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Designing a Wright Table

06/23/2008, 15:07 | Lost Art Press Blog

As a kid, probably the first furniture style that I ever became aware of was the Prairie style, the strongly rectilinear forms that most people associate with Frank Lloyd Wright.

My dad had lots of books about architecture lying around the house that he used to help him design the two houses for our farm outside Hackett, Ark. I used these books to help me design model houses that I built using Legos and wooden blocks.

Lucky for me, Prairie-style houses and furniture are easily built with rectilinear Legos. And Wright's system of proportioning favored 2:1 ratios ? that's the ratio my wooden block set used.

The last piece of the puzzle was the cape that my mom made for me when I was 5 so I could be Superman at Halloween. After seeing photos of Wright wearing a cape, I also took to wearing my cape when I'd build houses and furniture in my room.

I know what you are thinking: It's amazing that I ever married.

In any case, I've always been drawn to Wright's aesthetic. I've visited houses of his in many cities, I've been through his furniture and papers at the Prairie Archive at the Milwaukee Art Museum, and one of the highlights of my young life was sitting in one of his original barrel chairs.

So I'm quite excited to get started on a new project for an upcoming issue of Woodworking Magazine ? an end table designed in the style of Frank Lloyd Wright. I didn't want to slavishly copy one of his designs, and so I'm hoping to build a piece that is inspired by a table at the Dana House (one of my favorite tours), and uses geometric forms found at the May House in Grand Rapids, Mich.

I've drawn a bunch of sketches, but I decided that this piece really calls out for a full-size prototype in wood. Luckily, we have some thick ash lying around the shop that's left over from a co-worker's bench-building project, so there was only a little bit of machine work required to get the parts in shape.

My favorite tool for building prototypes is my Kreg pocket-hole jig. This sucker allows me to assemble and disassemble projects quickly. I screw them together, shake my head at the stupid design choices I've made, unscrew the parts, trim them down and then start the process over.

This weekend I got the basic form real close after about three hours of work. My top started out entirely too thick. It was 2" thick and now it's more like 1-5/8". Now I just need to fuss around with the inside guts to get the geometrical designs inside looking good. My No. 1 concern is where I place the large suspended square. Because end tables are typically viewed from a standing position, I need to get it close to the floor.

I'm also a bit worried that things will look too busy inside the table if I put two of these squares in the base. Perhaps I need to go home tonight, put on my old cape (yup, I still got it) and page through some more picture books on Wright.

? Christopher Schwarz

??????????/ 'merchandising' crafts for exhibition

05/01/2008, 11:53 | Masashi's woodworking diary

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tel 0742-26-3476

Our annual exhibition is taking place in Nara from 1st to 6th May.

Craft and Furniture Exhibition of Gifu Academy of Forest Science and Culture
1-6 May, 2oo8
10:00-17:00
Nara-machi Monogatari Kan
2-1 Nakashin-ya Machi, Nara, Japan


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Last week the second year students finished their works for the exhibition and presented them in front of the teachers.
They are requested to make their original products according to what they learned during their first year.
They need to produce them in a batch within a limited shedule, calculate the cost and assess their productivity.
This 'merchandising' lesson is a part of our curriculum.

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The venue, Nara-machi Monogatari Kan is in the city centre of the old capital Nara. Hundreds of people come and see our exhibition every day. Students show their works to the public for the first time and receive many comments from them.
Please come and see our exhibition. Students are waiting for your compliments!

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Unique oval floor lamps by Ken-ichi Matsuoka



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Plates by Hajime Hoshino. Designed for his grand child.



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Stools by Atsushi Yokoi. He was commissioned them from an adult education centre in Gifu.



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Stools for backache patients by Yosuke Ueda. Easy to stand up with handles.



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Hand mirrors by Keiichi Fukushima. Inspired by details of architecture in Hida.



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Hairpins by Mako Taniyama. An image of cherry blossom falling.



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Parquetry butter knives by Hiroshi Okabe.

Building the Woodshop: Part VIII - Roofing

03/18/2008, 05:00 | Norse Woodsmith

 

 Ah, the hard work was done...  Or was it?  I got the roof framed, and it was time now to get it shingled.   Before I get to that, the last little bit of framing needed to happen - the cupola.  Here you can see the base I had constructed while framing up the roof:

Roofing

You can also see the roofing materials nowhere near I wanted them to be - I wanted them on the roof, but there they are on the ground...  Of course, they are the heavy ones - architectural layered shingles, which basically means each bundle weighs twice as much as a regular bundle...  but I digress... 

Here's a rear view of the building, showing the cupola framing and the rear overhang I neglected to include in the last installment of this unending adventure:

Roofing

It was much easier to frame up the cupola on the ground, as there were several angled cuts to make and it's easier to make any adjustments where the saw is closer than a run down the ladder...  besides, that 8/12 pitch is hard enough to stand on.  That - and I wanted to make sure I got the weather vane installed properly.  I purchased it from The Weathervane Factory located in Bar Harbor Maine.  I had considered something more whimsical, but in the end I am happy with this purchase - it fits the finished design of the building quite well.  Here is the framed cupola, complete with vane, on the floor of the shop:

Roofing

And - of course - in it's final resting place on the top center of the shop:

Roofing

The cupola is a functioning roof vent, along with gable vents at each end - there should be plenty of air traveling through the attic space with this setup.   I used pre-made louvers just to save on time and keep them a bit more maintenance free...   In retrospect, I think if I were to build it now, I would use a larger roof on it - something with a little Asian influence - but, I'm not going to tear the thing down for it!

