate the spaces that could mean as much as the words. ‘The unique linguistic characteristic of the Japanese language lies in a non-structural approach in which words do not necessarily have a logical relationship to one another, but where the words spoken have a number of invisible meanings and ma or silent beat from which the listener is expected to extract and interpret the meaning intended by the speaker’ (Miyoshi, 1985, p. 101,103).

An older Shinto shrine at Ise
(Photography: Author)

Shinto, the native religion of Japan, has a central theme of respect for nature in which divine beings or kami are honoured in public and private shrines. In Sherman Lee’s excellent compendium of Japanese Design he discussed the relationship between nature, religion, and design by stating: ‘The Shinto faith particularizes nature with its many thousands of kami personifying selected individual units – rocks, noble trees, streams…Rather than organizing all this into a grand design, the Japanese accept this uniqueness of individual units, the natural order of motifs. With this there is a respect of the motifs and for their composition’ (Lee, 1981, p. 11). However, this deeply embedded relationship to nature is not only focussed on the various entities honoured in nature, but also on the transitory relationship of continual natural change. As an island people, basically isolated, the Japanese have continuously focussed for over 2000 years on wood as a medium for design and construction, mostly for non-load bearing efforts. The Japanese in every aspect of their culture have exploited wood and paper, materials with a low thermal capacity, ideal for the warm and humid climate. ‘This indicates a deep-seated preference on the part of the Japanese for the living and the transitory, for the change of seasons, indeed for things in their raw state, as also is seen in Japanese cuisine’ (Nitschke, 2002, p. 15).

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The binary opposition of excess versus austerity is discussed in Botond Bognar’s essay ‘The Japanese Order of Things’, and establishes a core foundation of ideas to be investigated in this paper. In this essay, Bognar (1988) briefly described the foundations of western metaphysics being based on the search for immutable laws that govern the universe that has led to western thought splitting the world into binary oppositions such as being versus nothingness. He then stated, that by contrast oriental cultures, in particular the Japanese, have been uninterested in this dichotomy, as the search for universal laws was largely deemed as being of little importance. Japanese culture has evolved to be simultaneously heterogeneous and homogeneous; and its seemingly contradictory, or more appropriately paradoxical, and complex approach to design stems from a number of well established factors. ‘The Japanese have become a culture of ‘both/and’, wherein old and new, native and foreign, traditional and modern are complementary aspects of the same thing’ (Bognar, 1988, p. 148).

The wisdom of design rather than the knowledge of design is best described by György Doczi in the Power of Limits: ‘the West seeks knowledge by taking things apart and looking at each separately, the East takes another approach which is to put things together to look for the holistic nature of design, The East seek wisdom instead of knowledge’ (Doczi, 1981, p. 127). This is not to say that one side is wise and the other is not, as the history of the world has clearly shown, but rather, that the inherent approach to the world is different. As we review these thoughts in terms of design, and with particular emphasis to the world of Japanese design, we shall see that the relationship of the whole/part is carefully considered. The detailing explored within Japanese design clearly expresses the range of excessive and austere design outcomes. From the fashion ‘Fruits’ of Harajuku to the brutal minimalism of Tadao Ando, and from the traditional Shoin architecture to the exaggerated Kabuki faces, the complex world of Japanese design is undeterred by dealing with the extremities. To understand this control, one must look at the contextual issues that have had an effect on Japanese design.

Stanley Abercrombie (1990) identified the two main categories of details as those being part of the building fabric, and those that are added to the space that can be removed without any damage. The Japanese would see that both are part of the whole and that neither should be secondary in nature. In his comprehensive study of the theoretical premise behind the idea of details, Marco Frascari (1996) described details as being: material joints, the connection between materials; and, formal joints, the connection between the interior and exterior. Here again, the Japanese designers would want the idea of ma, the Japanese design decoration principle of the space between, to be added, as Frascari only emphasised the positive space. A material is either there or another material is there, the sense of negative space is not considered in his basic definitions, but only the idea of connection. Tadao Ando (1991) came closer when he stated ‘Architectural details are not just matters of technical treatment or arrangement. In designing, one begins with a search for an architectural logic that will permeate the whole, and eventually one always returns to that starting point. Within that cycle, one must consider the relationship between the whole and the parts, and between materials and forms’ (pp. 10- 11). The paving pattern by Kuryo Akira at the entrance to the Byodo-in Museum represents a wonderful relationship of material joints, formal joints, and also the contemplative space of ma before one enters the museum.

Paving pattern at the Byodo-in Museum, Kyoto
(Photography: Author)

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Concession Accessories

We would be remiss if we didn’t talk about the different concession items that you can buy to put in your home theater. The first item that guarantees and instant association with “going out to the movies” is a popcorn machine. These are available from a number of suppliers. First Impressions offers their Starlite™ 6 oz popcorn machine for $990. It is a commercial model manufactured of extruded aluminum with tempered glass and a large yellow, white and red sign “popcorn” sign. You can also buy the popcorn and those classic red and white popcorn boxes from them.

Another nice touch is to build a miniature version of a concession counter and either make it functional with a wet bar and refrigerator or built it just for aesthetics. To help you with this, Home Theater Accessories offers a commercial- quality candy master case for $762 and a stand-alone laminated concession case for $1462. First Impressions offers their Starlite™ candy counter cases ($675) which can be combined with their other CineBar™ accessories (Ice cream parlor equipment, soda dispensers, professional refrigerators, etc.)

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