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English
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KIGUMI：Revealing the Carpentry Behind the Wood Joint
Date: Wednesday 13 October – Wednesday 24 November 2021
Opening hours: 9:00am – 5:00pm
*Last entry: 30 minutes before closing time.
Closed: Monday 18 October, Monday 25 October, Monday 1 November, Monday 8 November, Monday 15 November, and Monday 22 November.
*Dates are subject to change.
Organizer: National Museum of Nature and Science, Takenaka Carpentry Tools Museum
Sponsor: Takenaka Corporation
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FOREWORD
In Japan, the spirit of kigumi—the craft of jointing wood—is deeply ingrained everywhere. Endowed with bountiful forests, an intimate awareness of trees has existed since antiquity, and various items have been created by jointing wood. Everything from small vessels and furniture used in everyday life, to wood-framed dwellings, have all been made using kigumi. However, by merely looking at the surface appearance of the finished work, it is difficult to truly comprehend the craft and aesthetics of kigumi demonstrated by these exceptional artisans.
In this exhibition, we have deconstructed all kinds of kigumi for this reason. Various wood joints are exhibited in their disassembled state—traditional wood joints, unusual joints, and joints which surprise you as their secrets are revealed. Western wood joints, as well as wood puzzles, are also featured within the exhibit. We hope to reveal the beauty of kigumi—the artisan’s aesthetics and careful attention which is particular to handcrafted carpentry, and the soft textures and subtleties distinct to natural wood—through this exhibition’s works.
October, 2021
National Museum of Nature and Science, Takenaka Carpentry Tools Museum
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Interactive Exhibit: Try Your Hand at Kigumi
You can appreciate the beauty of kigumi wood joinery by taking the pieces apart and re-assembling them with your own hands. Can you guess which part will bear the load?
*Sanitize your hands before touching.
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Model of Hōryūji Five-story Pagoda
Shinmatsu Honda / 1970s / 1:25 scale / Wood: zelkova
This five-story pagoda is the oldest wooden pagoda in Japan. Shinmatsu Honda—a master joiner from Setagaya, Tokyo—produced this model. A Tategu-shi is a craftsman who makes sliding fusuma doors and shoji screens. As they work with smaller-scale wood pieces, not even a dimensional error of one millimeter is permitted. Due to these skills, the model remains flawless even after 50 years.
(caption)Section drawing of Hōryūji Five-story Pagoda
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The most important part of the pagoda is the vertical shaft at the top called the finial (sōrin). It is made from bronze, so it is very heavy. Inside the tower, a solid central pillar supports this shaft. Let’s find these in the drawing.
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Model of Yakushiji East Pagoda
Shinmatsu Honda / 1970s / 1:25 scale / Wood: Japanese Cherry
An architectural masterpiece once described as a piece of “frozen music.” It is structurally a three-story pagoda, but it appears to have six tiers due to the additional smaller roofs beneath each main roof. An elaborate three-tier interlocking bracket complex forms the roof framing. At Hōryūji, the framing consists of simple cloud-shaped bearing blocks (kumoto) and cloud-shaped bracket arms (kumohijiki). Let’s compare them.
(caption) Section drawing of Yakushiji East Pagoda
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The wooden pagodas have been deliberately designed to shake and absorb vibrations during earthquakes and typhoons. The wooden elements are stacked on top of each other like building blocks, allowing them to move easily against each other.
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Shihō-sashi ( Quadruple Plug )
Kōbokusha / 2019 / Wood : Keyaki
The most complex kigumi wood assembly in which horizontal members make tsugite and shikuchi connections from all four sides of a post. As a large cross-sectional cut is required in the post, it is scarcely used, however in instances where a centrally located post in a modular square plan necessitates the installation of the sashi-gamoi (jabbing header) or ashi-gatame (bottom plate beam) at the same height, this assembly is made possible by using a wider post.
(caption) Shihō-sashi at Former Hara Residence in Kawasaki, Kanagawa Prefecture
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Combining the wood pieces in all four directions is like a puzzle. Carpenters are experts at figuring out how things come together in three dimensions, much like this model.