Anyhow - I had the roof sheathed now, the cupola framed and in place, and all that was left was to heft all the shingles up onto the roof.  By my calculations, it was going to take about 18-1/2 square or so, or 56 bundles.  That's 56 trips up the ladder carrying some god-awful heavy material.  Of course - it was mid August, the hottest part of the year... You can't shingle a roof unless it either the hottest or coldest part of the year, you know.

Roofing

I have mentioned that one of the reasons I was able to build my own shop was because I had become my dad's caregiver after mom passed away.   Dad had come to live with us right at  New Year's, and did quite well at first.  But it was about at this time that his condition (Alzheimer's) became quite severe.  It made working on the shop during the day difficult at best...  Dad had taken to wandering off on me, wouldn't come out to the shop to "help" me any longer, and I couldn't leave him by himself for more than about 10 to 15 minutes, even if he was sleeping.  Usually I would have to wait for my wife to get home from her work to "take over" for me so I could work on the roofing in the evening.  The nights were long, and the weather cooler in the evening, so it wasn't all bad, I guess...  

We took him in to see a doctor and she suggested we contact Hospice of North Idaho - that they might be able to help us out.  What a godsend those people were...  They came out three times a week, giving dad care and me some time to run errands and get some work done.  I cannot thank them enough for their exemplary service, they were truly wonderful.

As a result, I don't have any photos of progress on the roof so here it is magically complete, about a week after Labor Day:

Roofing

It took me about a month to get it from the picture before to that one.  First to go up was the class A chimney for the wood stove, the mast for the electrical service, then the fascia board followed by the shingle underlayment   Here you can see the mast for the electrical service, and my temporary scaffolding re-erected after being torn down when the roof framing was completed:

Roofing

It was no fun doing this side of the roof - an 8:12 pitch gets hard to stand on after a while, and I'm no fan of heights...  It took all of my courage at some points.  I did use roof jacks for this side, which made it easier. 

It ended up taking about 19 squares of shingles to complete, I used the heaviest kind (of course!), an architectural "layered" shingle that has a 35 year warranty.  What I really remember is how exhausted I was by this time...  When I did work on the shop, it was at a frantic pace.  The shingles were heavy, of course - and I can still feel the pain in my shoulder from lifting them into place.  I had to wear tape over my fingertips, as rubbing the stone on the shingles had worn my fingernails down to where they were bloody.  Worst of all was that Dad was a 24 hour a day job, as he had no sense of day or night anymore. 

Dad was rapidly getting worse, and I stopped work on the shop to spend time with him.  He passed away on the 21st of September.

dad

The next month was spent bringing him back to his home to be buried next to mom, and to get together with family to decide what to do with their estate. 

Getting back, it was well into October.  Life was about to change for me - no longer tied to the house, I needed to get back out into the workforce.  My focus now was on updating my resume and on storing what I had received as an inheritance from the estate.  When I started the shop, we had no idea how long dad was going to be with us, and there was a finite amount of money to work with.  We had it worked out where once the shop was complete, dad and I could start working out of it, making money out of it, hopefully enough to allow me to remain as his caregiver.  It turned out that wasn't to be, the time with him was too short, and the shop was incomplete.  I wasn't far enough along with it for it to work for its income, so it would have to take the back burner while I once again joined the 9 to 5'ers.

When everything was settled, I did spend some time on the shop buttoning it up for the coming winter.  First was to put some siding on the cupola so the flashing would keep out the rains:

Roofing

Next was to get the windows and doors installed so the building would be enclosed:

Roofing

It was finally starting to look like a building!  The overhead door is a 10' x 10' "residential" door from Overhead Door... I'm quite disappointed in it, it's not a very tough door and the panel with the windows is too high to look out of - the only other option would have been to have them be too low... 

I also got the electrical panel hooked up so there was power, but that was about it for the winter.  The next thing I knew, I was reporting daily to a new job and my time for working on the shop was drastically cut back to a few hours a week.  With the cold weather and darkness of winter approaching, not much would happen until spring could shake off the icy grip of what seemed to be the longest, coldest winter...  But there were a few things I could do...

Coming up next - knee braces and some other miscellaneous structural work, and hooking up the electrical...

 

Building the Woodshop: Part VI - Walls

01/11/2008, 22:22 | Norse Woodsmith

Part VI

With the foundation finally out of the way, it was time for my part to start - framing. I find framing fun, so long as it's not my regular job... and I have done it in the past, so I wasn't too nervous about doing it, except for one thing - the wall framing would be full of angles and small complications that would challenge my abilities... but then again, I like a challenge.

