JAPANESE WOODWORKING
Left The Japanese symbol for 'Ganbaru' which means to stand firm and to push through hard times with your best effort.
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J A PA N E S E W O Japanese ODWORK ING rababeted stub tenon seiki joinery
Contents 5
AUTHORS
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INTRODUCTION
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HISTORY
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TRADITIONS
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MAKERS
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THE FUTURE
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RESEARCH
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THE PROPOSITION
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CONCLUSION
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REFERENCES

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THE AUTHORS Miles is a Melbourne based designer whose core values are designing for sustainability, ethics, functionalism and aesthetics. After completing an Associate Degree of Furniture Design he is now studying Industrial Design at RMIT and appreciates the different challenges that arise in this field of design. Following writing this book with his peers, he has changed the way he thinks about technology and our current situation of heavily relying upon it. He ultimately hopes for a shift in our culture and a raise of awareness for a future that takes responsibility for the next generations.
Jasper is a Victorian born designer focusing his work on the exploration of the many techniques involved in the creation of hand-crafted designs. He is currently studying Mechanical Engineering and Industrial Design at RMIT and has used this experience as a platform to further develop both a designers mindset as well as a technical understanding of the world of modern production. Throughout the collaborative conception of this handbook Jasper has grown an understanding and appreciation of traditional techniques which do not revolve around modern technologies.
Sid is a country NSW born, Melbourne based designer. His design work revolves around sustainability, aesthetics and functionality. He is currently in the second semester of a Bachelor's Degree of Industrial Design at RMIT. Excited by the evolution of modern design and the challenges that have presented themselves in today's society, he looks forward to playing a role in the development of solutions. Throughout the process of writing this handbook with his peers, Sid has been able to reflect upon past methods, this has transformed his view of the relationship we have with technology. He has been allowed to cogitate how we can facilitate a cultural change in our methods of production through a deeper understanding of craft to allow a more sustainable future. Isaac is an Australian based designer born and bred in the eastern suburbs of Melbourne. He is passionate about sustainability and designing for a better global future and is currently undertaking a Bachelor's Degree of Industrial Design (Honours) at RMIT. He has enjoyed the process of researching the intriguing art of Japanese woodworking and reflecting upon the complex challenges surrounding technological advancement and the impact it has had on craftsmanship both socially and environmentally. By discussing and writing this book with his peers he has been challenged to think about technology and it sobering impact but also the influence he can have to design and interact in a positive and ethical manner.
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Introduction
Above (2) A selection of Japanese hand tools
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INTRODUCTION The retention of spirituality, tradition and deep rooted social perspectives is a substantial part of the beauty and cultural significance of traditional Japanese woodworking. Technological advancements within the modern Japanese context have had little to no impact on the processes and methods within the craft, creating a rigid dichotomy between the old and new Japan. The Japanese approach to woodworking and architecture is steeped in history and produced with the recurring mantra of ‘Ganbaru’, embedded in the hearts of Japanese craftsmen. Having withstood the test of time, these structures persist as a representation of the Japanese craftsman, contrasting against current inferior production methods commonly seen in the Fordist mode of production. The absolute dedication and tedious attention to detail, is revealed through the buildings and furniture. Japan's cultural beliefs, traditions and spirituality is embedded in almost every aspect of its traditional woodworking techniques but it begs the question, how has Japan developed to be at the forefront of new technologies whilst also being rooted in tradition and local craft and what challenges does woodworking as a craft in Japan face today as tradition becomes more diluted within a technology driven society?
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History
Above (3) A rare original extra large Japanese History School poster depicting Emperor’s visit to Jurakudai, magnificent castle which Hideyoshi Toiotomi built in 1587.
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HISTORY Japanese woodworking is seen as far more than simply a trade, it is seen as an art-form that incorporates Japanese philosophical understanding of aesthetics to create sturdy and superlative products. Sennet (2008) describes all craftsmanship as being “founded on skill developed to a high degree” to which Japanese woodworking is the epitome (p. 20). One of the reasons why traditional Japanese woodworking is still relevant and widely practiced is because the demand for handmade high quality bespoke furniture has persevered the industrialisation and mechanisation of the furniture industry.
