Summer School on Japanese Carpentry – A Bench around a Tree

In June 2022, I received a scholarship to attend a Summer School on Japanese Carpentry organised by Domaine de Boisbuchet and Michelangelo Foundation. It was a 10 day workshop that took place on location at the Domaine and I attended it along with 11 other students from all over Europe.

Domaine de Boisbuchet is a utopia close to Bordeaux in France where Design meets Art. It is an international centre for workshops, research, and education on sustainably innovative design and architecture. Created in 1986, it is located in the southwest of France on 150 hectares of protected nature and ecological agriculture.

The Michelangelo Foundation is an international non-profit organization based in Geneva, Switzerland, that celebrates and preserves master craftsmanship and strengthens its connection to the world of design.

I am sincerely honoured to have been given this opportunity, I learnt so much and met so many interesting people.

Read Part 1 here



Domaine de Boisbuchet

Japanese Designer Wataru Kumano

Part 2 – A Bench around a Tree

The second part of the course was conducted by Japanese designer Wataru Kumano. Having worked with Jasper Morrison in the past, he set up his own design office ‘kumano’ in 2011, and now works with interiors, furniture, and product design.

The aim was to apply the joinery techniques we learnt in the first couple of days, to build an outdoor bench that Wataru had previously designed. The bench had 6 joints, which meant each student would make one half of a joint, making the bench one large group project where all the pieces would come together to form one object.
We started by brainstorming which 6 joints those would be, and assigning them to groups of two students. Each student picked a joint they were comfortable with or found interesting to work on.



Choosing a site and Picking Rocks

Once we had decided on the individual joints, and who would be making them, we scouted the grounds of Boisbuchet for an ideal site where the bench would go. Wataru had envisioned the bench to be installed around a tree, and we wanted it to have a connection to the daily activities of the Domaine, while still being slightly set aside to provide the user with some privacy and tranquility.
The site we chose was a spot next to the living quarters of the Domaine, opposite the restaurant. We chose a large Robinie tree that was part of a clump of trees. It stood at the edge of a field where horses often grazed. You could watch the sun rise behind the rolling hills beyond the field, with the Japanese House to the left and the Old Mill to the right. As the sun travelled through the sky, the shade of the trees would protect the users, only letting the evening sun warm the bench again. We all loved the site!

As part of the foundation of the bench, we needed 9 flat rocks to sit underneath the posts of the bench. This is how old japanese shrines are built, and in our case prevented the legs of the bench from standing in water. We went down to the stream to pick some flat rocks from the river bed and carried them back to the site. Each post would stand on a flat rock that would sit in a shallow pit filled with pebbles.

Making the joinery

We returned to the workshop and each team of two laid out and started work on the chosen joint. Three teams were joining two beams each to make three tables, and three would become the benches. Marion and I chose to make a simple Bridle joint, which would be pegged with two dowels. I chose to make the male part, while she made the female. We used all the techniques we had learnt in the first half of the course to saw and chisel the perfect joint.

We made Oak dowels by hand in order to lock the joint. We first cut smaller sections of Oak and then shaped them into almost round sections with the kanna. To get a perfect cylinder, these pieces were then hammered through a hole in a metal plate which shaved off the last uneven bits to give us a round 8mm dowel. We then assembled our joint and locked it with the dowels. Using our kanna we smoothed the joint and the dowels until everything was flush.

The workshop was a busy space, with all teams rushing to complete and assemble their joint. Some joints were more complicated than others, and took a little longer to make. However they truly represent the intricacy and technique of traditional Japanese joinery.

Assembling the bench

While some teams were still busy finishing their joinery, some of us started preparing the elements that would connect the tables to the benches. Circular posts with a circular tenon would support the benches like legs. Rectangular posts with a tenon would sit between bench and table acting as spacers and connecting elements.
We laid out the mortises on all 3 benches and 3 tables together so they would be aligned. The mortise for the circular posts was drilled with a large forstner bit and then the material in between was chiseled out by hand. For the rectangular posts, the mortises were cut entirely by hand.