I started by putting together a list of materials I would need, and set out to visit suppliers to get some prices. I'm fortunate to have a large number of building supply outlets all within a close distance to where I live... I didn't get to a fraction of them and I visited two borg stores, a lumberyard associated with a nation-wide chain, 1 local franchise lumberyard (several different locations, but all of them are located within a 100 mile or so radius), and two locally owned lumberyards to get prices. The borg prices were not all that far out of line - but those places simply aren't set up well for putting together large loads and they were the furthest from my house, not to mention the service was basically non-existent from these two places in my experience, so I ruled them out almost immediately.

One of the two locally owned lumberyards' clerks told me that "their estimator is out on a job today - but I'll take your list and he'll get back to you first thing tomorrow"... I never heard from them again. Honestly - if they can't call me back on a larger purchase like this they either don't want or deserve my business. I did notice these guys were out of business/were bought out about a year later - I wonder why?

The national chain store lumberyard's prices were relatively high for my tastes. A friend who was also pricing out a shop told me they were by far the cheapest he had found - but he was buying a packaged garage design, vs. my "custom" order, so that may have had something to do with it.

That left two yards to visit, and these two yards became the final 'competitors' for my business - the local franchise and the other local lumberyard. The cheapest cost I found was at the local franchise store (who also happened to have the closest store), with two caveats - their lumber was of lower quality and their service wasn't all that stellar (not bad - just not stellar). The local yard was more expensive, but the quality of their material was much better... But something else happened while I was at the local yard that convinced me to go with them...

While getting a list of prices from one of the clerks, he asked the fellow behind him what the current price was on OSB, who looked at my list to see how much I was looking for. He said something like "well, for this much I think we could do $6.75" (which was 25 cents more than the other's price). He then looked over and started asking me about what I was building, and we struck up a conversation. Turns out he was the owner of the yard, and we both came from similar backgrounds... In the end, he won my business the old fashioned way. It did cost me a few hundred dollars more to do business with him, but I can say now that the price was well worth it - his little lumberyard gave me by far the best service of any I had dealt with up to then - or have since.

From there, i took my material list and divided that list up into the order needed, starting with the wall framing and roof framing, the roofing, and the trim, siding and interior work. This would allow me to pick up materials and not have to have them sit outside or be in the way while I was working on the building... Here's the very list I used:

list

I had decided to use 2x6 studs @ 16" O.C. (On Center) for a couple of reasons - first, for the insulation value. In the large scheme of things, they don't cost all that much more money over using 2x4's. Second, one of the main tenets of the gathering darkness that is the future is the cost of energy. It may or may not happen, but to me it's better to be over-insulated rather than under. Energy costs can become crippling - though they are "relatively" inexpensive now, that may not always be the case.

This is also the biggest reason I don't have a large amount of windows - though I may regret this decision the most of all Natural daylight is a huge bonus, but it does come at a price. There's not just the initial cost of the glazing, there's the added cost for heating to consider. I did end up bumping up the size of the windows to the next size, which I think was a good decision.

Another reason is so it holds what's nailed to it without "waves". Structurally, 2x4 studs at 24" o.c. are fine, and will easily hold up the building. You could probably get away with even less... But then any siding you nail to it, or drywall, or even plywood - will not be held straight and become wavy over time. It might not be right away - but it will happen.

Anyway, I now had the material, and it was time to start building. The very first walls I needed to build were the most complicated - the north and south ends, both having a gable; and since I was using rafters and not trusses for the roof, it meant the studs would have to be framed old-style.

I used to know how to use the a framing square, and all the functions that go with it like rafters and the like. But it's been too long, and not having used that knowledge it's long slipped from my grasp. Fortunately, I am an architect - and have access to computer drafting programs that allow me to size each stud *exactly* and help me layout their location on the top plate even though they are angled - here's the framing plan for the north wall:

North wall going up

You can easily see the benefit of knowing how to use a cad program here. I was able to size each individual member and provide for space for the lookouts all before lifting a nail. I printed out a copy of the above and framed up the main part of the wall (not including the lean-to part) exactly as shown on the floor of the shop, and did the same for the south end (which I will show further down). Then, it was time for an old fashioned "barn-raising" - I gathered a few friends and relatives to help me put the walls up:

North wall going up

Most of the time, you would build the wall so you could tip it up right where it wanted to live - but I could only get these guys together for the one day, so I built both the north and south walls to have them ready... There wasn't enough room on the slab to build them in place, so after we got the wall up we had to shimmy it down to it's final resting place and lift it up over the anchor bolts. I don't mind telling you - these walls were HEAVY! The more help the better.

South Wall

A sill seal goes down first to fill small gaps between the bottom plate and the concrete foundation wall. The bottom plate is treated wood by code - this is done as it's the most likely location for water to puddle and over time rot the wood.

Once in place, the wall were roughly plumbed and then braced with 2x's tied to stakes driven in the ground or using a pair of 2x's to form a triangle on the inside. These were the only two sections of the wall I planned on tipping up like this - the rest would be built in place by myself.