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Words on kigumi techniques by the maker
Shihō-sashi ( Quadruple Plug )
Commentary: Akinori Abo (Kobokusha)
On kigumi / On tools
*You can turn on subtitles by clicking the CC icon (subtitles/closed captions) in the Youtube video. You can select the subtitle language by clicking the gear icon (settings) and changing the subtitle language settings.
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The beginning of kigumi
The most primitive kigumi technique was to use ropes and strings to tie logs together. Although not having to process the log is a huge convenience, the lack of durability was an issue. This lead to the processing and notching of the wood, leading to the developmrnt of jointing techiques. Typically the abutting surfaces were made flat, because gaps lead to a resulted in the development of fabrication techniques where a curved surface could be retained in a joint, without any resulting gape. Despite appearing the same from the outside, the tecniques and aesthetics driving a kigumi joint’s fabrication will likely vary.
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A long time ago, we had to use ropes to tie pieces of wood together because we didn’t have any good tools. Surprisingly, joining wood by using notched joints is very difficult. What tools do you think they used to carve the wood?
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Neji-gumi of Japanese Cedar Logs
(Two Stop Tennon)
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Rope Tied Wood Construction
Material : Lontar palm leaves
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Komisen (Draw Pin)
A fixing method whereby a pin is driven through the side of a post at the location where the adjoining tie beam’s tenon passes through, thus securing the joint through the centre of the post and tenon. In this way, a post and tie beam can be secured together; however it takes time and effort to make the holes accurately. It is found in many parts of the world but it is particularly widespread throughout the western world where drills were developed and in use.
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Hanasen (Nose Pin/External Draw Pin)
A fixing method whereby a pin is driven through a small hole made in the tip (‘hana’, or ‘nose’) of a long tenon that extends through to the other side of the post. It works primarily by counteracting the pulling force. It is easier to make than a komisen type pin joint and can be found in many parts of the world. In this model, the joint is slightly dadoed in order to reduce the stresses on the tenon.
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Sage-kama
(Wedged Through Half Dovetail Joint)
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Watari-ago (Cogged Lap Joint)
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A piece of wood called a tie-beam (nuki) connects the pillars together to produce a strong building. The tie-beam is fixed in place using a plug or a wedge.
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Daiwa-tome
(Full Tenoned Tongue and Groove Miter joint)
A joint used at the adjoining corners of foundation beams or floor framing. In a tome (miter) joint, the members being joined together at a 45 degree angle gives a clean appearance; however, this increases the difficulty in fabrication.
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Oire-arikake
(Half-blind dovetail with fullmortise and tenon)
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Sumitome-hozo
(Corner Miter Tenon)
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What are tsugite and shikuchi ?
In Japanese wood architecture’s kigumi-splicing joints that extend members in the same direction are called ‘tsugite’ and connecting joints that are made at right angles, or any other specific angles, are called ‘shikuchi’. Although shikuchi are essential to wood construction, tsugite are more commonly used in large-scale architecture, where a single length of timber proves to be insufficient.
Today, metal connections requiring minimal time, effort and craft have become mainstream-however, the ancient techniques for connecting wood, passed down by generations of carpenters, offers a unique joy in shaping form. Here, we reveal the most common examples in disassembled state, inviting you to take a look at the oft hidden craft behind these joints.
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The Aesthetics of Kigumi
During the latter half of the Muromachi period, in addition to keshōzai—plane-finished members, typically with ornamental appeal —such as nageshi (non-penetrating tie beams) or kayaoi (eave support, type of fascia), many intricately crafted joints demonstrating a strong aesthetic quality can be observed. Such emphasis on appearance resulted from the structural function of keshōzai being diminished by advancing structural technologies, and the increasing use of mochidashi-tsugi (cantilevered joints) over shin-tsugi (center joints) in order to minimize the cut volume from mortised areas.
Variations which make use of the fundamental forms of the sogi-tsugi (simple scarf joint), ryaku-kama (abridged goose neck joint) or mechigai (stub mortise and tenon joint) reveal the wisdom of the craftsman, skillfully responding to the unique requirements presented by each joint.
