The Art of Japanese Joinery

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taruki kei facia is called a hafu facia. It is used as ornamentation on shrine and temple architecture and on custom designed residences. 1. Kirizuma (cut) hafu facia, sugu hafu facia, sori (curved) hafu facia, mukuri (arched) hafu facia, nagare (sagging) hafu facia, irimoya (hip gable) hafu facia, kara (Chinese) hafu facia, and chidori (temple) hafu facia. giving greater resistance to the cutting. This is called crosscutting. Saw teeth are made ei¬ ther for ripping or for crosscutting, and are shaped accordingly. The tips of both types of teeth flare outward slightly so that‘the cutting surface of the saw is wider than its body, thereby preventing binding. (See Figures 2.15 and 2.16.) E Eddoko: A nail remover. Edo: Edo is the old name for Tokyo. The name of an historical period ca. 1600-1860 A.D. The Ink Marker (Sumisashi) The ink marker (Figure 4.2) functions as either pencil or brush. The pointed end is used for marking grid letters, while lines are drawn with the split end. Sumisashi are made from dried bamboo stalks cut into 10 inch lengths, and widths of about one inch, then shaped until they are comfortable to hold. Next, the bamboo is soaked in water until it is saturated, at which time it is split. The interior surface, which is pithy and soft, is removed. (With bamboo, the absolute exterior is the hardest.) The line-drawing end is split with a chisel (hira nomi) or razor at intervals of 1/16 to 1/32 inch, to a depth of about 2 inches (Figure 4.3). Then, it is tapered to a sharp edge, using a chisel. The head has a final width of about 2 inches. The tip is pounded with a hammer to form bristles like a brush, as shown in Figure 4.4. *To get a superfine line, Dacron® sail thread is ideal.

You can use an extra piece of wood as support to shave any wood by hand to ensure that the square is perfectly even with the measurements and markings you drew. Step 3: Cutting the Wood Using Saw It is necessary to change the proportion of the gegyo on houses with a slope less than 5-5/0 because the illustrations show those used on shrines and temples whose roof slope is steep. Example using suitsukisan (wood scab) and a shachisen pin. Commonly used right angle joint for the ogami of the sori hafu facia. On the inside face, install the wood scab (suitsukisan) and secure it from the top face with a pin. The pin should be installed in such a way as to pull the

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Hako kaidan: Box stairs. Hako mechigai tsugi: Grain different box joint. L-shaped shipped and tenoned half lap joint, or blind U-shaped stubbed mortise and tenon joint. Hako mechigai refers to the shape of the tenon, whether it is Lshaped or U-shaped. This style, which often featured opulent ornamentation through the use of gold leaf and thin lacquering , evolved out of the wood joinery practices of the Heian period (794-1185), after which sashimono carpentry became increasingly nuanced.

Along lines C and D make kerfs with a rip saw from line B to line A. Chisel out diagonally marked section between lines C and D. Chisel out the diagonally marked "section on both sides between lines A and F until the haunch is squared. For the student of Japanese Carpentry, the thorough text is worth the price of entry. An early passage covers the critical fundamental of ma-- the space, the interval-- from which shape and tempo and flow eventually derive.Next, repeat procedures (2) through (8) of Figure 5.24. At the end, strike the chisel in to remove the remaining piece as shown in Figure 5.24(9). Han tome: Half stop. Shoulder miter joint. Hari: A style of ceiling. Hariuke kanamono: Beam receiving metal things. Beam hangers. This is the same method as that in the illustration on the left except that a brace and a hakama koshi chord have been added. BOTTOM CHORD

Hasami: A beam. Hasami bari: Scissor beam. (Hari is the correct pronun¬ ciation when alone; bari is correct when following another word.) Spaced beam. So for the first step, you will need to mark your wood at the places where you need to carve it with a chisel. For this joint, you will need to carve out a square hole in two pieces of wood. This is where a square dowel will be hammered into the pieces of wood once they intersect. So the marking should be on the top side of the wood.

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Paper or cloth wrapping In strong sunshine natural woods will burn and their surfaces will discolor. To prevent this, boards for interior use are wrapped with paper or cloth after they have been cut, planed, and chiselled. This wrapper is later removed when construction is completed. In the case of wall members, it is not removed until mud or plaster has been applied. Sharpening stones are classified as coarse, medium, and finish stones, and are used in se¬ quence when sharpening blades. Japanese sharpening stones should be used with water only, never oil. The water lubricates the action of the stone and flushes away the metal rubbed from the blade. Manmade stones should be soaked in water for a few minutes be¬ fore each use, but natural stones must never be soaked. A rough manmade stone made of silicon carbide, aluminum carbide, or aluminum silicate is used to remove chips from blades. The coarse stone, made of sandstone, is used to be¬ gin any sharpening practice except daily maintenance, in which only the medium and finish stones are used. The medium stone is made of shale and is dark blue in color. When used, it follows the coarse stone, after which the blade is applied to the finish stone. There are manmade finish stones and naturally formed ones. The finest edges are ob¬ tained from the natural stones. Manmade stones are often too soft and, generally speaking, the harder a finish stone is, the sharper the edge it will produce. The best Japanese stones are Honyama stones, found near Kyoto. They are beige in color and tend to be quite ex¬ pensive, especially the larger ones. Better natural stQnes have an even texture and no inclu¬ sions of grit or other foreign matter in the sharpening surface. When a blade has been sharpened on a medium or coarse stone, a burr of metal appears on the front side of the blade. This “wire edge" can be felt by running a finger along the top side of the blade edge off the front. Do not break this off; remove it with the next finest stone. The finish stone will not leave a wire edge.

The nanatsu (seven) moya style: This is a style with the starter reference point located on the third point of the spaces which equally divide the roof into seven. Eriwa tsugi: Collar ring joint. Dado and rabbet joint. Eriwa tsuki ari otoshi: Ant drop with collar ring. Collared dovetail rabbet and dado joint. as a white line as light reflects off it. In such a case, sharpen the blade with a coarse stone until a wire edge is produced across the full width of the blade. Chisel off the shaded portion by repeatedly carving out. Remember to allow for the slope on the tenon.In Japan, as in North America, there are a number of regional variants within a given species, such as cedar or cypress, each with its own characteristics. A workman should be¬ come familiar with the different woods available which have the features desired for each use. One good way to identify local woods which are suitable for use in wood frame con¬ struction is to visit local heritage buildings. The craftsmen who built them were generally limited in their selection of materials to those available locally, so the woods they used for certain applications, and their joinery methods, can be instructive. Types of wood typically used in constructing Japanese houses are listed in Table 3.1. When hitting the chisel, strike the crown straight and follow the steps shown in Figures 5.19 to 5.21.