Next up was the south wall:

South Wall

The studs were all sized in that drawing, and I created a second drawing to help me lay out their location on the top plate:

South Wall

Then it was on to putting up that wall:

South wall going up

After it was in place it was also roughly plumbed and bolted down to the anchor bolts in the foundation:

South Wall

Once the walls were up and the help was gone, I went through and plumbed the two walls. To do this, I parked one vehicle on each side of the wall and tied a rope on each side of the wall, in a loop around the top of the stud and plate where the existing brace we had put up was located down to the bumper of the vehicle. I left a little slack in each line and using a stick, tightened the line like the cord on a bow-saw... Once the slack was all taken up, I removed the nails holding the brace and re-plumbed the wall, tightening the side it needed to go to by twisting the rope on that side more until the wall read plumb., then nailed the brace back into place. You can apply a great deal of pressure using this method, and I was able to plumb the walls around the entire building using this method.

Then it was on to the east wall (the top in the graphic below), which I framed in-place:

Wall Framing

The headers over the windows and overhead door are triple 2x10 with a 1/2" plywood core, a diagram of which I will show in a minute... The .

This tied the north and south walls together on the east side, but I then figured should tie the west end of these sections together at the spot where the "main" roof butts into the "lean-to" portion of the roof - the spot labeled #7 in the graphic below:

 

Wall Framing

This is to be the main beam for the roof at that spot, so it needed to be a pretty substantial - and straight - beam. I started by first setting up the two 6x6 columns at their planned locations that the beam would rest on (asking a beam to span 32'-0" is a bit much for traditional construction), as to split the span into thirds. A "U" shaped Simpson column base is bolted into the concrete and fastened to the column with nails and plumbed by forming a triangle with a pair of 2x4's nailed to the column to hold them in place - you can see them in the photo below (with the beam already in place):

Sheathing

The columns at each end are simply nailed together 2x6's that rest within the confines of the stud wall.

It was then time to construct the beam. The beam is made up in layers - first a 2x10, then a layer of 1/2" CDX plywood, then another 2x10, a second layer of CDX, and finally a third 2x10. It works out well with the layers of plywood, as then it ends up the same width as the 6x6 column it rests on:

header

It's great to have an air nailer for jobs like this - it would wear you out quickly nailing all of this by hand, there are a LOT of nails. Fortunately, I still had my old framing nailer from back in the day.

There was no way I was going to be able to construct the beam on the ground and lift it into place on my own, so I constructed it in place by placing the first 2x10 in place (crowned so the higher point is pointing up), holding it by nailing scraps of plywood to Then it was the next 2x10, and so on until the beam was complete:

Wall Framing

A composite beam like this is stronger than a solid beam... the layers help guard against natural defects in the wood, and provide a more homogenous beam across it's length. It's still a bit of a stretch - and by code, these beams aren't heavy duty enough to span the entire distance - so I will add in some knee braces later in the construction process. For now, they will be enough.

To level the beam I used the old bucket of water with a clear hose trick, the same sort of one one documented here on the Taunton web site. I had tried a line level, which is what I used to determine the length of the columns, but ended up having cut the columns about 3/8" too short... Using the water level eliminates such inaccuracies - but I hadn't remembered the trick until after I had cut them. They can be a little difficult to use when you are by yourself and trying to measure a column that has nothing holding it up yet anyway, I guess... Anyway, the short columns were an easy fix with a "shim" of 3/8" plywood.

From here it was a matter of finishing up the rest of the walls and installing the sheathing, which ended up being 7/16" OSB:

Sheathing

There are some that don't like this product, and will only use plywood... Truth is, this material will work just fine for sheathing and is more environmentally friendly than plywood is. And - here's the real issue - it was cheaper.

For bracing, the sheathing on the four corners of the building were specially nailed to create what known as a "braced wall panel". This is done to stiffen the structure against it's natural tendency to lean. The special nailing basically means using ringshank nails 6" o.c. around the perimeter and down each stud line. Another good reason to have a nailer handy - that's a lot of nails.

One thing to remember here, which I nearly forgot:

Sheathing

You can't get into these corners after you've nailed the sheathing on - and if you don't, the corner will always feel cold in the winter and it will be a spot where heat can escape the envelope. Taking your time to insulate the building properly can make a HUGE difference in your heating bill, so if you are building a shop I would suggest you do this - even if you are not planning on insulating it. Someone may want to someday - and it's not much money to do now, but will cost you plenty later should you decide to heat the building.

That's probably enough for this installment. Up next - the roof!

Building the Woodshop: Part IV - Groundbreaking!

11/22/2007, 20:05 | Norse Woodsmith

Part IV 

All right then! Here it was, around the beginning of April, and I had a plan for the new shop (more or less) in hand. It was time to go ahead with the construction... or so I had thought, anyway.