A last couple of finishing touches like a drip nose to help rainwater to drip off better were added. We also finished the surfaces of table and bench with the kanna to ensure a nice smooth surface that was pleasant to touch and splinter free.

Before carrying the bench out to the site around the tree, we did a dry assembly in the workshop. We decided where we wanted the tree to be, and checked if everything fit together as planned. It was lovely to see the bench come together, and we marveled at how large it looked. The best part was that it was delightful to sit on and our entire group could fit on it at once!

Installing the bench

The site was prepared before the bench was installed. We cut the grass around the tree, and mapped out where the legs would sit exactly. We dug shallow holes and filled them with gravel to stabilize the rocks that would carry the bench. The stones were leveled so that the bench would be straight once installed.

The next morning we ceremoniously carried the individual parts of the bench out. Each member of the group helped carry it out and it was like we were proudly presenting our work to the world.
Once at the site, we placed the benches on the stones, positioned the tables across the benches and connected them using the handmade Oak dowels. This process went surprisingly quickly, and the bench was very sturdy once everything was connected.

We spent the last couple of hours at the Domaine enjoying the bench we had built in the last 4 days. We invited other residents of the Domaine to sit and use the bench as well, drinking juice and coffee and experiencing sitting under the large Robinie tree.

What I loved the most about the design of the bench was the fact that it was so versatile in its usage. I observed how different people used it in different ways depending on the situation; some straddling the bench, others sitting sideways, some using the tables to sit on, others using the tree as a backrest. The bench even allowed for a comfortable nap, or just watching the countryside with your feet up, listening to the birds and the gurgling of the river downhill.

On the last morning I sat in the warm light of the sunrise with my cup of coffee, just trying to take in every detail of the landscape around the bench. It was a wonderful view, and it gave me a lovely sense of tranquility. Indeed a beautiful end to an enriching and unique experience.

Occasionally I see a video or picture on Instagram of the bench in use by other workshop attendees at the Domaine. It fills my heart with joy to know that we could contribute to life on the Domaine in such a beautiful way. It’s always nice to see people using things you have made, and this remains the best part of my job as a furniture maker!

Picture credits – Vanessa Hörig, Pietro Migliorati and Simon Searle

Summer School on Japanese Carpentry – Traditional Japanese Joinery

In June 2022, I received a scholarship to attend a Summer School on Japanese Carpentry organised by Domaine de Boisbuchet and Michelangelo Foundation. It was a 10 day workshop that took place on location at the Domaine and I attended it along with 11 other students from all over Europe.

Domaine de Boisbuchet is a utopia close to Bordeaux in France where Design meets Art. It is an international centre for workshops, research, and education on sustainably innovative design and architecture. Created in 1986, it is located in the southwest of France on 150 hectares of protected nature and ecological agriculture.

The Michelangelo Foundation is an international non-profit organization based in Geneva, Switzerland, that celebrates and preserves master craftsmanship and strengthens its connection to the world of design.

I am sincerely honoured to have been given this opportunity, I learnt so much and met so many interesting people.

Read Part 2 here



Domaine de Boisbuchet

Part 1 – Traditional Japanese Joinery


The first part of the course was conducted by master craftsman Takami Kawai. He runs an architecture and construction firm in Kyoto where he repairs shrines, renovates traditional wooden houses, and constructs ideal living spaces using traditional Japanese carpentry techniques.

Master craftsman Takami Kawai

We learnt about all the different kinds of Japanese hand tools like Handplanes Kanna , Chisels Nomi , Hammers, Saws Nokogiri, and Marking equipment like Right angles Sashi gane.



Adjusting and Sharpening A Chisel

We started working on our own set of tools after learning a little about the different kinds. We were given a Nomi each, and had to first adjust the back of the handle. This means taking off the metal ring, compressing the wood at the back of the handle, putting the ring back, and folding the wood “over” the metal ring. This ensures that while striking the chisel with a hammer, one only hits wood.

Once the handle is adjusted, the metal tip of the chisel is sharpened. This process begins by flattening the back Ura of the chisel on a metal plate. Once an even shiny surface is achieved, the bevel side of the chisel can be sharpened.

