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00:03A box fashioned from two types of wood.
00:11Palonia chests with a glossy silver grain.
00:24Wooden shelves, lacquered and embellished.
00:35These handcrafted wooden items are created without the use of metal nails in the traditional craft known as Kyoto style
00:43joinery.
00:48Kyoto is home to many artisans known for their intricate woodworking skills.
01:13In recent years, local joiners have gained attention for leveraging their skills beyond tradition
01:20to create decorative interiors and ornate lighting fixtures.
01:25If you do a huge scale of human skill,
01:29you always feel like you're just like,
01:32Oh, this is great!
01:33I feel like you're really impressed with that.
01:39Call Kyoto explores how local artisans transpose the vitality of trees into beautiful wooden artwork.
02:02Kyoto is bordered by mountains to the north, east and west.
02:11From ancient times, people relied on the nearby forests for materials to construct their towns.
02:20Their woodworking skills not only contributed to the dwellings and religious structures,
02:25but also the fixtures and furnishings within.
02:32The Sugisaka area lies north of the city center.
02:37This region, tucked deep in the mountains, is known for its quality cedar.
02:47A small workshop is nestled in the valley.
02:58It is run by renowned joiner Shimizu Takashi.
03:06He primarily handcrafts boxes.
03:14He focuses on traditional works, including containers for utensils used in tea gatherings.
03:22Shimizu specializes in hexagonal containers for sweets used during the gatherings.
03:30By integrating two types of wood with different coloring,
03:33he joins mirror images to create twin pieces.
03:46He also favors Jindai Japanese cedar.
03:49He also favors Jindai Japanese cedar.
04:04This exceedingly valuable lumber had been buried underground for hundreds or thousands of years before being found.
04:13This is the most interesting and interesting wood.
04:18It's hard to use it.
04:19It's hard to use it.
04:26Shimizu is currently creating a hexagonal container from Palonia and Jindai Cedar.
04:33With the final design in his mind, he begins by drafting lines on the material.
04:40He aspires to evoke the mountains surrounding Kyoto.
04:49He cuts the stacked Palonia and Cedar boards with a front saw.
04:57Slowly easing the wood forward, he takes care to work the saw uniformly.
05:04The blade is about half the width of a normal woodworking blade.
05:14This helps achieve a delicate curve.
05:20This is the best part.
05:24It's not the best.
05:25It's not the best.
05:25It's not the best.
05:26It's not the best.
05:27It's not the best.
05:30Applying too much force results in uneven surfaces which leave gaps when pieces are joined.
05:43The Palonia and Jindai Cedar slide together in a flawless fit, displaying the ridgeline Shimizu envisioned.
05:53As a base for the adhesive, he uses a wooden spatula to mash steamed rice into a paste, the same
05:59way it has been done for generations.
06:09He also adds chemical adhesive.
06:23The stickiness of the rice starch and the strength of the chemical woodworking glue together yield a strong adhesive bond.
06:34The two glued wooden pieces are dried overnight or for a full day in a vise.
06:42The boards are then cut into six pieces.
06:50They are joined at 60 degree angles to form a perfect hexagon.
06:58Shimizu uses a homemade planer table.
07:02The board is set on the table, which is adjusted to a 60 degree angle.
07:07The protruding area is shaved off.
07:20He aligns the angles of all six boards to 60 degrees.
07:28The planer is a vital tool for joiners.
07:34The shavings, measuring less than 0.1mm, are testament to the artisan's subtle technique.
07:44One particular tool Shimizu received as a child, inspired him to become a joiner.
08:04Upon receiving this gift, Shimizu vowed to become a joiner, like his father, who excelled at making tea utensils.
08:13He remembers his father was strict in his guidance.
08:18He ran away from people in the home.
08:25He knew how to make a tail end of the line, and he understood what he had to do.
08:29They guys heard about how to make a toy character.
08:32They used to make a ten point of time, and they asked him to make a look and remember.
08:40He told us that he was like he was a friend of his wife.
08:42And when he was a little kid at a home, I used to think he was a goal.
08:42He said that he was just following him and he got to make a look.
08:44He asked him to make a look and remember his life.
08:46The story of the ship was a no longer than a whole lot of難題.
08:46on the edges to help the boards adhere.
09:04He applies glue to the 60 degree surfaces and the boards are joined.
09:19He wraps string to hold them in place and leaves them to dry overnight.
09:30Once dried, Shimizu makes a slit at each corner.
