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Carpenters of Japanese Ancestry in Hawaii Hisao Goto Kazuko
Craft History and the Merging of Tool Traditions: Carpenters of Japanese Ancestry in Hawaii Hisao Goto Kazuko Sinoto Alexander Spoehr For centuries the Japanese have made extensive use of wood as the main raw material in the construction of houses and their furnishings, temples, shrines, and fishing boats. As a wood-worker, the carpenter is one of the most ancient of Japanese specialists. He developed a complex set of skills, a formidable body of technical knowledge, and a strong tradition of craftsmanship to be seen and appreciated in the historic wood structures of contemporary Japan.1 The first objective of this study of carpenters of Japanese ancestry in Hawaii is to throw light on how the ancient Japanese craft of carpentry was transplanted from Japan to a new social, cultural, and economic environment in Hawaii through the immigration of Japanese craftsmen and the subsequent training of their successors born in Hawaii. Despite its importance for the understanding of economic growth and develop- ment, the craft history of Hawaii has not received the attention it deserves. The second objective of the study is more anthropological in nature and is an attempt to analyze how two distinct manual tool traditions, Japanese and Western, met and merged in Hawaii to form a new composite tool tradition. This aspect of the study falls in a larger field dealing with the history of technology and of tool traditions in general. Carpentry today, both in Japan and in the United States, relies heavily on power rather than hand tools. Also, carpenters tend to be specialized, and construction is to a major degree a matter of assembling prefabricated parts. -
Spring 2016 RECENT PUBLICITY HIGHLIGHTS
Tuttle New Titles and Backlist Highlights Spring 2016 RECENT PUBLICITY HIGHLIGHTS North Korea Confidential…page 62 “‘North Korea Confidential’ gives us a deeply informed close-up.” —New York Times Japan Restored…page 62 “Labor economist Prestowitz (Rogue Nation) projects visions of Japan’s future in this well-handled study of sensitive politico-economic issues disguised as a love letter to the country.” —Publishers Weekly All About the Philippines…page 57 “The large format and attractive, cartoonlike illustrations provide an inviting look at a country not often included in many other resources for children.” —Kirkus The Cambodian Dancer…page 57 Once Upon A Time in Japan…page 57 “A general purchase for libraries needing picture books on Cambodian “Will likely delight young readers.” culture and history and those looking —Booklist to diversify their shelves.” —School Library Journal w w AWARD WINNERS! Evergreen Medal For The Chinese American Creative Child Magazine Creative Child Magazine World Peace Librarians Association (CALA) —2015 Creative Play —2015 Preferred Choice Award —Silver Best Book Award Recipients of the Year Award MY FIRST ORIGAMI KIT THE PEACE TREE FROM —Honorable Mention ORIGAMI TOY MONSTERS KIT page 27 HIROSHIMA MEI-MEI’S LUCKY BIRTHDAY page 27 page 57 NOODLES page 56 FRONT COVER: Image from Floating World Japanese Prints Coloring Book,PAGEs"!#+#/6%2)MAGEFROMEco Living Japan, page 37 Don’t Miss . Contents New Titles and Backlist Highlights Floating World Japanese Prints Coloring Book…3 Art, Antiques & Collectibles. 2 Religion & Health . 10 Culture, Graphic Novels & Humor . 12 Crafts & Origami . 14 Cooking . 28 Japanese Tattoos…5 Travel . 32 Architecture, Gardening & Interior Design . -
LATERAL RESISTANCE of TRADITIONAL JAPANESE POST-AND-BEAM FRAMES UNDER MONOTONIC and CYCLIC LOADING CONDITIONS by MARIA STEFANESC