Patience, perseverance, attention to detail, discipline, simplicity, and harmony with nature is embedded into the fibre of the architecture of traditional wooden buildings and products.
One of the most impressive and alluring aspects of Japanese woodworking is that every joint is held together with compression, without glue. The joints must be so accurately crafted as to enable the tightness of the joint to hold against the endgrain of the wooden recess. The view of Japanese woodworkers is to cosign with nature working with the curves, figure and grain of the wood. Typically the wood from naturally fallen trees is used and the trees base is utilised to form the base of the structure to be made. Within the world of traditional Japanese woodworking the introduction of new methods and technology is uncommon as most artisans aim to uphold the historical methods and techniques within the craft (Seike, 1977). With the introduction of new technologies the creative process loses the human touch and man and the wood. To fully grasp how Japanese woodworking developed alongside deeply held cultural beliefs, one must look back over the history of Japan in order to become a unique nation: both technologically advanced but rooted in tradition.
Above (4) Tight and true half lap dovtail joins
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HISTORICAL CONTEXT From its ancient beginnings, Japan has always been a distinct country in comparison to what is broadly called the West. Japan is deeply rooted in tradition and religion that has developed from the Nara and Hein Periods (710-1185). It began to forge its own identity distinguishing itself from Chinese influence which evolved to more vibrant periods such as the Edo (1603-1868), where popular culture flourished. Japan has always strived to be a unique and proud country. This did not come without struggle and toil. Much of what we today consider quintessentially Japanese originated from its departure from the Chinese. In the 20th century Japan also had to overcome humiliation from its defeat in World War II and rebuild its major cities, transportation networks and industrial centres. A new constitution was written and went into effect in 1947: The emperor lost all political and military power and was solely made the symbol of the state. Japan was also forbidden to ever lead a war again or to maintain an army. However, as Ian Burrama states in his book, Inventing Japan (18531964), “one quality...stood out to serve Japan better than any other: the grace to make the best of defeat.” This national mindset, along with the substantial financial stimulation by America, allowed the Japanese economy not only to recover but flourish. ThisHo era from the late 1950’s to the early 1970’s is known as the “High Growth Age”. High quality consumer goods were produced and sold all over the increasingly globalised world. Hence, Japan began to surge ahead and became the nation on the cutting edge of technology we know today. However, they remain a nation built upon traditional and culturally intertwined values with respect, diligence and hard work.
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TIMELINE 1400 BC: Early Buddhist temples built using trees that contain spirits Nara and Hein Periods 710-1185 AD: Gradual Decline of chinese influence Edo Period 1603-1868 AD: A vibrant period of development in tooling and contruction of everyday goods Meiji Era 1868-1912 AD: Indutrial Revolution hits Japan, beginning to rapidly transform thier technologies and process of production Post WWII: Japan was heavily from the war and began to rubuild itself with strong influence fro the West, namely the US. They ultimately ended up becoming the manafacturing powerhouse of the modern era. Present: The tradtion holds strong whilst contemporary artisans utilise a fusion of modern techniuqes and traditional Future: Who really knows what will happen with such a craft cemented in tradition. Perhaps it will become more digital or never change....
ON GANBARI Ganbari “reflects an essential component of the modern Japanese character as it has developed since historical times” (Davies, Osamu, 2002, pg. 83-84). This character of being diligent, sometimes to the point of being a workaholic, has extended Japanese thinking, that having too much free time is wasteful and even shameful. This held the nation in good stead in contemporary times (Davies & Osamu, 2002). These inherent values in Japan not only encourage an environment that breeds progress but one that also keeps it deeply rooted in tradition and cultural beliefs. As Demetriou (2016, pg. 1) puts it the “traditional heritage sits comfortably, if at times incongruously, alongside its insatiable appetite for modernity.” Thus, Japan has developed into a modern powerhouse that enables itself to be at the forefront of new technologies whilst also being rooted in tradition.
