Inspired by the Land of the Rising Sun by adrienne breaux

CRAFT MICHAEL YATES

the sacredness of the process and attention to detail resonated with me in a way that nothing had before.”

The Japanese-influnced Furniture of Woodworker Michael Yates

INSPIRED BY THE LAND OF THE RISING SUN

W ORDS : A D R I E NNE B R E A U X PHO T O GRAPH Y : C . r Y A N

During his first few weeks living in Japan, Austin furniture designer Michael Yates spent a lot of time laughing. The cultural differences between laidback Central Texas and the traditional Japanese city of Kyoto are vast, and for the then Texas A&M electrical engineering student, nearly everything was an adventure. Luckily for Austinites, Yates took more from his trip to Japan than just memories. He found among Kyoto’s dense architecture and ancient temples the inspiration for his unique, Japanese-inspired custom furniture that he designs and builds here in Austin.

Kyoto It was the summer of 2000, and Michael Yates found himself on a Texas A&M study abroad trip for the company Suncall in Kyoto. He was the only non-Japanese worker at the firm. Armed with some Japanese language courses and his own adventurous spirit, nothing could quite prepare him for living and working among his Japanese engineering counterparts day *ITAL and night (all the young men from the company stayed together in one dormitory). There were the exercises every morning with his fellow work mates set in a beautiful courtyard led by loud music pouring out of a speaker. Then there was the memorable time when his coworkers took him out to eat, and he ended up face to face with a still breathing fish head. Along with all the cultural adventures, it was in Japan that Yates also came face to face with stunning beauty. He took trips every weekend to ancient temples in and around Kyoto, which can either be squished next to McDonald’s or set in idyllic sceneries on the outskirts of town. Some temples are tall, one is covered in gold leaf and one is even a castle (complete with a moat). But what all the temples have in common, whether they are pinched

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The Temples

It was in these temples that Yates first discovered the logic, deliberateness, and consistency of Japanese building processes, which would later go on to influence his design work. Three temples in particular especially moved him and began what would be a lifetime journey of respect and reverence for Japanese architecture.

right top: Side view of grand gate to Kiyomizu-dera temple complex in Kyoto. right bottom: Detail of joints of Kiyomizu-dera temple. below: Furniture by Michael Yates

Horyu-ji, a temple in Nara just outside of Kyoto, is the oldest wooden structure in the world, and the first time he was able to experience in person an early example of a nail-free structure and the strength and precision of Japanese joinery techniques. Also in Nara is Todai-ji, which is the largest wooden structure in the world, and another breathtaking example of Japanese nail-free joinery. Kiyomizu-dera, in Kyoto, is famous for a large veranda that projects out over a hill. Here visitors have the opportunity to look underneath the temple’s veranda and see the substructure: the timbers, frames and cross bracing---all done without nails. “I imagine everyone thinks that these structures are beautiful” says Yates. “ But the sacredness of the process and attention to detail resonated with me in a way that nothing had before. I’ve since learned in practice what I saw evidence of in the temples—that completely focusing on where you are will get you the best product at the end. Every step of the process is precious.”

above photos by Brian Ray

Austin You might assume that coming back from his work abroad in Japan is the impetus that begins his career as a Japanese-inspired furniture designer, but his story isn’t that simple. After Japan, Yates found himself at a great high paying job with a company car and lots of job security, but he wasn’t completely satisfied with an electrical engineering path. So in 2003 he did what any sane person would do: quit his job to pursue the chance life of a modern furniture designer. As he puts it, after he quit his job he didn’t have a car and had moved out of his apartment, but he was now pursuing his passion—and he hadn’t felt better in a long time.

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His first commissioned woodworking job in October of 2003 consisted of Yates having to construct 20 document displays for Texas A&M University. And while he had never worked on such a project before, he jumped in headfirst.

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“Before I had ever made even one thing on a professional level, I had signed on to make 20 pieces for clients,” he says.

photo by Marco Fiorilio

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CRAFT MICHAEL YATES

tightly inside the city proper or sprawled out over stunning landscapes, is once a visitor is inside the temple, everything else fades away and the beauty and perfection of the structure’s construction becomes clear.