LATERAL RESISTANCE OF TRADITIONAL JAPANESE POST-AND-BEAM FRAMES UNDER MONOTONIC AND CYCLIC LOADING CONDITIONS by MARIA STEFANESCU B. Eng." Transilvania " University, Brasov, Romania, 1992 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF APPLIED SCIENCE in FACULTY OF GRADUATE STUDIES Department of Wood Science We accept this thesis as conforming to the required standards THE UNIVERSITY OF BRITISH COLUMBIA March, 2000 ® Maria Stefanescu, 2000 UBC Special Collections - Thesis Authorisation Form http://www.library.ubc.ca/spcoll/thesauth.html In presenting this thesis in partial fulfilment of the requirements for ah advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia Vancouver, Canada Date 1 of 1 3/27/00 8:59 AM ABSTRACT Full-scale tests were conducted on three types of traditional Japanese post-and-beam wall frames (2-Brace, 4-Brace and OSB sheathed frames) to determine the lateral loading resistance under monotonic and cyclic loading procedures. Twelve tests were conducted on 2.62 x 2.70 m frames, constructed with British Columbia Hem-fir timber and oriented strand board panels as sheathing (JIS - Japanese grade) provided by Ainsworth Lumber Ltd. Five specimens were tested monotonically using a loading rate of 0.13 mm/sec and seven specimens were tested cyclically using various loading protocols (UBC, UBC - modified and MOC). -
Andy Hyde Charpentiers Sans Frontières
N U M B E R 5 4 WINTER 2013 Andy Hyde Charpentiers Sans Frontières at The Château de Gaillon Dimitri Malko Restoration Work in Japan Joe Thompson The Chappell Framing Square Rebecca Yahr and Christopher Ellis Lichens in the Attic Elizabeth Cunningham Handheld Conspiracy Remembering Ed Levin At Play Frame 2013. Cressing Temple, Essex Photos by Fleur Hall Picture call… Show us what you do and how you do it [email protected] 2 THE MORTICE AND TENON 54 WINTER 2013 The Carpenters‘ Fellowship Promoting the study and practice of timber frame carpentry I s s u e 5 4 C O N T E N T S Autumn 2014 Carpenters’ Fellowship 2 At Play Photos by Fleur Hall Membership fees include subscription to the M&T. Find out more at 4 In Site David Leviatin www.carpentersfellowship.co.uk 6 Andy Hyde Charpentiers Sans Frontières Subscriptions CF Membership is available at The Château de Gaillon throughout the world. Please contact the Editor 12 Dimitri Malko for more details. Restoration Work in Japan Back numbers Please contact the Editor. 20 Joe Thompson The Chappell Framing Square Contributions The M&T welcomes contributions. If you have anything that you would like 23 Rebecca Yahr and Christopher Ellis to share with our readers Lichens in the Attic please contact the Editor. Copy deadlines 26 Elizabeth Cunningham Spring issue January 14 Handheld Conspiracy Summer issue April 14 Autumn issue July 14 Winter issue October 14 30 Remembering Ed Levin C o p y r i g h t Copyright of the Mortice and Tenon is held by The Carpenters’ Fellowship. -
Naoko Morisawa's Mosaic Artwork Is Hand-Made of Thousands of Very
Naoko Morisawa’s mosaic artwork is hand-made of thousands of very small slices of natural and oil-dyed (wood) chips on board. She incorporates the patterns in the wood and enhances them with oil-stain to explore imagery that comes from common items: a cupcake, shoes, a wave, and waterfalls etc. Her work has been exhibited internationally and locally at Seattle Art Museum Gallery; Whatcom Museum; Wing Luke Museum; FCA Gallery in Vancouver-BC Canada; contemporary art museums and galleries in Ginza, Aoyama, Kobe, Kawasaki, Yokohama, and Tokyo (Japan); Dublin Biennial International 2014 (Ireland); Roma Art International Biennale, 2015 and Florence Biennale International 2015 (Italy). http://www.naokomorisawa.com With each artwork requiring 45 to 50 days to complete, there’s My Dahlia – My Sister, 2012, 20” x26”, a temporal aspect to Naoko Morisawa’s artwork that might not oil-stained wood mosaics, acrylic and oil be apparent at first. Mosaic – the art of assembling small pieces paint, sumi ink, Japanese paper on board into a whole – requires great patience and skill. In work that is at once abstract and representational, Morisawa takes the art form to new heights with her exacting attention to the tiniest detail. In My Dahlia – My Sister, for example, the different shares of red in the foliage and the sparing use of blue and white in the flower itself are almost uncanny in the way they convey the flower. It’s as if Morisawa uses stained wood panel to take a realistic photograph – the elements of the flower which are unique are captured in the work of art. -