09:33He applies a bit of glue to small pine tabs and wedges one into each slit.
09:54The tabs are first pounded with a hammer to make them thinner.
10:10After they have dried, he saws off the extraneous bits.
10:15Then he files and smooths the overall surface.
10:22The last step is oiling for a glossy finish.
10:32The container, depicting Kyoto's mountains, took three days to complete.
10:39The visible growth rings are a reminder of the tree's longevity.
10:46Conjoining two varieties of wood into a harmonious unit is a source of joy for Shimizu.
11:13Furniture stores are huddled along Ebisugawa-dori in the city centre.
11:22One shop opened in 1856.
11:27The business makes and sells furniture and items made using Kyoto joinery.
11:34Pallonia chests are treasured for the woods' pesticidal properties in this town where
11:40kimono remains part of the culture.
11:44Our most important factor is to be able to use the rust.
11:48The most important factor is to use a roots.
11:49The clothing is the most of it.
11:52The best is to use a root.
11:53The first is to use a Kryon has a strong and hibmy.
11:56The one that is a root for the crust.
11:58The walls are visible because the now is Tall Tanks.
12:00And the wall is so full of them.
12:02When the fall of the square, you'll feel the rise if they'reıılig.
12:08creating a chest requires different techniques to those used to make boxes.
12:13On closer inspection, the frame is comprised of assembled wood.
12:24The artisan makes trapezoidal protrusions on one end of the wood.
12:30He creates corresponding grooves in the other plank before joining the tool.
12:42This creates a strength which will resist even forceful pulling.
12:46I don't want to make a piece of paper, but I can't achieve it.
12:58The craft is a very unique piece of paper.
13:07It's a really cool job.
13:15The absence of metal nails in joinery means no rust, thus minimizing deterioration.
13:21Repair is simplified since the item can be easily disassembled.
13:29Palonia chests were once part of a bride's trousseau.
13:49The store also houses a furniture museum on its premises.
13:55It offers insight into the culture of joinery.
13:58The store also houses a furniture museum on its premises.
14:03The roots of Kyoto joinery lie in traditional wooden architecture.
14:09In the 6th century, Buddhist architecture was introduced from the Asian mainland along with Buddhism itself.
14:16Built using joinery and no nails whatsoever, these structures survived earthquakes and other natural disasters occurring over time.
14:24Some are still standing.
14:28Various joinery techniques were devised to enhance structural durability.
14:41Some builders decided to broaden their skills to produce home furnishings and fixtures, in the process establishing the joinery profession.
14:50These joiners developed skills unique to Kyoto.
14:56Kyoto was a city of a thousand years old.
15:01So, in that time, there were all kinds of craftsmen, and craftsmen, and刻ites, and such people.
15:08This is a town called Kyoto.
15:13After the capital moved to Kyoto in the late 8th century, court culture cultivated the
15:18use of lacquer, mother of pearl, gold dust, and other decorative styles.
15:23This melding of elegance with tradition produced a more sophisticated joinery.
15:32As tea gatherings evolved and spread in the 16th century, a spirit and sense of rustic
15:38beauty engendered a purer form of Kyoto joinery, expanding the craft's expressive horizons.
15:47In the latter half of the 19th century, when western culture was freely allowed to enter
15:52Japan, the art form absorbed new elements and further expanded.
16:05Chou Chikukyo to Kyoto's southwest was built in 1928 by architect Fujii Koji as his private
16:13residence.
16:17While his family lived in the house, he conducted numerous experiments and improvements in his
16:23quest to create the ideal Japanese residence.
16:39The parlor reflects wooden modernism.
16:47The sofa and furnishings merge with the traditional alcove beyond, creating a space that integrates
16:54both Japanese and western aesthetics.
17:04Fujii designed the furniture, which was crafted in the Emisugawa Dori shop.
17:14Alien classes, which are also worked in the Music in the Agency of, for the
17:16Typically, it's a part that he provides data, .
17:23When we do the construction, we look at신
17:27and we look at the street that will help us to be at the store.
17:30And there is a style that can be used in the convenience, and in order to have
17:34stockings of structures that are used in the way that suite
17:36And this is also a style that can be used by building buildings and accessible Access-Lay
17:38While incorporating Western culture, Puji relied on joinery techniques to create his ideal residence.
18:08It was designed to build a building in the U.S. in the United States.
18:15Like all traditions in the ancient capital, the craft developed with the changing times and incorporated new elements.