I got a contractor lined up to do the concrete. I had decided that work was simply too much for me to handle on my own, and that it would probably serve me better to have it done by somebody else. I didn't have the equipment, nor did I have the help (or the back) to put down the concrete by myself. I might have mentioned that North Idaho was undergoing an unprecedented building boom at the time. What that meant for me was a wait for the permit. Permits usually take just a couple weeks. Usually, this might not be an issue, but the concrete guy I had lined up had a very tight schedule. Well, it turned out I had a couple of issues that permitting wouldn't allow, mainly the bathroom I had discussed previously. With that, I took the plan home and removed it entirely from the design (which actually helped me out budget-wise), but as it would have it I couldn't take the time off of work to get back to the permit office for two week. When I did finally, it was two more weeks before I got the plan reviewed and approved. I called the concrete guy up, and turns out I was past his window of availability. I would have to find another.

That delay led to a two week long search for another concrete contractor. The only one I could find available was still three weeks out before he could start, but he didn't do excavating - though he knew someone who did. So, I contacted him, and he was three weeks out too. So - what I thought might be a two to three week period of getting the permit reviewed and groundbreaking turned out to be entirely too optimistic. By the time I got the excavator there it was the end of May, a full 5 weeks later than I'd hoped.

Being an architect, I'm familiar with the whole process so didn't let it get me down, and just chalking it up to the way things work. But - when this showed up out front of the house early one morning, I started getting a little excited:

backhoe

It's not really the machine I would have chosen for the task, but as long as the hole got dug, I wasn't going to worry. I had considered doing it myself... had I done it; I would have rented a loader with a backhoe mounted on the back. A track-hoe (like above) tends to rip up the lawn too much when you turn on it... It's also a very small bucket - which can be a good thing, both for digging utility trenches and when you have a plan with a lot of little corners... But I don't have a great deal of experience in digging foundations, and what little I had done was over 20 years ago... I figured it best to leave it to someone who knew more. Besides, the cost of renting a backhoe for myself would have been 2/3rds of the price of paying someone else to do it, so I figured it was better hired out.

It was finally time to break ground. Here's where the shop was to go shown in the site plan again:

Site plan

Here is a photo of the yard, talen looking north from the end of the patio:

Yard before....

The scarring you see in the center of the yard was from an old willow tree that had to come down a few years prior when a windstorm had knocked the main portion of it's trunk down. The scarring was from the year previously when I finally got the stump out of the ground using a skid-steer I had rented when putting in the pavers for the patio, which you can see in the lower left. Within an hour or two, the trench for the main footings were dug:

Ground Breaking

Finally, something was happening. I was still worried about the excavation, though - I thought it odd that he would only dig the trench and not strip the topsoil within the footprint of the building first. In the end, it turned out I didn't need to worry about it. The fellow was a young guy, for whom renting himself and his track-hoe out was his main method of income in the warmer months. While young, in the end it turned out he was hard working, honest, and truly concerned with doing a good job - and for not really all that much money, either. But I didn't know that yet at this point, so was concerned. Even though it was taken care of later and I was satisfied with his work, I do wish it had been done properly. But with the building environment the way it was, I was just happy to have somebody to do the job.

Up next, the foundation!

History Of Traditional Kudus House

06/26/2007, 11:15 | Antique Knockdown Carved Wood House

Kudus is a city in the Central Java, Indonesia, located among Jepara, Demak, Pati, and Purwodadi districts and in the route of Semarang the capital city of Central Java to Surabaya (please see location map). Based on story, Kudus name was from Al-Quds, which mean holy.

The history of Kudus cannot be separate from the name of Sunan Kudus as the founder and one of the Wali sanga (nine Wali) spreader of Islam in Java at that moment. As his inheritance, Kudus has a famous artefact called Menara of Kudus which form like a temple, placed in one complex with mosque of Menara Kudus that build by Sunan Kudus around 1685 M.

Except famous as a Wali city, since in Kudus area there is wellknown also Sunan Muria, Kudus also known for a long time as a kretek city (city of clove cigarette) as there are many entrepreneurs in the cigarette field. Beside that, Kudus can also called as city of industry because of the long development of industry in the area such as industries in cigarettes, papers, printings, handycrafts, embroideries, foods, etc.

Kali Gelis (Gelis river) which lying in the midlle of the city separates Kudus into two areas, one is Kudus Kulon (west Kudus), the other is Kudus Wetan (east Kudus). Long time ago, according to history, citizen of Kudus Kulon area were entrepreneurs, traders, farmers and moslem theologians, while occupant of the Kudus Wetan area were government officers, intellectuals, teachers, nobles and noble relatives.

Within the growth and development of Kudus, physically Kudus Kulon area, where the majority of the citizens were entrepreneurs and traders, were a steph forward in wealthy compare with the other area Kudus Wetan. With their financial increasing, they build the traditional wooden houses of Kudus full with carved that make it different with the previous traditional houses. That is why, the amazing traditional house, which lately called as the traditional house of Kudus used to only placed in the Kudus Kulon area. At the beginning, the traditional house of Kudus only belong to the Islamic Chinese traders, but furthermore were copied and developed by the native wealthy traders.

The traditional house of Kudus that mostly build before year 1810 M, ever reach the glorious time and become a symbol of prosperity for the owners. The Kudus Kulon area environment was formed with the particular existency of the traditional house of Kudus.