Zen Painting & Calligraphy
SAN FRANCISCO PUBLIC LIBRARY 1223 02649 4907 amiEDUE [ SEPT 2 1997, 1I- —g—' 1» "> f ^ ' Bk Printed in USA . /30 CT - 8 1991 'painting £*- Calligraphy An exhibition of works of art lent by temples, private collectors, and public and private museums in Japan, organized in collaboration with the Agency for Cultural Affairs of the Japanese Government. Jan Fontein & Money L. Hickman of fine Arti, Boston Distributed by New York Graphic Society, Greenwich, Connecticut Copyright © 1970 by Museum of Fine Arts, Boston, Massachusetts All rights reserved ISBN 0-87846-001-2 Library of Congress Catalogue Card No. 76-127853 Typeset in Linofilm Palatino by Wrightson Typographers, Boston Printed by The Meriden Gravure Co., Meriden, Conn. Designed by Carl F. Zahn Dates of the Exhibition: November 5-December 20,1970 709-5,F737z Fontein, Jan Zen painting et v calligraphy Cover illustration: 20. "Red-Robed" Bodhidharma, artist, unknown, ca. 1271 Title page illustration: 48. Kanzan and Jittoku, traditionally attributed to Shubun (active second quarter of 15th century) (detail) S.F. PUBLIC LIBRARY 3 1223 02649 4907 I Contents Foreword vii Preface ix Acknowledgments xi Chronology xii Introduction xiii The Beginnings of Ch'an Buddhism, xiii Chinese and Indian Thought in Ch'an Buddhism, xiv The Northern and Southern Schools, xvi The Earliest Form of Ch'an Art, xvi The Consolidation and Expansion of the Ch'an Sect, xvii Kuan-hsiu (832-912): The Birth of Ch'an Art, xix Ch'an Literature and Koan, xxi Ch'an Art during the Northern Sung Period (960-1126), XXII Ch'an -
Japanese Wood
JAPANESE WOOD The tools, techniques and philosophies that make Japan’s unique woodworking culture so special, and CRAFTSMANSHIP the lessons that can be learnt by makers in the UK HUGH MILLER 1 “Masonry and steel are ‘building’ materials. Wood is a ‘thinking and building’ material” Fukushima Katsu, 2015 Timber elevation in the Gion district of Kyoto 2 3 Tools and Techniques of Japanese Woodwork: 30 Control of the Pull-Stroke Use of Water Contents: Use of Fire Slice over Scratch Philosophies of Making: 56 An Absence of Noise Executive Summary: 6 Maintenance over Robustness Abstract A Search for Lightness Key Themes & Findings Experimentation and Innovation Summary of Recommendations A Contribution to Harmony About the Author 11 A Japanese Contemporary Vernacular Aesthetic: 96 A Maker’s Guide Acknowledgements 12 Japanese Contemporary Vernacular Aesthetic in Architecture Introduction 15 Conclusion 108 The Anatomy of this Study: 16 Recommendations 112 Structure Scope and Duration Bibliography and Further Reading 120 Methods Map 122 Craftsmanship and Society in Japan: 18 Craftsmanship in Everyday Life Tending the Flame of Tradition The Veneration of the Practitioner over the Object Age and Gender in the Order of Precedence Planes and chisels stored in Sugawara The Pressure-Cooker Effect Hiroyuki workshop, Saitama 4 5 Abstract: Executive Summary: In November and December 2015 I travelled to Japan on a Winston Churchill Memorial Fellowship in order to uncover what it is that makes wood craftsmanship in Japan so special. From their unique set of tools, to the many obscure techniques that have been developed, to the philosophies that guide decision making, there is something different about Japanese woodworking. -
An Argument for Modern Craftsmanship: a Philosophy of Design, Materials, and Process in a Post-Industrial Environment