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Above (5) A Japanese Handplane also known as 'Kanna'
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TRADITIONS OF JAPANESE WOODWORKING The core of traditional Japanese Furniture making dates back many hundred years to the intersection of skilled craftsmanship and appreciation for material and the environment surrounding it. Fused within the practice is in ideology for patience, perseverance, meticulous attention to detail, discipline, simplicity, and harmony with nature. These resonate with the ideas of what it is to sculpt something out of a natural material such as timber. For eons, Japanese culture has constantly held two hands in both ends of the spectrum of craftsmanship; one has been at the forefront of modern technology and the other lodged deep in culture, tradition and heritage. The incredible intricacy yet pure simplicity makes Japanese carpentry more than just a trade, in fact it's an incredible feat of art and craft. The use of age old hand tools and the connection between the craftsman and the material they are working with, engages the history and the culture’s pride of always going with, rather than against nature. They view wood as a living and breathing object, and maintain the utmost respect for it. Always aiming to utilise fallen or dead trees over living ones. This gives it a second chance of life as a beam, a chair leg or a dining table crossbar. This essentially means that they use the natural elements of timber to create structures, instead of forcing it into a shape it may not necessarily conform too. A lot of these ideas hark back to the spiritual and philosophical ideas of Zen, simplicity and minimalism, roots where Japanese woodworking is anchored in. Rather than using nails, bolts and screws as seen in many Western countries, Japanese woodworking involves precise techniques of joinery. These are made by hand with the experienced craftsman sitting on an aedai, a long, low slab of wood that serves as a workbench. Hand tools such as chisels, planes, hammers, saws, and other implements are made with the greatest of care and respect. Explicitly, as per ingrained cultural beliefs, the “tool is the means by which the carpenter leaves a trace of his spirit on the soul of the tree” (Brown. A, 1995, pg. 69). The true beauty of Japanese furniture is in the joinery and the connections of the different parts of timber. The way they interplay and interlock fascinates so many and always creates a sense of true patience, discipline, simplicity and attention to detail, illuminating the timber’s potential. These techniques were scaled up for houses and expanded more for ornate temples which show the quality of craftsmanship because many are hundreds of years old.
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Japanese woodworking, in architecture specifically, offers a sharp contrast with Western or Continental architecture with the latter using stones and brick compared that of wooden posts and beams (Seike, 1977). Whilst this type of wooden architecture and the making of precision furniture and other fine wooden artefacts is not solely confined to Japan - Scandinavian countries have also preserved an advanced use wooden joinery – no country is equally skilful or advanced (Seike, 1977). Their pre-industrial approach to woodworking and architecture is connected to Japan’s cultural past. It shows that although dedicating an incredible amount of hours to a project and utilising joinery technology that may seem archaic, their buildings and furniture are constructed with care and precision. They have the ability to withstand the test of time and forever be works of art shining down on our somewhat convenient and superficial contemporary methods of creation. This care, dedication and extreme determination is reflected in the Japanese saying “Ganbaru”, which means to persevere through tough times and do to your absolute best. This is crucial to Japanese woodworking because of the sheer will a craftsman has when they devote an incredible amount of effort to a project.
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Above (6) Craftsmen hammer in the wedge locking in this joint to lengthen a beam on a building
Tradi t ions
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Yoshio Inoue - Traditional Born in Tokyo, Yoshio Inoue learnt wood joinery from his father who learned it from another master in a line of artisans stretching back hundreds of years. He has been building cabinets, chests, desks, low tables, free-standing screens and other traditional items for more than 50 years. Unbelievably, he’s 71 years old and still working, doing what he loves and appreciates. He has a strict focus on edo sashimono, meaning craftsmanship from the Edo period. He uses only the purist traditional techniques and tools from the period. Inoue’s style is immaculately restrained. Every piece of furniture is made to emphasise the beauty of the wood, especially the grain, and highlights his skills as an artisan.
