water
Watermill
Rain Chains & Musical Drains
A rain chain in winter; Dresden Kunsthof Passage; Drainage planters near Pike Place Market in Seattle.
If there is a larger takeaway here perhaps it is about paths of least resistance, with regards to both the actual flow of water and design decisions. On the one hand, it is easy to blindly follow regional precedents and traditions with long histories (or grab whatever is handy at the hardware store). On the other hand, sometimes it makes sense to take a step back and decide consciously how to reveal (or conceal) a natural process.
The Beauty of the Overlooked
An Article by Maria PopovaMedusa from A Naturalist’s Rambles on the Devonshire Coast by Philip Henry Gosse, 1853.
Philip Henry Gosse’s Stunning 19th-Century Illustrations of Coastal Creatures and Reflections on the Delicate Kinship of Life
“These objects are, it is true, among the humblest of creatures that are endowed with organic life… Here we catch the first kindling of that spark, which glows into so noble a flame in the Aristotles, the Newtons, and the Miltons of our heaven-gazing race.”
Rain chains
An ObjectRain chains are a beautiful and functional alternative to traditional, closed gutter downspouts. Guiding rain water visibly down chains or cups from the roof to the ground, rain chains transform a plain gutter downspout into a pleasing water feature. From the soft tinkling of individual droplets to the soothing rush of white water, they are a treat to listen to.
Rain chains (‘kusari doi’ in Japanese) in concept are not a new idea. For hundreds of years, the Japanese have used the roof of their homes to collect water, transporting it downward with chains and finally depositing the rain water into large barrels for household water usage. Japanese temples often incorporate quite ornate and large rain chains into their design.
Kigumi House
A sense reflected in the plans
When a space resonates with our humanity, when it feels really pleasant or splendid and beautiful—when you place yourself in such an environment, I've always believed that people will be drawn in. So I guess you could say it's this sense that I try to reflect in the plans; I believe that this will lead in the right direction, to an honest lifestyle.
I'm reminded of their faces
Mrs. Shimada is very cheerful, and Mr. Shimada is very intelligent; he is able to perceive things objectively, and discern what is precious. I get the sense they live critically, evaluating what is important. Keeping these characteristics in mind, I think about what kind of plan should be provided, in what proportions, and in what kind of house—to best suit these people. I'm constantly reminded of their faces as I prepare the plans. I'm always thinking about human happiness. If it doesn't make you happy, I don't think it's worth building.
Maybe I should sharpen soon
I've been doing this for decades, so I've found tools that can't get any better. Tools by a good blacksmith cut well for the entire day, as well as the next; occasionally, even on the third day. I'll think, maybe I should sharpen soon, even though it's still cutting okay.
So that's what it's like — it's all about how good your tools are.
What's suitable for each unique condition
What of machines and prefabrication? How do they compare?
Well, the machine has its limits. We, using handcrafted methods, do things that machines cannot do. Of course, it's not fast like a machine. And in complicated areas like here, things wouldn't go the same using a machine as it would by hand.
We use numerous variations of all these connecting and splicing joints. Using a machine, [the wood joints] can all be made uniform, but really, we need to consider whether that's a good thing. It's better to make each mechanism and joint by considering what's suitable for each unique condition.
The structure becomes more solid
I suspect that these tools and these shapes each have their own era. And, well—recently, mass production has made fabrication more practical by using machines, and producing joints that are even easier and faster. Currently, [composite joints] are the most practical—economically as well. That's probably how it became so simple.
The precision [of a prefabricated joint] is by no means bad; a prefabricated joint is more precise than one made by hand with poor skills. Of course, with craftsmen, some are good; others, not so good. It's fine if only people with excellent skills make these joints and build houses; but occasionally, you'll get someone who doesn't. In this case, there's a possibility that prefabrication will provide a more uniform, better outcome.
With prefabrication, they don't really have as much variety in types of joints. Most splicing joints are kama-tsugi, and most connecting joints are ari of a dovetail type; it's even all the same dovetail. In comparison, we use roughly ten times that in variety—perhaps more than ten times.
You have something that is fast, easy, and cheap...
Tōru Abo: Yes, the question is which is better in comparison. I mean, there's no point having a joint made without precision. If you can't chisel with a certain degree of accuracy, there's no point cutting by hand. We often say, "Work accurately and precisely." It's labor-intensive and costs some money, but it's overwhelmingly stronger. The structure becomes more solid.
Kanawa-tsugi
The kanawa-tsugi allows for easy replacements, without having to raise the building a great deal. However, these days buildings are demolished in less than 30 or so years, so we live in an era where such measures aren't necessary. Because we're living in an era where you demolish the house before things are replaced, we don't have to do this. But in doing so, the two wood members fit together smoothly; the fit becomes incredibly good. This splicing joint, it's surprisingly rigid once assembled; so, even in an era where we have foundations like these, we still use the kanawa-tsugi.
Completing work properly in unseen areas
If you consider the inheritance of skills, we can keep this heritage by having young people do the work properly, as they did in the past. If you don't do this, or you become too practical, you'd only make simple things. It's very low tech, this inheritance of skills—using carpentry tools to do manual work. We deliberately put effort into these things, completing work properly in unseen areas.
Architecture equals structure
Architecture equals structure. Design is also important, but structure is the basis of architecture.
By taking the good aspects of both traditional and conventional construction methods, we assemble it securely...So the reason we lay out the marking lines, and carve by hand, is to utilize the good aspects of wood framing from the past when building contemporary wood-framed structures.