An Argument for Modern Craftsmanship: A Philosophy of Design, Materials, and Process in a Post-Industrial Environment A thesis submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Master of Design in the School of Design of the Collage of Design, Architecture, Art, and Planning (DAAP) by Nicholas M. Germann B.S. Architecture University of Cincinnati June 2006 Master of Architecture, University of Cincinnati June 2009 Committee Chair: Gerald Michaud, MA Committee Member: Anton Harfmann, MArch Committee Member (informal): Scott Lincoln Abstract I see myself as a Digital/CNC Craftsman. What does that mean? It means that I utilize new and emerging tools to produce quality objects. The criterion for what constitutes “quality” emerges from my contemporary redefinition of what “Craftsmanship” means and its use applications. For too long, the idea of craftsmanship has been relegated to the unsubstantiated realm of “hand work” and “non-machine made” with no consideration for the processes involved. However, it is exactly the process’ involved, and how well they are holistically integrated into the built object that this new redefinition of Craftsmanship argues for. Image 1 “Als Ik Kan” = To the best of my Ability i Table of Contents A. Abstract i B. Table of Contents ii C. Image Citation iii D. Thesis Essay -Introduction: Design, Making, and Craftsmanship 1 -From the Begining... 1 -Man as Homo Faber 3 -The Many Faces Of Craftsmanship 5 -Theoria, Poiesis, And Praxis 8 -Redefinition Of Craftsmanship 11 -Craftsmanship And The Industraial Revolution 14 -The Utilization Of Cnc As A Method Of Fabrication 17 -Digital Fabrication As A Tool For A Craftsmanship Ideal 20 E. -
寄木細工 Yosegi-Zaiku Wood Mosaic Works
寄木細工 Yosegi-zaiku Wood Mosaic Works Yosegi-zaiku is a kind of wood mosaic works which To make a yosegi-zaiku wooden express geometrical patterns by combining and pieces of different colors and assembling natural wood materials of various colors grains are assembled and glued and grains. While this kind of wood craft is widely together to form patterned kikko found elsewhere in the world, in Japan yosegi- units, and they are combined to zaiku has especially been produced in Hakone area, make beautiful larger patterns. Kanagawa Prefecture, and has come to be a well- Sometimes the patterned known traditional handicraft. wooden pieces could be carved into bowls, trays, and so on, but nami they are usually shaven using Japanese plane (kanna) into thin sheets of approximately 0.2 mm thick and pasted on the surfaces Japanese plane (kanna) Shaving the surface of ordinary wooden boxes, etc. The geometrical patterns used asanoha in yosegi-zaiku are often those representing nature, such as kikko (“tortoise shell”, hexagonal patterns), nami (“waves”), and asanoha (“hemp leaves”, triangle patterns). On the other hand, a method called mokuzougan (joined wooden block construction) is also popular in recent years, where wooden pieces are assembled to form pictures and shaven to a sheet, then pasted on sheets of Japanese paper (washi). A variety of yosegi-zaiku Located in the northern mountain range of Kanto plain, Nikko Nikko is blessed with beauty of nature, water and forest areas; you can enjoy beautiful scenery of four seasons around Lake Chuzenji, and the Oku-nikko-shitsugen area inscribed as a registered wetland under the Ramsar Convention, including Lake Yuno-ko, River Yugawa, Senjogahara, and Odasirogahara. -
March-April 2003, Volume 30(PDF)
March/April 2003 DHARMA WORLD Vol. 30 For Living Buddhism and Interfaith Dialogue CONTENTS From the Advisor's Desk 2 Reflections How You Act Reveals Your Past, Present, and Future by Nikkyo Niwano 4 The Virtue of Humility by Nichiko Niwa no 27 Cover photo: lchiji Hoto Hoke-kyo (a copy of the Lotus Sutra with every character housed within a precious stupa), opening Interviews of chapter 5, "The Parable of the Herbs." Interviews 7 Life Is Larger Than Globalization One of the two extant scrolls of the sutra An Interview with Eimert van Herwijnen 7 copied in gold ink on paper in 11 63. How God Is Present in Other Cultures 29.8 x 944 cm. Designated an Important An Interview with Samuel Ruiz Garcia 12 Cultural Property; now in the possession The Vatican Promotes Knowledge of Islam of the Nara National Museum. by Eva Ruth Palmieri 18 