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Hisao Zen - Traditional Sensei For over 20 years, Mr Zen trained as a master carpenter and honed his skills by completing strict disciplinary projects such as building and restoring historic Buddhist temples and landmarks. He has also extended his craftsmanship to domestic construction and interior design. Recently, he was asked by RMIT to teach a Japanese Woodworking course and it allowed him to work with all kinds of people and teach them the ways of Japanese joinery. This made him feel proud of his skill he obtained over his career.
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Hiroshi Yamaguchi - Contemporary Hiroshi Yamaguchi was traditionally trained as a Japanese Woodworker by master craftsman, Osamu Shiji and is experienced in both traditional Japanese woodworking and Western practices. He combines Japanese philosophy and Western methods in his own practice under his company name Koitoya, based in Canberra. Using Japanese timber and locally sourced resources, he creates beautiful works both commercially and commision based embracing Japanese philiosies in an Australian Context. He also runs workshops and tutorials for both tool and simple wooden artefacts creation.
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Shinobu Kobayashi - Contemporary Kobayashi locates his practice somewhere between mid-century Scandinavian design and traditional Japanese furniture. He was originally born in Japan but has studied not only in Japan but in the USA, Australia and even in Sweden too. In Sweden he was awarded a silver medal from the King! His meticulous works show the intense detail and precision that he carries in his everyday life.
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Above (16) A craftsman using a modern router to create a trench in the timber
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EMERGENCE OF NEW TECHNOLOGY
The oppression and divide created by the US and European countries during, and after both world wars may have in the past influenced a resistance to the adoption of Western techniques and styles. However, now there is an influence of worldwide connections such as the internet or ‘Global Mind’ (Gore, A. 2013) as well as the mindset of younger generations who do not have such negative experiences. This has meant there is an increase in Japanese woodworkers combining both traditional Japanese styles and modern Western styles. Given the largely stagnant past of traditional Japanese joinery this could be the direction its future will take.
Japan's initially gradual progression up until the 1870's (Columbia University, 2009) led to the sudden rapid acceptance and progression of Western technologies. This pursuit of equal footing with Western countries became extremely important in Japan's survival as an internationally recognised force, hence technological advancement became a crucial focus for Japan.
Japan's tumultuous past has created a divide between its rich history and successful modern day industrialisation. The country's older generation may resent Western culture and practices given their distressing impact upon Japan historically.. This resentment in an ever-growing older generation could lead to a stronger sense of attachment to traditional Japanese culture. This is echoed when Rosner (2016) highlights that there is a fear within oldergenerations of their cultural heritage becoming irrelevant in an increasingly globalised digital age. The importance of such culture is what has kept traditions and practices such as Japanese woodworking alive in a highly industrialised nation.
Although some modern day practitioners have maintained the traditional techniques and styles within their works, there are emerging practitioners who have taken to combining the traditional techniques with modern styles. Traditionally trained Hiroshi Yamaguchi combines the Japanese philosophies connected to traditional woodworking with Western methods within his bodies of work. Shinobu Kobayashi applies traditional techniques to his modern Western styled works.
The deeply ingrained philosophies of the craft have remained unchanged throughout history, this is a major contribution to the craft's constant state. The idea behind traditional Japanese woodworking is to preserve and honour the life of the tree (PBS Documentary Series & Museum, 2013) within a beautifully constructed and presented piece of work and this philosophy has had no reason to change since the conception of the craft therefore, there has been no change in the processes or styles as they are pivotal in preserving this philosophy.
The integration of modern technology and manufacturing techniques would have social implications that would oppose the cultural significance and tradition of the craft. As modern “fast and efficient” manufacturing techniques are the antithesis of the Japanese woodworking, a craft that places great value on the skill of the practitioner being expressed in their work, there would be a conflict between traditional philosophies and modern methods.