18:34Light spills out from intricate patterns within the wood, enveloping the space in a soft warmth.
18:44This woodworking technique, known as Kumiko, involves fitting slender lengths of wood into a wooden frame to create geometric patterns.
18:59It is usually used in the paper screens and transoms of wooden structures.
19:07Kumiko was devised as a two-dimensional form.
19:11Murayama Shinichi was the first to transform it into three-dimensional art.
19:18I'm a human being.
19:20I'm not a human being.
19:26I'm not a human being.
19:32I'm a human being.
19:33I'm not a human being.
19:35I'm not a human being.
19:41Keihoku, an area in northwestern Kyoto, is known for its thriving lumber industry.
19:49Murayama's workshop is located here.
19:57The lampshade he is working on will be part of the hotel's interior decor.
20:04The shade is made from Japanese cypress, a pale wood with just the right firmness to facilitate processing.
20:13The individual parts are made first, with the wood cut into small pieces.
20:23The pieces are 26 millimeters in length.
20:26Each tip is cut to form a point.
20:32Each pod is snapped and bent before being wedged in to create a groove.
20:39A second pod is fitted into this groove.
20:46The three sections, each measuring just over one centimeter, together form a geometric pattern.
21:07An electric saw is used to cut the wood and shape a projection.
21:16A special square drill is used to create the hole for the projection.
21:23Joinery techniques are used in every step along the way.
21:31It took about a week to create the lampshade.
21:43When Murayama first became a joiner, he created tea utensils and doll accoutrements.
22:03They may be miniatures, but they demand the same skills required of their full-sized counterparts.
22:30In the early 2000s, affordable products took over the market, and the demand for handcrafted doll accoutrements dropped sharply.
22:38In 2009, amidst hard times, Murayama experienced a turning point.
22:48A friend asked him to create Kumiko décor for a wedding hall.
22:55So he went from working in miniature to creating a Kumiko panel of unprecedented size.
23:04He completed the project after a year and a half of trial and error.
23:12A gentle ambiance is created from the light spilling from the Kumiko pattern.
23:23The inventive Kumiko wedding hall interior became a hit, sparking orders from hotels and businesses.
23:58The
24:01I think it's connected to this project.
24:06Morayama's next initiative was a three-dimensional work.
24:13His workshop has an adjacent cafe that doubles as a showroom.
24:20Cylindrical chandeliers with shades featuring Kumiko artistry
24:24descend from the ceiling.
24:34Creating a cylindrical form using Kumiko required special insight.
24:43The contours of small wooden tubs offered helpful clues.
24:48In fact, these are the shapes of the kumi ko.
24:53When you make a kumi ko, you can make a kumi ko.
25:19Visitors to the cafe are captivated by the chandeliers.
25:25The workshop is mainly staffed by young members from around Japan
25:45who were allured by Morayama's creations.
25:52Morayama forms them into teams and leaves them to their work.
25:55He checks on them regularly, encouraging them to use their initiative.
26:01I think it's interesting to be able to do things without a single person.
26:06For example, I think it's a great place to do things.
26:10I think it's a great place to do things.
26:15I think young people feel their魅力,
26:19and they're going to be able to do their own hands,
26:21and they're going to be able to do their own self-esteem.
26:24And they're going to be able to ensure their full life,
26:26and they're going to be able to see the future.
26:28I think it's a great place to do things.
26:29I think it's a great place to do things.
26:31I think it's a great place to do things.
26:32I think it's a great place to do things.
26:36Morayama is committed to using lumber from Keihoku,
26:39where he is situated, to support the future of Kyoto joinery.
26:44He is heading not far from his workshop to a lumber center,
26:48where lumber from the Keihoku region is up for auction.
26:54This is $1,500,000, $1,500,000, $1,600,000.
26:57This is $4,000,000, $4,000,000, $4,500,000, $5,500,000, $6,000,000.
27:01Morayama purchases much of his lumber locally to support the industry.
27:05Ian
27:07This is a year after a year that Izwischen became part of the Featles.
27:13I want to build wooden bowls.
27:15I think it's necessary to create a new generation,
27:18and I think it's necessary to create a new generation.
27:23I think it's a new generation,
27:28and I think it's a new generation.
27:38Over a millennium,
27:40Kyotoites have harnessed the vital force of trees
27:43to create exquisite works of interlocking art
27:46in what is known as Kyoto Joinery.
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