The developing history of Kudus has many influences from foreign cultures like Hindu, Chinese, Persia (Islam) and Europe, which also influence the architectural field in made the traditional house in Kudus. From the research, it can be concluded that there are several motifs colouring the carving style of the traditional house. One is Chinese motif, which form as the dragon carved, Persia or Islam motif that form as jasmine flowers or the particular motif of Kudus that form as lotus flower and colonial motif that form as ropes, crown, and animals. All motifs have correlation with the incoming cultures to Kudus.

The carving art of Kudus dominate by lotus flower as the meaning of Hindu religion. Sunan Kudus introduced a carving dominated by jasmine flowers that described united one to another. The meaning of jasmine was to describe that Islam religion at that time was a small community but it like jasmine, even small, could give fragrance to the sorrounding area. Jasmine made united in one to another to describe that everybody in neighborhood were live in peace even there were differences in the religion.

Within development in making the traditional house of Kudus, influence of the elements of cultures were very viscous gave the meaning of form and function of every part, hence could be separate as follows:

1. Traditional house as the tools to spread religion (dakwah) *)

In the daily life, Kudus citizen are majority obedient muslem. Life of religious service is the social relations that have formed in the many aspects, such as in the house to live which full with the describing of the rukun Islam (Islamic obligation).

In the room inside, there is a place or room called gedongan which formed as mihrab, a place where imam (leader of praying) lead the pray that connected with the symbolic meaning as a holy place and sacral. Gedongan also has significance meaning used as the place of heirloom treasury and the wealth of the owners. Gedongan used also as the main honorables bedroom and at the particular time used as special bedroom for the wedding couple of the childrens of the owners.

Also in the room inside there are four main pillars, which called saka guru that desribe four essence of ideal life. At the top of the fourth pillars, putted tumpang sari where the roof was lying on. The sum of tumpang sari are always odd and always have a meaning, sum of five describe the amount of praying five times a day. The sum of three describe life in soul world, transitory (this world) and the world hereafter.

Front room that called Jaga Satru is provided for parish and separates into two part, left side for women jamaah (followers of imam) and right side for men jamaah (followers). Still in the Jaga Satru room at the incoming front door, there is one wood pillar in the midlle of the room which called balance pillar or soko geder, which has meaning except as the symbol of ownership of the house, it also has a symbol for reminding the resident about the One God, the only One who have to be homaged.

House as the tools to spread religion is represent through Islamic value that formed in the carved style at the partition between front room and inside room called gebyok. The strengthen element of gebyok are two stalk pillars where at its top made a carved that formed as palm of the hand of muslem when doing praying at the position of takbiratulihram (when start to pray) that always at the same time say the words Allahu Akbar which mean Allah The Mighty.

Carving in the gebyok, even it is accumulation from many culture influences, but the visualitation adopted from Arabic calligraphy with Al Quran and Hadist theme. There are many other dakwah messages that formed in the building decoration and it always about aspects of way of life and life attitude of human in do their obligation in the earth for their salvage in heaven.

2. Traditional house as a masterpiece art*)

Traditional house of Kudus if notice deeply is more and more fabulous since its uniqueness and attractiveness in exterior and interior which full with ornamen that made by highest skill woodcarving artist. Foundation of the existancy of the traditional house of Kudus was full with taste and creation that fashioned in the beautiful forms without broken any religion values. Through the activity of art, there is possibility of adding the atmosphere of the deepest metaphysic reality.

Traditional house of Kudus, if seen from Bernard Rudofsky theory, is include in the communal architect that priorities in the art element which done continuosly and spontaneously balanced by whole community with the same tradition from time to time following the ritual habit inside the communal. Art is not just copy and physical implementation of the external form, it also as the spiritual elements that achieve esthetic form. The creation becomes what it called architectural without architect.

The construction of the wooden house made completely knock down that make it easir to release and assemble hence there is possibility also to make part by part of the ornamen fully detail and accurate. The decoration was inspired by the success of temple relief and the development process was instructed by Chinese woodcarver from Sun Ging area. The owners were the wealthy entrepreneurs and traders. The carved decoration were build on the whole component intentionally without gave any empty space left and the results was very optimum, full of meaning, symbolic and the style were correlation among Java, Gujarat, Persia, China and colonial (Europe) style.

Wali Songo influence in the formed of decoration was very dominant even in Islam religion there is a forbidden in the formed of living thing, but they gave the chance of a huge tolerate formed as acculturation and assimilation on the evolutif way thus create a wonderful figurative consequence of imagination from the living thing forms. Art appreciation from the Wali Songo that full with tolerate also accomplished by khalifah in the Arab since Abbasiyah era. Palace of Harun Al Rasyid in Baghdad, palace of Al Mutasin in Samara, Cordoba mosque in Spain, also decorated by fresco formed lion, eagle, horses, and the other creatures. Drawing arts applicated in carpets, ceramics, wall and doors achieved the highest level to become the world admire.