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His willingness to tackle a job and get it done is an integral part of Yates’ nature and has come to define his career. Fusing an ancient craft with modern aesthetic isn’t exactly easy, but his natural talent for forms and lines and his extensive knowledge of Japanese culture flows freely into his work. Projects of any scale or application can be achieved with great results because of his distinct approach to the process. And while his knowledge and experience is impressive, his obvious respect and reverence of Japanese techniques is what drives the creative force behind his wooden masterpieces and sets him apart from other furniture designers. continued on page 84 >>

TOOLS OF THE TRADE Crafting wooden objects with traditional techniques, Michael Yates relies on a wide range of simple handtools. “My chisels, no doubt are my favorites, but there is no better feeling in the studio than a super sharp and fine-tuned hand plane,” Yates says.

01. Ryoba Saw

04. Mortise Guage

09. Shoulder Plane

02. Housed Sliding Dovetail Joint

05. Dozuki Saw

10. Wheel Marking Guage

06. Chisels

11. Square

07. Smoothing Plane

12. Mallet

03. Japanese Smoothing Pane

08. Marking Knife

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<< Craft: Michael Yates: continued from page 30

The Process As with any craft, the process is sparked from an idea and begins with a sketch, whether from the client’s ideas or his own. First on paper, and later, if the project’s complexity warrants it, on computer. If the project is to be a custom piece, he takes special note of the client’s space: what will be nearby the project, what other furniture materials are in the space, etc. Planning is where his engineer past comes in handy: “It makes for more efficient work if I consider every single detail before I do anything, and that’s what any woodworker would tell you, that’s not unique to me or Japan,” Yates says. “Preparation makes for such a more efficient process. It’s all about finding problems before they happen.” He says the most important step of the whole operation is the material preparation. He’ll first purchase the rough lumber and make a list of components, carefully marking where individual pieces will come from and naming each piece with an organized code. This is to help reduce waste and also to choose the more aesthetically pleasing wood grains for things like the top of a cabinet or a drawer front. He’ll then mill and plane the wood down to the needed dimensions. Ever mindful of efficiency, he completes all the same processes at the same time: planing all pieces, cutting them all to size and completing all the similar joinery at the same time. This creates more consistent work, which can be witnessed in his expert joinery, the smooth function of his drawers and doors and the fact that he creates long lasting, sturdy and stunning pieces of furniture without a single nail or screw. Most importantly, just like his inspirations in Japan, Yates treats every step of the process as absolutely vital. “I like smooth transitions, and by smooth I mean deliberate,” says Yates. “Every interaction is considered with equal weight. From the corner in the back that no one sees, to the top of the table, it’s all the same. It’s all about the fine craftsmanship idea of there being no backside or bad side to anything.” Yates uses a mix of both Japanese tools and western tools, citing a lot of his own experimentation as research. His favorite Eastern tools: Japanese saws, planes and chisels. Japanese saws and planes make the cut by a pulling motion rather than a pushing motion, which Yates claims provides more control. In his opinion, Japanese chisels tend to be better because of their layering of soft and hard steel, making them both hard and durable. And while he certainly uses his share of Western tools, he appreciates Japanese tool making as an art in itself, stemming from their long traditions of steel making in their Samurai swords.

“Every interaction is considered with equal weight. From the corner in the back that no one sees, to the top of the table, it’s all the same.”

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So why is Michael Yates here, making wood furniture in Austin, Texas? His drive and passion and willingness to teach himself things he doesn’t know, as well as the unique combination of natural talent with his hands and the influences of Japanese culture create an unbeatable combination that fits perfectly with the level of appreciation that Austin has for quality, handmade wood furniture. In the five years since Yates has been in the woodworking business, he has worked on projects varying from beds to kitchen cabinets to exterior porches. And perhaps the biggest testament to Yates’ talent is the fact that he never really has to advertise—his clients find him through word of mouth. He contributes his success to his view on creating custom products: “I hope that my work isn’t lumped in with the rest of the consumer process,” Yates says. “It’s not about going out and spending money and getting something. It should be more than that.“ And Yates practices what he preaches. With his background in Japanese woodworking, years of experience, skill and talent, Yates doesn’t just create furniture; he creates beautiful hand-built masterpieces that are made to last lifetimes. MAY / JUNE

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