2014-12-06

ものさしかぐたかはし ショールーム ~ Chigiri

11月に携わった現場の写真です。ものさしかぐたかはしという家具屋さんの新しいショールーム、Chigiriです。ハンクラデザインによって設計されて、昔の事務所を改造しました。
 
 手のひらに入る枡
 
 高橋さんが作った家具
机も棚も高橋作です。写っているのがSekiura Designさん。
漆喰に押した高橋さんの印鑑
窓を通して、向こうの工場が見えます
ものさしかぐたかはしの中野さんです。
 
 外から見るショールームで、窓にちぎりのマークが張ってあります
 
Chigiri, in Japanese, is the butterfly tie used to attach two pieces of wood or prevent a piece of wood from splitting, as seen the photo above. Chigiri is also the name of a new furniture showroom in Kumano-cho, Hiroshima Prefecture, featuring the works of Yuji and Sanae Takahashi of Monosashi Kagu Takahashi. Designed by Masafumi and Sumire Shimatani of Hankura Design, Chigiri is the renovation of an old factory office. But that is only half of the story. Having an active industrial sea port, Hiroshima has a tradition of steel work. With the help of local metal fabrication craftsman Murata-san, Takahashi-san was able to redesign an adjacent factory into a beautiful workshop space, known as Tetoma.
Tetoma

2014-11-28

築100年民家の修復~岡山県瀬戸内市 The Renovation of a 100 Year Old Home in Setouchi, Okayama

11月にちょっと手伝いに行った現場の様子です。岡山県瀬戸内市にある築100年の民家です。
Photos of a100 year old home in Setouchi, Okayama.
 丸太がかっこいいですね。
For me personally, the use of non-milled, round stock brings the building to life.
 100年前の瓦 100 Year old tile roof
 下地窓 Shitaji window, exposing the bamboo lattice.
 焼杉 Fired Cedar Siding
 美しい窓です。
Very low thermal performance, but the beauty is unsurpassed.
Allows light in but provides privacy.
 東京田園都市チームありがとう!
 4代目村瀬左官





2014-09-26

北海道のストローベイルハウス~スクエア・ワン Square One: Straw Bale House in Hokkaido

2009-2010年に携わったストローベイルハウスを見に行きました。北海道東川にある個人住宅で、スクエア・ワンという名前が付られています。
設計:佐々木三喜雄氏
大工:滝上耕太郎氏
ベイル壁施工・内装左官仕上げ:Stefan Bell氏
外壁左官仕上げ:野田左官店
On September 25-26, I visited Square One, a straw bale house in Higashikawa, Hokkaido, Japan. In 2009-2010, I helped with the construction of Square One.
Architectural Design: Mikio SASAKI
Head Carpenter: Kotaro TAKIGAMI
Principle Builder of Bale Walls and Interior Plaster Finish: Stefan Bell
Exterior Plaster Finish: Keisuke NODA of Noda Plaster Works
 土佐漆喰仕上げ Tosa Shikkui Finish
木造軸組 Timber Frame
 掘りごたつ Earthen Plaster
スクエア・ワンからの眺め View from Square One

2014-08-14

Renovation of a 100 year old home in Onomichi, Hiroshima 広島県尾道にて築100年の民家の改造

The following are photographs of the restoration of 100 year old home in Onomichi, Hiroshima.
7月と8月に尾道チームが改造した築100年の民家の写真です。
現場管理: 宮本本店の宮本昌吾氏
大工: 本田徹氏
建具・内装: 小林伊吹氏

Entrance 玄関

 
廊下のBefore and after
 
脱衣室のBefore and after

新しい階段

 
2階の板間 Second Floor

2階和室 Japanese style room on the second floor


Approach

2014-08-05

James Henderson’s Earth Floor

James Henderson, of Henderson Clayworks, is a natural builder from Australia currently living and working in the northwest United States. Over the past 10 years he’s developed a reliable earthen floor system described in detail below.

1)  Compact a 100mm drainage layer, preferably volcanic rock to increase insulation.
Pumice stone
2)  Cover the drainage layer with a geotextile filter fabric. A less expensive option is shade cloth.
3)  Compact at least 100mm of road base or compactable fill, up to 25mm of the finished floor level.
4)  Apply 19mm of a course, sandy floor mix, at least 4 parts sand to 1 part clay. Load bearing strength is provided by the sand, and the amount of clay has to be reduced to eliminate shrinkage cracks.
 
James checking the mix
Application of first 19mm layer.
5)  Embed a fiberglass plastering cloth in the first layer.
Pressing in the fiberglass mesh
6)  Apply another 6mm of the floor mix with a little more clay to attain a finish thickness of 25mm.
Application of the finish 6mm layer.
The additional clay increases hardness and durability, and introduces more fine particles to get a smoother finish.
7)  Before repeating the process, remove the last 100mm of the 6mm top coat from the previous pass to expose the mesh.  This acts as a guide when applying the next 19mm layer. 
70-100mm overlap with the previous fiberglass sheet
8)  When embedding the next sheet of fiberglass plastering cloth, overlap the sheets 70-100mm.
9)  Complete the entire floor in one-day without cold joints.
Working in consecutive courses complete the floor in one day
Application Complete
10) The following day compress the floor with a wood float, preferably mahogany. The wood float should sound dry and grind, not slide.  Use Styrofoam knee-boards to prevent point loads. If the knee-boards make an indentation in the floor, the floor is still two wet and should be allowed to dry longer.  After compression with the smooth wood trowel is complete, compress the floor with a steel finishing trowel. Mist with water as needed.
Compressing Floor
11)  Allow the floor to dry for several weeks. When completely dry, apply four to six consecutive coats of raw linseed oil, one after the other, all in one day.  After the final application, do not allow the oil to pool on the surface of the floor and remove any excess oil. If allowed to pool on the floor it will take longer to dry.

To note, 19mm and 25mm were chosen because 19mm and 25mm are standard guide thicknesses in Australia.

2014-07-05

Re-thatching a rural Kabuki musical hall in Hyogo Pefecture 北層尾農村歌舞伎舞台 茅葺工事見学会

During the Edo period (1603 to 1868) rural Kabuki musicals took place during the agricultural off season; for example after the rice harvest. Originally these rural musicals took place in temporary buildings set up in rice fields or open spaces, but later came to take place in specific buildings or stages within the precincts of Shinto Shrines. Although Kabuki is believed to have originate in Kyoto in the 17th century, rural Kabuki musicals probably have their roots in a much older continental tradition.
  The following photos depict the re-thatching of  a rural Kabuki hall built in 1777 in Hyogo Prefecture. The building features a stone foundation, timber frame, bamboo lattice with earthen plaster walls, and prominent thatch roof. Ikuya Sagara-san's Kusakanmuri was responsible for re-thatching the roof.
江戸時代において農村歌舞伎は主に農閑期に行われていました。当初は川原や田んぼに仮設の小屋をかけ上映されていましたが、後に神社境内の長殿や長床と言った集会施設がその舞台として使用されるようになっていきました。この舞台も本来は北層尾厳島神社の神事で用いる長床として建てられたものですが、バッタリと呼ばれる上げ床や太末座などの舞台機構が付け加えられていき、農村歌舞伎舞台としての性格を色濃くしていったものと思われます。
 北層尾農村歌舞伎舞台は、鏡柱上部に墨書があり、安永6年(1777)に建てられました。1970年に兵庫県指定重要有形民俗文化財に指定されました。相良育弥氏が運営しているくさかんむりが葺き替え工事を行いました。
見学会レジュメに参考