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Noge-tsugi
(Rabbeted, Blind-mortised and Tenoned, Scarfed Gooseneck Joint)
Engyoji Dining Hall ( Hyogo, mid-Muromachi period )
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Hako-daimochi-tsugi
(Shipped, Pinned and Halved Half Lap Joint)
Daisen-in Main Hall (Kyoto, 1513)
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We’ve recreated the work of a carpenter from 600 years ago. The joints fit tightly together, so the seams don’t stand out. Guess where it joins!
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Evolution of the Kama-tsugi
(Gooseneck Mortise and Tenon Joint)
The kama-tsugi is likely the leader of splicing joints from ancient times until today; here, we trace its evolution. In ancient times, ease in fabrication was favoured, resulting in the limited use of either parallel or perpendicular cuts. This however compromised the strength; the earlier joint only achieves between a third to half the strength of later variations. In the middle ages, the contact surface was increased by slanting the sides, which also resulted in minimizing the cut volume of
the mortise side. The early modern period emphasises work efficiency, resulting in the return of a parallel neck. When increased strength is required, it was used in conjunction with a koshi-kake (lap joint). Marking was easily done with the sashi-gane’s (carpenter’s square) width and most of the cutting could be done with a saw. During the post war period, connection methods using metal fittings or hardware began to emerge. These could be fabricated without skilled labor. A more dramatic shift occurs in the 1980s, with the emergence of prefabrication technology. Since marking is no longer required and machine tools perform the cutting, it is inexpensive and uniform in quality.
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Ancient Gooseneck
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Medieval Gooseneck
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Early Modern Gooseneck
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Prefabricated Gooseneck
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Composite Joint
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In Japanese, we call a dovetail joint an ‘ant-joint’ (ari-tsugi) because the shape resembles the fangs of an ant. So—what does the ‘sickle’ from ‘sickle-joint’ (kama-tsugi or gooseneck mortise and tenon joint) represent? ‘Sickle’ comes from the shape of a praying mantis or snake’s head and neck, which is said to resemble a sickle.
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Kanawa-tsugi
(Mortised Rabbeted Oblique Scarf Joint)
A standard example of ryaku-kama (abridged gooseneck joint) where both members of the joint are shaped identically. Making a T-shaped stub mortise and tenon at its end prevents movement in all directions once the pin has been installed in the central gap. It has twice the strength of a kama-tsugi (gooseneck mortise and tenon joint) and is used framing members such as posts, beams or foundation beams.
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Miyajima-tsugi
(Halved Oblique Scarf Joint)
An evolution of the sogi-tsugi (simple scarf joint) where a double lapping occurs diagonally. It is similar to the isuka-tsugi (halved rabbeted oblique scarf joint) which takes the form of a bird’s beak. However, due to its neat underside, the sogi-tsugi is preferred in instances such as a saobuchi style ceiling where the joint is visible from three directions. It is rumored that it is so-called as it was widely used throughout Akino Miyajima (also known as Itsukushima).
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Sumitome-hozo
(Corner Miter Tenon)
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Kainokuchi-tsugi
(Clam-shaped Mortise）
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Stacking Kigumi
If you look under the eaves of a temple or shrine building, you can see the elaborate wooden framing above the posts called kumimono, an interlocking bracket complex. The regular stacking of masu—block-shaped bearing blocks, and hijiki—long, horizontal bracket arms, creates this assembly. The technique originated in China but later spread to greater eastern Asia, and continues to be highly influential to temple architecture today.
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Engakuji Shariden Interlocking Bracket Complex Model
Ikarugakosha / 2019 / Full scale / Wood : Hinoki Cypress
An interlocking bracket complex is a trademark feature of temple and shrine architecture; but how are these assembled? Here we examine the Engakuji Shariden and introduce how to assemble an interlocking bracket complex.
The masu (bearing blocks) and hijiki (bracket arms) are stacked in all four directions. Once assembled, the weight can be balanced, similar to a set of scales.
These wooden parts of a kigumi structure look like a jigsaw puzzle. The carpenter knows the exact order for the assembly of each piece.