Art ornamentation looks unite with the main building, since the creators were very concern with details, function, structure, ritual, symbol and esthetic that decoratively increase the attractiveness for whoever want to see it. The particular local habitual in the way of life through the architectural behaviour is the description of personification of the Kudus traditional house that make it different in form and style with the other joglo building in Java commonly, except in the form of the roof and soko guru as the support of the tumpang sari.

3. Traditional house as the Class symbol *)

The beautiful traditional houses of Kudus have average age for more than 100 (hundred) through 200 (two hundred). Due to the age of the building, if someone wants to analyze it, they have to use the examination within that era.

According to Prof. Berger, the structure of the Java community at the 19th and 20th century can be divided into several class such as; nobles, government officers, traders and farmers. Colonial politics at that time placed politic emancipation that have aim to liberate individual from old social band which consider shackles the freedom and law enforcement that hold mostly in the feodalism band. Development of individual in the community was appointed to the forming of personality, spirit effort in order to developing the prosperity soon.

In the other words, Kudus citizen that categories as pesisiran (near the beaches) citizen, their wealthy level mostly higher compare with the nobles and the officers at that moment. But in the daily life they did not get any self-respect and honor by the community. They way of living as a trader was qualified as second class and dishonor, hence as the compensation citizen of Kudus Kulon, that the majority were traders, formed the appearance of their house very glorious with the expectation that their too have the rights to get honor same with the nobles. The level of their house made in high five stairs to suit with the social strata like what it done by noble community. Guess from the farmers were accepted in the front room, for the officers community accept in the midlle room while for Bupati (distric chief) and Netherlands people were accepted in gedongan room. Surrounding the house was made high wall same as the form of palace.

Traditional houses that at the beginning owned by traders of Chinese moslem were copied and developed with the Javanese and Islamic values. All over the house were full of carved with ornament from many styles like in the palace of kings in Java, done by high skilled woodcarvers with very fascinating result. Accordingly, it worth to gets the confession of honor like government officers and nobles. For them, house were a symbol of status or stage that worth to get honor and equality.

(Source :* J Pamudji Suptandar, Great Lecture of Rupa art and Design Faculty of Trisakti University/Adopted in English by Deva's father)

The fascinating wooden carved at the traditional house of Kudus must be come from the very skilled woodcarvers. Then, from where the woodcarvers came from?

The carving style of the wooden traditional house of Kudus was quite distinct from the other famous carving centre in Java, Jepara. Historically, Kudus was a carving centre long before it developed as a skill in Jepara. Carving was introduced to Kudus when an emigrant from the famous carving city of Yunan - China, The Ling Sing, arrived in the 15th century. He came to Kudus not only to spread Islamic teachings but also to devote his skills to the art of woodcarving, and his style, Sung Ging, was famous for its smooth and wonderful woodcarving masterpieces.

The Ling Sing was wellknown as mubaligh (spreader of Islam) called Kiai telingsing. The name of Kiai Telingsing until now use as a name of a street in Kudus city. There is a kampong or village surrounding the street called Sunggingan that predicted came from the Sun Ging name. The area, at the past, was belief as the resident of the woodcarvers and carpenters from the devotion of Kiai Telingsing skills.

From the 16th to the 18th century, woodcarvers in Kudus received many orders to construct wooden houses. The main material - highest quality teak - was supplied from Blora's, Tuban's and Bojonegoro's forest. From the 19th century, however, high quality teak became scarcer and scarcer and this, in turn, discouraged the woodcarvers of Kudus to develop their skills.

The carving skills also belong to Jepara's people and has been very famous until now. There is an opinion, which said that wooden carved art in Kudus also done by woodcarvers from Jepara, eventhough in the reality it different in the carving models, especially in the mission and filosophy.

According the history, Mantingan mosque in Jepara has wall that made from carved white stone with the flower motifs that was masterwork of a Chinese called Tji Wie Gwan who brought by Raden toyib to Jepara after come back from his Islamic study in Campa for five years. Raden Toyib then married with Ratu (queen) Kalinyamat, the very famous Jepara's queen at that time.

For his achievement in build Mantingan mosque at the year of 1559, Queen Kalinyamat and her husband gave a new name for Tji Wie Gwan to become Sungging Badar Duwung, Sungging means carving expert, Badar same with stone and Duwung means tatah (tool for carv).

This Sungging Badar Duwung who then recognized as the root source of the Jepara's carving art which consecutively knowing in all over Indonesia and the world. According to history, he was too takes a part in the erection of mosque in Loram (a name of area in Kudus) and mosque of Menara Kudus.

Sungging Badar Duwung then devoted his skill to the surrounding community in Jepara as well as in Kudus and presented high skilled carvers that from time to time growth in numbers. This skill direct and indirect was useful in the process of developing the traditional house of Kudus.

The certainty of mentioned things were still need to be investigated furthermore. But for sure, the traditional house of Kudus has build and become one of the Kudus markers with its fabulous woodcarving.

Teak Antique Traditional Kudus House

06/04/2007, 05:46 | Antique Knockdown Carved Wood House
The traditional house of Kudus is one of the traditional houses that formed as the human culture evolution that continuously occuring process acculturation and as the results of developing creation of the supporting community.