The bevel side Omoto of the chisel is first flattened using short strokes on a stone of 1000 Grit, once the entire stone has been used once, it has to be flattened using a diamond stone. This process is repeated until an even colour is visible on the bevel and a slight burr can be felt on the back of the chisel. Pressure should be applied on the tip of the chisel while making sure not to round the bevel and keeping it flat on the stone.
The burr is then removed with a 8000 grit stone, and then the bevel side is polished and finished until a uniform shine is visible from corner to corner. The corners should be sharp, and there should be no chips in the edge. The last stroke is done on the flat side to remove any remaining burr.

Adjusting and Sharpening A Handplane

The Handplane or Kanna also has to be adjusted and sharpened before it can be used. The wooden body, the metal blade and the chipbreaker need to be adjusted to work in perfect harmony to achieve the desired results.
The process of sharpening the Kanna blade is similar to that of a chisel, starting with the flat side and then moving onto the bevel to achieve an even shine across the entire width of the blade.
The back of the chipbreaker is also flattened so it is in even contact with the back of the blade, first on an anvil and then on a metal plate. This way it is optimally performing its function. Pressing both tips together, the corners of the chipbreaker need to be adjusted so that there is no wobbling. The distance of between the tips of chipbreaker and blade should be a hair’s width.

Finally, the mouth and the bottom of the kanna have to be adjusted. The mouth is adjusted until the blade fits in easily, if its too tight, it might split the wooden body of the kanna. Once blade is fitted, only then is the bottom of the kanna adjusted. Only 2 strips on the bottom surface touch the material while planing. About 10 mm at the very front of the plane and 10 mm just before the opening of the plane touch the material. Everything needs to be scraped or sanded away so it is just a little bit lower. With a straightedge against the light, these high- and low-points become visible. As the final step, the high areas on the hand plane bottom are flattened on a 240 grit sandpaper on a glass piece.
Time to test the hand plane and see if it is working perfectly or not. The shaving should be paper thin, almost see-through. There should not be any tear-out. If the shaving is wrinkled, it means the chip breaker is working well.

Making a Koshi Kake Aritsugi

Using the tools we had adjusted and sharpened, it was now time to try our hands at actually making a traditional Japanese joint, the Koshi Kake Aritsugi, literally translated the ‘Waist Sit Anthead joint’. This joint is used in the construction of traditional Japanese wooden houses to connect beams, either to extend the length or as a T joint. It is made using two pieces of square stock, one piece receives the male part of the joint, the other the female part, fitting into each other to form a stable joint.
The marking and making of the joint was first demonstrated by Takami san, making sure to point out the correct technique and pressure points of each step.

Using this knowledge, we then attempted to make our own joint. This helped us get used to the marking techniques and tools, but also a chance to work with the tools we had so lovingly sharpened the days before. We also took lots of notes, and documented the process to understand the theory behind the joint, but also for future reference.

The joint took about a day and a half to finish, and the last hour was spent adjusting and testing the joint to make sure the gaps closed and it fitted together perfectly. This involves a lot of observation and back and forth. It also takes some critical thinking and spatial imagination to understand exactly which part of the joint needs to be modified to achieve a certain result. It is a very important skill for a carpenter, and comes from years of experience and understanding every aspect of the joint at hand.

Once the joint sits together satisfactorily, any unevenness is planed down and smoothed with the help of the kanna. This step was very satisfying and the end result was extremely strong and, of course, great to look at. We were all very proud and happy that we managed to construct this complicated joint on our first try.

The entire experience was extremely enriching, and a wonderful insight into the practice of a traditional Japanese carpenter. So often the craft is romanticized and depicted as something it is not, and I am grateful that I now have an honest and first-hand experience of it.

Traditional Japanese carpentry is a lot about the ritual and the patience of handicraft, but also about knowledge passed down from generation to generation. It is complex, and techniques are deep rooted in soundness of structure, understanding of the material and a respect for it. The reverence and awe that is given to experienced Japanese craftspeople is extremely justified in my opinion.

Picture credits – Vanessa Hörig, Pietro Migliorati and Simon Searle