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Daito
(large bearing blocks)
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Masu
(bearing blocks)
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Hijiki
(Bracket Arms)
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Ue-Odaruki
(Upper Tail Rafter)
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Shita-Odaruki
(Lower Tail Rafter)
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Naibu-Shita-Odaruki
(Inner Lower Tail Rafter)
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Kobushibana
(Kobushibana Bracket)
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Odaruki
(Tail Rafter)
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Tōshi-hijiki
(Bracket Tie Beam)
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Mochiokuri
(Bracket)
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Dabo
(Dowel)
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Wooden framing of the roof
Yasuda Kōmuten / 1980s / 1:10 scaleModel of Aobaen Park Cemetery Three-story Pagoda (Saitama, 1977)
Collection : National Museum of Nature and Science
Based on the three-story pagoda of Myōtsūji from the Kamakura period, the deeply projecting roof forms create the pagoda’s distinct, flamboyant lines. The structure uses interlocking bracket complexes as well as a concealed, cantilevering roof member called hanegi to achieve the deep eave. The hanegi uses a counterbalance mechanism to lift the cantilevered portion.
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Model of a Japanese-style interlocking bracket complex
Yasuda Kōmuten / 1980s / 1:10 scale
Model of Taimadera East Pagoda (National Treasure, late Nara period)
Collection : National Museum of Nature and Science
Wayō refers to a traditional Japanese style of architecture. Although this style was initially imported from the main Asian continent around the 7th or 8th century, the term differentiates the prevailing style from zenshūyō (Zen-style), which was only introduced during the Kamakura period. The three-tiered bracket complex is its most refined form.
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Joining Member to Member
In the same way as joining boards, a tenon is created in one member and a mortise in the other; similarly, miter and open-mortised box joints are both used. Various joints are used according to purpose such as L-shaped connections, T-shaped connections, X-shaped connections, one-directional connections, three-directional connections.
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Tomegata-hakohozo-tsugi
(Mitered Secret Capped Mortise and Tenon Joint)
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Tomegata-kakushi-nanamai-tsugi
(Mitered Secret Seven-layered Mortise and Tenon Joint)
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Kasane-hozo-tsugi
(Split Tenon Joint)
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Kendome-hozo-tsugi
(Tenoned Sword-tip Miter Joint)
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Arigata-shikake-tsugi
(Cross-lapped Slanted Dovetail with Secret Mortise and Tenon Joint)
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Rōsoku-hozo-tsugi
(Secret Stepped Double Mortise and Tenon Joint)
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Nagare-sanpōdome-tsugi
(Three-directional Miter Joint)
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Joining Board to Board (1)
In box construction—whether it be the two side boards of a box, or a drawer face and sides—the boards are joined at right angles. There is the ‘tome-tsugi’ (miter joint) which conceals the end grain and joint from being exposed, and there is the ‘kumi-tsugi’ (box joint—literally ‘assembled joint’, referring also to open-mortise corner joints) where the corner joint is visible. By changing the angle at which the boards are joined, it is possible to create triangular, hexagonal and octagonal forms.
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Mizu-gumi｜Nejire-kumi-tsugi
(Water Joint｜Twisted Tenon Joint)
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Tomegata-kakusi-arigata-tsugi (Secret mitered Dovetail Joint)
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Ari-tenbin (Wide Dovetail Joint)
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Joining Board to Board (2)
Edge joints provide a connection along the wood board’s edge grain, producing wider boards for items such as tabletops (the verb form of ‘hagi’—an edge joint—is ‘hagu’). A protruding tongue called a ‘sane’ is created along the center of the wood board’s edge thickness, and the boards are adhered together using glue. With ‘sane’, there are ‘honzane’ (tongue-and-groove edge), where the tongue is integrated and formed into one of the boards; or there is the ‘yatoizane’ (spline), where the spline is a separate piece inserted into grooves cut into both boards.