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AN INTERVIEW WITH MR HISAO ZEN After discussing with a friend who had been taught traditional Japanese joinery by Mr Hisao Zen, a traditional Japanese craftsman, it was interesting to get his opinion on how Japanese craft fits within in our modern society. Mr Zen had to say: N.B these are not direct quotes from Mr Zen, but paraphrases of what he spoke of. What is Japanese Woodworking? “Japanese woodworking is a technique that does not use nails or screws, instead it is reliant on structural connections between pieces of wood” How would you differential Japanese woodworking to other Western forms of Woodworking? “We never try to force the wood, only softly manipulating it at a time” “Each piece of wood has its own characteristics which make it beautiful and individual.” “It is about considering the connections between the wood and the connection between the maker and the wood” Why is Japanese woodworking still relevant in a technologically complex world we now live in? “Creating something through ingenuity, you turn a piece of wood into something that puzzles together to form a structure, much clever than glue or nails” “I see the future as bright for our traditional ways. Yes there is modern technology to do it, however, where is the skill and appreciation in that?” Thank you Mr Zen
Above (17) Mr Hisao Zen
As we discussed with Mr Zen, we found that there is so much respect for people and creators who work in the field of Japanese woodworking. The required discipline is a common theme and is pertinent throught Japan, this revolves back to the phrase Ganbari.
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The Proposition
A few of the tools we had access to to create our object, ironically only one was a true Japanese hand tool (the Kataba pull saw)
The intention of the final object was to create a physical embodiment of the dichotomy that exists between the hand crafted and technology within Japan’s contemporary climate. Sennett (2018) characterised the hand as “the window to the mind”. This can be observed when Japanese craftsmen apply their philosophy with their own hands to craft pieces. The wooden hand represented Japanese woodworking in its last grasp at holding onto handmade craft that is continuously becoming lost in history as powered technology overwhelms the production industry. However after much group consideration we opted to change the design of the final critical object. This decision was made due to the sheer amount of time and effort required to finish such a complicated yet beautiful hand design paired with the impending deadline. Therefore we decided to lean into the unique shape and character of the wooden block that had already been cut to produce another design that could capture the essence of the dichotomy and the underpinning Japnasese value of Ganbaru.
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The log of Golden Ash we (from Miles' backyard) that we chose to make the object from
Splitting the log
The wood log cut from the main log
Carving out the legs
Only hand tools were used for the entirity of this build, no sandpaper was used either, sticking to strict Japanese tradition. The
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A spokeshave aids in making the legs evenly rounded
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The laser cutter cutting the acrylic, the only piece that uses modern technology
The acrylic was pegged on with bamboo pegs to retain the philosophy of Japanese joinery and serve as a motif of hand joinery
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Above The complete Ganbaru TV
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The intention of Ganbaru TV was to provide, not only a visual, but a tactile article which could represent the current dichotomy of Japan as a technologically advanced, yet culturally rooted nation. The use of an unprocessed segment of wood pays homage to the profound philosophies of the craft. Although there is no way to replicate the sincerity of such philosophies without studying Japanese woodworking in country, the wood was treated with utmost respect in order to preserve its beauty. The wood was cut and formed through the use of hand tools and its natural form and imperfections were championed within the final outcome. The use of computer software and laser cutting technology to create the screen and text on the TV creates a striking contrast between the natural beauty of the tree and the refined design of the acrylic. Such a contrast unmistakably reflects the dichotomy between Japan's deep-seated traditions and its hugely successful technological industries. The screen of Ganbaru TV is perpetually focused upon the natural grain of the wood. This not only exhibits the individual history and life of the tree, it further represents the enduring appreciation and recognition of the history and culture behind Japanese woodworking (the screen is clear and thus has no impact on the timber). The form of a vintage JVC mini portable television was inspired in part by the original use of a wood grain texture on the casing of the televisions, as well as the fascinating contrast between a highly digitized object with the purest form of a natural material. A contradiction which yet again captures Japan's unique dichotomy between a successful technological and highly traditional past. Finally, the large inscription of the kanji representing Ganbaru is a direct statement to the incredible commitment and persistence to the perfection of work created by Japanese woodworkers. The characters are boldly displayed within the acrylic and provide a window onto the wood below. This is a testament to the Japanese culture of hard work and perseverance, which is present within both the technologically industries and traditional practices throughout Japan.