Essays Buddhists Engaged in Social Development DIIARMA WORLD presents Buddhism as a by Phra Paisal Visalo 15 practical living religion and promotes inter Democracy and Monasticism by George A. Sioris 29 religious dialogue for world peace. It es pouses views that emphasize the dignity of Buddhist Living 24 life, seeks to rediscover our inner nature The Stories of the Lotus Sutra and bring our lives more in accord with it, ~ One Great Cloud and Many Kinds of Plants by Gene Reeves 20 and investigates causes of human suffering. ~ It tries to show how religious principles [ help solve problems in daily life and how ~ Buddhist Living the least application of such principles has a How Being Grateful Changed My Life by Yukiko Hicks 24 wholesome effects on the world around us. -
Kubota Garden Master Plan Update Kubota Garden 2019 Master Plan Update
2019 KUBOTA GARDEN MASTER PLAN UPDATE KUBOTA GARDEN 2019 MASTER PLAN UPDATE for Seattle Department of Parks & Recreation A and the Kubota Garden Foundation B C D by Jones & Jones Architects + Landscape Architects + Planners 105 South Main Street, Suite 300 E FG Seattle, Washington 98104 Cover Photo Credits: /VZOPKL>HUaLY A. KGF Photo #339 (1976) B. Jones & Jones (2018) C. Jones & Jones (2018) D. KGF Photo #19 (1959) E. KGF Photo #259 (1962) F. Jones & Jones (2018) G. Jones & Jones (2018) (YJOP[LJ[Z 206 624 5702 www.jonesandjones.com TABLE OF CONTENTS ACKNOWLEDGEMENTS . 4 I. INTRODUCTION. .. .6 VI. PREFERRED CONCEPT . .. .. .. .. ..40 SUPPORT FOR THE MASTER PLAN UPDATE . .5 Need for a Master Plan Update Guiding Principles Garden Mission History: Fujitaro Kubota's Life, Inspiration, and Garden Style History: Setting the Period of Significance II. PLANNING PROCESS . .10 Necklace of Ponds Kyōryoku - Collective Effort Japanese Garden Seeking Input The Mountainside Opportunities & Issues Visitor Experience III. HISTORY OF KUBOTA GARDEN. .12 Visitor Amenities Kubota Family Wayfinding and VisitorC irculation Hierarchy Kubota Gardening Company Visitor Center Post World War II Garden Improvements Transitioning from Garden to Park IV. SITE ANALYSIS. 16 VII. IMPLEMENTATION . 65 Neighborhood Context Phasing & Implementation Visitation Staffing Mapes Creek & Natural Areas Garden Arrival APPENDIX (Separate Document) The Garden Garden History Resources Events & Programming Workshops Summary Maintenance Area Open House(s) Summary V. GARDEN NEED . .36 KGF -
Quarterly Publication of the Artist-Blacksmith's a Ssociation Of
Volume 30 | Number 1 | Fall 2001 Quarterly Publication of the Artist-Blacksmith’sQuarterly Publication Association of the of North America Artist-Blacksmith’s Association of North America 2 Fall 2001 | Anvil’s Ring A Cut Above Full page pickup from Summer 2/c full page 4/c Architectural Iron pick up negs from Winter issue Fall 2001 | Anvil’s Ring 67 Table of Contents | Fall 2001 DEPARTMENTS FEATURES 3 President’s Message 14 Look Who’s Coming to Demonstrate 4 Mail 30 Women Do Iron 9 ABANA Business compiled by Mimi Clark 11 Conference 2002 Update 46 Cover story 22 Interview with Michael Saari Owl Handrail by Rob Edwards by John Barron photos by Keith Sutter 36 Regional Reports 38 International Reports 42 Showcase 44 New Works Ray Ciemny Jeff Fetty Dick Nietfeld Brian F. Russell Joel Sanderson 49 Calendar Front and back cover art: Owl Handrail by John Barron. See story page 46. 50 Educational Opportunities Pages 22–29 53 Call for Entries 55 Classifieds 56 ABANA Membership Form 57 ABANA Order Forms 60 Advertisers’ Index Page 38 Pages 30–35 The Anvil’s Ring (ISSN 0889-177X) is the official publication of the Artist-Blacksmith’s Association of North America, Inc. It is mailed to the members on a quarterly basis in Spring, Summer, Fall and Winter by ABANA, P.O. Box 816, Farmington, GA 30638-0816. Membership is available to any individual or organization inter- ested in the art of blacksmithing. The annual fee for a regular membership is $45; $24 of this amount is for a subscription to The Anvil’s Ring for one year.