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Yatoizane-hagi
(Loose Tongue Joint)
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Honzane-tomegata-hashibame
(Mitered Tongue-and-groove Edge Joint)
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Ari-kumi-tsugi
(Dovetail Joint)
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Ishidatami-kumi-tsugi
(Stone pavement joint)
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Naname-kumi-tsugi｜Nawa-gumi
(Slanted Joint｜Rope Joint)
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Honzane-hashibame
(Tongue-and-groove edge Joint)
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Arizane-hira-hagi
(Sliding Dovetail Joint)
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Jigoku-arihozo-tsugi
(Foxtail wedged tenon Joint)
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Sumi-dōtsuki-hirahozo-tsugi
(Corner shoulder mortise and tenon Joint)
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Sanmai-hozo-tsugi
(Triple-tennoned Joint)
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Shelf and pillar joint
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Sanpōdome-tsugi
(Three-directional miter)
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In architecture, wooden carpentry predominantly involves a combination of rectangular or circular-shaped cross-sectional members. However, sashimono—Japanese wooden joinery—instead focuses on techniques for assembling boards neatly together to make boxes.
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Joinery
Sashimono is a general term for wood joinery items such as chests of drawers, desks, shelves, boxes, fixtures, and fittings—or any other object made using the technique of assembling wood boards and longitudinal members. The joiner creates a ‘tenon’ on one member, and creates a ‘mortise’ on the other; a joint is formed by inserting the tenon into the mortise, and this begins to create more complex forms. The artisan’s hands and fingers notice the difference in thickness of one-hundredth of a millimeter, creating a delicate and subtle beauty.
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Rectangular Box in Japanese Ash Finished in Urushi Lacquer
Kenji Suda / 2018
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Joint Samples of the Lid
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Joint Samples of the Inner Box
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Words on kigumi techniques by the maker
Rectangular Box in Japanese Ash Finished in Urushi Lacquer
Commentary: Kenji Suda
(Woodcraft Artist, Living National Treasure)
*You can turn on subtitles by clicking the CC icon (subtitles/closed captions) in the Youtube video. You can select the subtitle language by clicking the gear icon (settings) and changing the subtitle language settings.
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Kumiko (muntin)
‘Kumiko’ refers to the fine woodworking used in tategu—architectural fittings. Fine, jointed lengths of wood are combined to form a continuous surface. It is often used for shōji—translucent, often sliding, partition screens; ranma—transoms, often including a lattice or decorations; or tsuitate—loose, moveable partition screens. Its origin is said to date back to the Kamakura period; it is a craft that has been inherited since ancient times.
Kumiko is an advanced craft that requires the precise fabrication of fine, thin pieces of wood to construct various geometries, and was further developed in the latter half of the Showa period. Typically, using a high-quality straight-grained Hinoki Cypress is considered preferable. Adopting the bright colours of various natural wood species, however, can endow a tategu with the expression of a painting.
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Kumiko Byōbu
(Kumiko folding screen)
Sakae Tategu Kōgei / 2019
This work attempts to evoke the scenery of an interwoven mountain scape layered within a deep haze, expressed in the two dimensional form of kumiko.
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Words on kigumi techniques by the maker
Kumiko Byōbu
(Kumiko folding screen)
Commentary: Setsuo Matsubayashi (Sakae Tategu Kōgei)
*You can turn on subtitles by clicking the CC icon (subtitles/closed captions) in the Youtube video. You can select the subtitle language by clicking the gear icon (settings) and changing the subtitle language settings.
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From a distance, you can see a mountain range, but as you get closer, the scene disappears, and the patterns of kumiko begin to emerge. Let’s try looking at this from different angles.