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The deep history and precise techniques which enrich Japanese woodworking are illustrations of the immense commitment, and meticulous attention to detail, which is embedded within the buildings and furniture created by masters of the craft. Throughout time, these objects have remained as symbols of the virtuosity of the Japanese craftsman, diverging so contrastingly from automated production methods of the modern day. The extraordinarily disconnected values and intentions of contemporary and traditional production approaches could not allow for the direct integration of modern techniques within traditional Japanese woodworking. The immediate consolidation of the two processes would not be possible without an outright contradiction of philosophies. However, the fusion or combination of techniques and styles of both Japanese and Western woodworking has been achieved by artisans such as Hiroshi Yamaguchi and Shinobu Kobayashi. This has been made possible only through a deep understanding and respect for the philosophies and techniques of each approach. Such understanding and skillful application is only possible through each craftsman's dedication and commitment to studying the traditional methods. Japan's divergence of modern technology and traditional techniques has allowed it to maintain a strong connection to its historical background whilst thriving in a technological age. The ever-growing desire for the bespoke and unique has created an enduring opportunity for Japanese woodworking to remain relevant in a technology dependent society. This persisting desire combined with Japan's synonymy with quality is what has allowed the craft to survive. The handbook created provides an insight into traditional Japanese woodworking while simultaneously challenging the increasing use of modern technologies within traditional hand-crafts. Through research of the techniques and philosophies of the craft, an awareness has been generated within the authors of this handbook. The shared desire to create change and awareness that will positively affect the future of craft is reflected in the process of creating the critical object. The focus of the handbook alone contributes a valuable awareness for the ancient craft. The exploration of a mutual partnership between traditional philosophies with modern technologies and processes examined within this handbook is integral to the continuation and transformation of hand-craft. Although there is certainly a future for the traditional methods of Japanese woodworking, the overpowering force of technological advancement will eventually affect the world of Japanese woodworking. This investigation into the influence of technology within craft has allowed for a pathway to be created in the direction of a cohesive union of traditional craft and modern technology. Although the modern mindset is to advance as much as possible, many could learn from the long standing traditions of Japanese woodworking. Such a consistent commitment to methods and styles through strong philosophies has influenced the craft to remain strong over an immense time period. The dedication to the preservation of beauty through meticulous processes and devotion to craft illustrated within Japanese woodworking could be used to enhance the outcome of almost any creative process. Research into the craft brought about an appreciation for the dedication to the joy of creating for the sake of creating. If applied to matters other than craft, this idea could revolutionise industries, by creating a strong passion at the heart of every conception.
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References
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Kleindl, M. (2013). Master craftsman carries on sashimono tradition. theJapantimes. Retrieved 15/9/19 from https://www.japantimes.co.jp/community/2013/05/04/ our-lives/master-craftsman-carries-on-sashimono-tradition/#.XZSMH0YzY2x
Yamaguchi, H. About. Koitoya. Retrieved 2/9/19 from http://www.koitoya.com.au/about
Craft in America – PBS Documentary Series & Museum (2013), Nakashima Woodworking, YouTube. Retrieved on 10/9/19 from https://www.youtube.com/ watch?v=Az014_YkDQ0
Jamieson, A. (2018). 6 CLassic Examples of Japanese Woodworking. Japan Objects. Retrieved 13/9/19 from https://japanobjects.com/features/japanesewoodworking
Demetriou, D. (2019). Tokyo: where ancient and modern meet. Retrieved 13 September 2019, from http://s.telegraph.co.uk/graphics/projects/tokyo-ancientmodern/index.html
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Zen, H. Welcome To The World Of Analogue Skills In The Digital Age. DIY Japanese Joinery. Retrieved 12/9/19 from https://diyjapanesejoinery.com/about/
Kehoe, L. (2015). Hisao Zen: Artisan Japanese Joinery and Carpentry. Lesley Kehoe Galleries. Retrieved 4/9/19 from http://www.kehoe.com.au/news/hisao-zenartisan-japanese-joinery-and-carpentry/
The Meticulous Art of Traditional Japanese Woodworking. (2018). Retrieved from https://www.stonebridge.com/sbp-blog/the-meticulous-art-of-traditionaljapanese-woodworking.