The outcome is a maginificent architectural living house, attractive, filled with meaning and socio cultural values that did not occur in the other places in Indonesia .

The architect mostly achieves the ideal process of culture combination and success to represent a unique colour of ur main pillars (as part of Joglo) and Soko Geder (one pillar). On the top of soko guru there are put tumpang songo (nine support) (it musn't be nine, it could be only three support (tumpang telu (tiga)) which depend on the capability of the owners), as the support of roof construction.

The roof construction of traditional house of Kudus shows the level of wealthy of the owner since cost to make the roof is the highest cost compare with any other parts of the house. The expensive cost was because of the motifs perfection and the carved style also the difficulty on the process to construct it.

The Pencu style roof (the towering roof) used to be made of Rumbia (a particular kind of palm leaves), but now more likely to be made of tiles. Kudus tiles often have special plant motifs, and there are the so-called genteng gajah (with elephant ornamentation) on the wuwungan (the topmost row of tiles), and the genteng raja (king tiles) which are beautifully decorated.

The design interior of the traditional house of Kudus looks simple and divided into Jogo Satru room as a guess room, which in the standard traditional house of Kudus the cover area is around 3 x 10 msq. In this room, the floor is lower around 1 m from the main room (inside room) and is a part of the fourth step or floor.

Then, inside room (jogan lebet) is a fifth step with area around 7 x 10 msq. A chair uses as the connection between the two rooms because of its level differences.and as partition between the two rooms used Gebyok.

Inside the inside room (jogan lebet), there are several rooms such as living room located below the joglo, then bedrooms and gedongan as the place to keep the heilroom and wealthy. Gedongan placed between inside room and pawon (kitchen) that located in the left or right of the house.

This pawon except use for cooking and dinner room, also use for the family activity, such as made of convection products and other home industries. In front of the pawon, precisely in the edge part of the yard placed well complete with the bathroom.

There are several types of doors in the traditional house of Kudus, there is one door, two door and sliding door. One door is usually for the kitchen, two doors in gebyok and the sliding door is in the front.


One thing that necessary to be noted is that traditional house of Kudus always build face to the south that full with the philosophy meaning and based on the natural rule of rational calculation.

Greene and Greene from a Woodworker's Perspective

00/00/0000, 00:00 | Popular Woodworking
Many talented and able photographers have published photographs of the work of Charles and Henry Greene. I own most of the books and have spent many hours studying these, as well as images online. I usually feel some frustration because what I really want to see is often missed. I'm one of those guys that lags behind on historic home tours, down on my knees or laying on my back to get a close look at how things go together. The docent gets frustrated, the security guard gets ready to move in, but the other woodworkers understand.


The series of articles by David Mathias on Greene and Greene feature photos that are different than any that I have ever seen. The first article, the August 2008 issue of Popular Woodworking presented an overview of the style. The second article, in the October 2008 issue focuses on the furniture and joinery details. The October issue is due from the printer any time now, and will soon be on its way to subscribers. As was the case in August, we had more photos than we had room for in print, so we are putting the extras online in PDF format.

My favorite thing about these photos is the point of view and attention to detail that comes from having a fellow woodworker behind the camera. Several of the photos are of familiar pieces, but you will see construction details you haven't seen before. Many of the photos are of objects that are rarely if ever seen. This is a rare opportunity to get a closer look at an amazing body of work, through the eyes of someone who knows what you want to see.

Click the link below to download the PDF slide show of additional photos.
0810GnGSlides.pdf (1.45 MB)

The slide show from the August article is available by clicking here

--Bob Lang

Ep15 Carlo Mollino 06 Part 2

00/00/0000, 00:00 | Furnitology Productions


Here is part 2 of furniture designer, architect, Carlo Mollino and our interpretation of his bent plywood coffee table.

It's machining and shaping and thinking that keeps this Mollino piece a fun challenge to go after.

Between parts 1 and 2, we take Carlo's Plum Pudding and catch it up to Carlo's Birds-eye and the next step.

Enjoy........ I'm sure Carlo would be pleased.

Formats available: Quicktime (.mov)

Episode 65 - Bombe Secretary - Pediment Astragal

00/00/0000, 00:00 | T Chisel - The Rough Cut Show!
Tommy has finished the box frame with front work and blocking attached. Now it's time to make the astragal for the pediment. An astragal can be an architectural element used at the top or base of a column, and it is also used as a framing device on furniture. He drank extra coffee so his hands are nice and steady for the astragal work.

Ep 11 a Carlo Mollino Design 02

00/00/0000, 00:00 | Furnitology Productions

Here's our second episode on the Carlo Mollino inspired coffee table. Our homage to the charismatic Italian Architect and Designer from Turin Italy.

We start with a snap of furniture history and begin to develope the atmosphere that Carlo was trained in and worked arounded.

Construction engineering is dealt with in this Mollino furniture design and a present day solution is found. Our bending form template is completed and we press our 2-ply, the answer to our construction issue.

This Carlo Mollino form just gets more exciting.

Enjoy........Neil