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Mitsu-kude
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Yaeasanoha
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Dahlia
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Yaekikyō-asanoha
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Rokkaku-tsunagi
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Kirizai-no-hitoebishi-mentori
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Twisted joint
( Neji-gumi )
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Okuri-sayagata
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Kude
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Element of Yaekikyō-asanoha
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Element of Yae-asanoha
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Lignitized Japanese Cercidiphyllum Japonicum
Cedar
Lignitized Japanese Whitebark Magnolia
Cherrywood
Japanese Whitebark Magnolia
Kiso Hinoki (Japanese Cypress)
Chinese Pyramid Juniper
Lignitized Japanese Cercidiphyllum Japonicum
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Lignitized Japanese Cercidiphyllum Japonicum
Japanese Sumac
Japanese Whitebark Magnolia (Sapwood )
Japanese Whitebark Magnolia
Chinese Cedar
Chinese Pyramid Juniper
Lignitized Japanese Castor Aralia
Kiso Hinoki (Japanese Cypress)
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European Style
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Guitardes & French Trestles
A Guitarde is an interlace of three-dimensionally curved wooden pieces that has either circular or elliptical profiles on plan view and on both elevation views. They are designed to structurally support the cantilevered roof structure of a dormer, balcony, or porch roof. The first Guitardes appeared in France in the 1700s and symbolized elite status. Today they are often presented as a masterpiece to be received as a Compagnon carpenter.
A French Trestle is an interlace of straight and linear pieces of wood that criss-cross one another in multiple complex assemblies where the individual pieces are orientated differently
from one another.
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Guitarde
Patrick Moore (Professional School of Practical Stereotomy) / 2019
Luc Adam, Jérémie Abbate
Wood: Guitarde; American White Oak, American White Ash, Eastern American Black Walnut, Roof Structure; French Oak, European Walnut, European Ash, European Plum
A classic Guitarde with additional ‘pincer links’, built respecting all rules in the art of assembly and joinery.
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Trestle
Patrick Moore (Professional School of Practical Stereotomy) / 2015
Wood: Beech, French Oak
A classic French Trestle to illustrate the possibilities and solutions to complexities that Stereotomy can provide.
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European carpenters are very good at assembling curved wood pieces at complex angles. To achieve this, they produce full-scale drawings to determine the angles and sizes.
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Kintaikyō Bridge
Most Japanese wood construction is comprised of posts and beams. For the Japanese, it is standard to create architecture using only vertical and horizontal wood members; as such, other methods were difficult to imagine. A rare exception is the Kintaikyō Bridge in Iwakuni, Yamaguchi Prefecture. Here, a wood arch spans an impressive 36 meters without any intermediate supports. Arched construction can commonly be found in stone masonry structures; however, the Kintaikyō Bridge is a rare example which attempts this construction typology in wood. This bridge was first constructed in 1673. Since then it has been maintained with regular rebuilding and repair work. The current bridge was rebuild from 2003 to 2005.
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Kintaikyō Bridge Model
Ebizakigumi / 2019 / Scale: 1/2.5 / Wood: Hinoki Cypress
A part reproduction of the structural arched form of the bridge. It consists of a keta (girder), kusabi (wedge), hari (cross beam), ato-dzume (spreader beam), fure-dome (strong back brace), kuragi (diagonal brace) and tasukegi (arc brace). In reality, a levelling packer called a heikin-gi would be installed on top, followed by the hashi-ita (bridge plate and tread) and kōran (railing).
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Words on kigumi techniques by the maker
Kintaikyō Bridge Model
Commentary: Kumetsugu Ebizaki (Ebizakigumi)
On kigumi / Five consecutive arch bridges
*You can turn on subtitles by clicking the CC icon (subtitles/closed captions) in the Youtube video. You can select the subtitle language by clicking the gear icon (settings) and changing the subtitle language settings.
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Model of Kintaikyō Bridge
Kusuo Aoki Laboratory, Waseda University / 1953 / 1/20 scale
Collection of National Museum of Nature and Science
The horizontal center-to-center distance between the piers of Kintaikyō Bridge is approximately 40 meters. The top of the structure also creates an arc with a radius of approximately 40 meters. The bridge treads and handrails are installed to form an arch bridge.
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Keta (Girder)
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Kusabi (Wedge)
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Hari (Cross Beam)
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Ato-dzume (Spreader Beam)
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Kuragi (Diagonal Brace)
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Tasukegi
(Arc Brace)
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Fure-dome
(Strong Back Brace)
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Maki-gane
(Metal Strapping)
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[movie] Structure of the Kintaikyō Bridge (1’40”)
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The bow-shaped arch structure is ideal for spanning long distances. Although these are common in stone structures, they are rarely used in wooden construction, making this bridge unique both in Japan and worldwide.