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Gore, A (2013), Chapter 2: The global mind, The future, W.H. Allen, London
McCullough (1998), chapter 1: hands, Abstracting craft: the practiced digital hand, MIT Press, Cambridge
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Sennett, R (2008), Chapter One. The Troubled Craftsman, The craftsman, Yale University Press, London
Images:
1. Our photo
2. Japanese chisels and tools. Reprinted from Japanese Maker Yusuke Tazawa, 2019, Retrieved from https://the189.com/feature/japanese-woodworker-yusuketazawa/
3. Figure X. Rare Original Japanese Emperor's Visit to Jurakudai, XL Pre-1945 History Poster. Reprinted from Chairish, 2019, Retrieved from https://www.chairish. com/product/1644928/rare-original-japanese-emperors-visit-to-jurakudai-xl-pre-1945-history-poster
4. Figure X. Japanese dovetail joinery. Adpated from Hoolawhop: Japanese Joinery, 2012, Retrieved from https://hoolawhoop.blogspot.com/2012/12/japanesejoinery.html
5. Japanese Handplane or kanna. Reprinted from R. Noe Making, Handplane Irons Out of River Sand, by Core 77, 2015, Retrieived from https://www.core77.com/ posts/36052/Making-Handplane-Irons-Out-of-River-Sand
6. Ancient Japanese Techniques to make buildings without nails. Reprinted from Demilked, by Audra, 2014, Retrieved from: https://www.demilked.com/ancientjapanese-carpentry-techniques-kobayashi-kenkou/
7. Artisan Yoshio Inoueon setting on his atedai, the long, low slab of wood that serves as a workbench. Reprinted from Master craftsman carries on sashimono tradition, by M. Kleindl, 2013, Retrieved from https://www.japantimes.co.jp/community/2013/05/04/our-lives/master-craftsman-carries-on-sashimonotradition/#.XaP-JfkzaUm
8. An immaculately crafted aibiki (portable stool for sitting). Reprinted from Master craftsman carries on sashimono tradition, by M. Kleindl, 2013, Retrieved from https://www.japantimes.co.jp/community/2013/05/04/our-lives/master-craftsman-carries-on-sashimono-tradition/#.XaP-JfkzaUm
9. Hisao Zen demonstrating techniques. Reprinted from DIY Japanese Joinery, by Zen, H, Unknown date, Retrieved from https://diyjapanesejoinery.com/course/
10. Japanese Tea Room (Chashitsu) Reprinted from Lesley Kehoe Galleries, by Kehoe, L, 2015, Retrieved from: http://www.kehoe.com.au/news/hisao-zen-artisanjapanese-joinery-and-carpentry/
11. http://www.koitoya.com.au
12. http://www.koitoya.com.au/work-2
13. http://www.koitoya.com.au/work-2
14. https://thekrenovschool.org/student/shinobu-kobayashi-2/
15. https://thekrenovschool.org/projects/?wood=quilted-western-maple
16. Japanese craftsman using power tools. Adapted from Tokyo Lens: I Spent 3 Months with a Japanese Master Craftsman, 2019, Retrieved from https://www. youtube.com/watch?v=jy4McjmsVtw
17. Hisao Zen profile picture. Reprinted from DIY Japanese Joinery, by Zen, H, Unknown date, Retrieved from https://diyjapanesejoinery.com/course/
All unreferences images were taken by us. This book was printed on 100% recycled paper.
R eferen c es
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BY MILES TAYLOR, ISAAC DOBLIN, SID PEARN AND JASPER TARRAN
© 2019