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Strange Joints
In order to frame wood, objects must intersect three-dimensionally; in some cases, this can become a complex three-dimensional puzzle. The difficulty of kikujutsu—calculating a structure’s dimensions and producing its various components—can be observed at the corners of any neatly assembled eave. It is so tricky that such a saying exists: “Carpenters and sparrows both cry at the eaves”. Here, we introduce some exemplary three-dimensional puzzles known since ancient times;
thinking outside the box may reveal their mechanisms.
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Ōsakajyō-Ōtemon-Tsugite
(Ōsaka Castle Front Gate Pillar Joint)
The joint is an example of netsugi—a process whereby new wood is inserted to replace rotten wood in the bottom sections of posts . Its reputation as a“puzzling joint” stems from the seemingly incomprehensible splicing method in which the front and rear faces shows an ari-tsugi (dovetail joint), whereas the sides show a sogi-tsugi (simple scarf joint). An X-ray examination revealed that it was made to be inserted diagonally.
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Shihō-kama
(Four-Faced Gooseneck Joint)
Even though it is a kama-tsugi (gooseneck mortise and tenon joint), it cannot be disassembled simply by pulling. It requires you to think boldly from a different angle—the joint will only come apart when slid on a diagonal 45-degree angle. Such playful joints have existed since the Edo period.
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Kawai-Tsugite (Kawai Joint)
Ordinarily, splicing or connecting joints are either assembled in a perpendicular or linear configuration, not both. However, this particular joint can connect in both orientations. This joint takes its name from the inventor, Naoto Kawai.
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Kigumi Puzzle: X Piece-Joint
Isamu Mutō
A kigumi where rectangular solids intersect from three directions. Only the critical portion of the joint is circular; it is assembled via rotation. The simplest is the three-piece joint. Next, the nine-piece joint. Then, the 19-piece joint; followed by the 33, 51, 73, 99, 129 and so on. The joint can be infinitely expanded following this sequence.
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Kigumi Puzzle : Ichimatsu Frame
Small/Medium/Large: Isamu Mutō
Disassembled parts are commercial product.
The thin linear pieces that pass through the cube can be disassembled. Like the X Piece-Joint, it can be infinitely
expanded. The outer portion is glued, not wood-framed.
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Kyūtai Kumiko
(Spheric Kumiko)
If you look closely, this work resembles a soccer ball. It is a thirty-two-faced truncated icosahedron created from a combination of pentagons and hexagons; it is an Archimedean solid, or semi-regular polyhedron, and one of the most spherical polyhedrons. The pentagons consist of smaller star (☆) shapes, and the hexagons consist of smaller triangles.
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Let’s go and visit the actual buildings.
Locations of the historical buildings featured in this exhibition.
Why not visit the actual historical buildings after learning about the fascinating qualities of kigumi? In Japan, many historical buildings constructed using the wood carpentry techniques of kigumi still remain. Only a handful of the buildings are shown in this exhibition. Interesting and unexpected insights may reveal themselves if you focus on the building’s kigumi and wooden structure.
Hōryūji Five-story Pagoda / Late 7th century / Ikaruga-chō, Ikoma-gun, Nara Prefecture
Yakushiji East Pagoda / 730 / Nara-shi, Nara Prefecture
Engyōji Jikidō / Mid-Muromachi period / Himeji-shi, Hyōgo Prefecture
Kintaikyō Bridge / Original construction: 1673 / Reconstruction: 1953 / Iwakuni-shi, Yamaguchi Prefecture
Taimadera East Pagoda / Late Nara period / Katsuragi-shi, Nara Prefecture
Ōsaka Castle Front Gate / 1628 / Osaka-shi, Osaka Prefecture
Daisenin Main Hall / 1513 / Kyoto-shi, Kyoto
Aobaen Three-story Pagoda / 1977 / Saitama-shi, Saitama Prefecture
Former Yanohara Family Residence / Late Meiji period / Kawasaki-shi, Kanagawa Prefecture
Engakuji Shariden (limited entry) / Early 15th century / Kamakura-shi, Kanagawa Prefecture
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