Financial Accounting Solutions Chapter 4

Japanisch inspirierte Handwerksarbeiten

has just sent me the organizer of the Kesurokai, Hannes Fast , a few photos that I should install it on the German website . They are so beautiful that I would like to publish here.

Hannes has taught both in Japan, Shoji to produce the traditional Japanese sliding doors, as well as timber frame constructions. His current work shows influences of both cultures, how wonderful to see this camp is firewood, which is affectionately called by its owners' Temple of the tribes ".

Here are some more traditional Shoji used as closet doors:

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Fertiges Modell vom Pavillon

So, now is the scale model finished and it looks very nice. It serves as a plan when building the carpenters in the Japan Pavilion in original size. I have a number of very nice details have noticed:

stone foundations: The model is on small stones, and I suspect it will be later constructed, as this is the same design as in our small barn . Much of the framework construction will remain dry through the roof and wall panels, but the lower ends are prone to rotting when, on the damp earth stand. Therefore, they are traditionally placed on small stone foundations, with a lead sheet between the stone and the wood is laid. Below left you can see the foundations of our barn. The stones come from the river just below Robin's workshop and the lead was donated by our neighbor, the pastor, who still had something left over from repair work on the church roof

oak pegs: The The model of wooden stakes (wooden pegs) held together, because it is made later in the final building. Each compound is carefully prepared so that the drawn together by pegs, if you hit into the holes. The wood nails are made of very dry wood, so they do not shrink later. It needed some wood nails and I suspect this will not give a strenuous, but a lengthy work to produce them locally.

numbering of the compounds: Every link is marked with a series of symbols, one can also see on the screen where Hannah is working on our small barn. If you understand it, the icons show clearly belongs in the barn where each end of each bar ines. Such buildings are not built piece by piece, but first, all parts are individually tailored and every connection checked before the entire timber is then placed at one time. I think there are a number of different regional systems of marking in Europe, and the Japanese is different again, so it will be interesting to see which method they use to be!

more pictures of the model can be found in Photo Album .

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Werkzeug (und die Wunder von Skype)

The carpenters have created an extensive list tool that demonstrates what is needed for the construction of the European pavilion. The tools must be taken because many of them are typical for the European carpentry.

This morning Hannah and Robin discussed some time via Skype derüber what tools are needed, somehow, it is much easier to talk when you can see opposite, especially if you do not talk in their native language. Using the "Split Screen" function you can also look at common sites, where they discuss about axes:

The tool now needs to be organized under time pressure, since it shipped because of the large weight advance to Japan must be removed, the transport is going on early in May Hannes has negotiated a discounted rate with a forwarding and builds Now a big box (3m x 1m x 1m), where everything fits into it.

Since many of the tools are very expensive, they are also working to get discounts or sponsors it. After Kesurokai the tools to stay in Japan as a gift to the Japanese carpenters who will be our hosts.

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削ろう会

I have searched the Internet for more information about the great Kesurokai meeting in Japan and now I made a breakthrough. First, the Japanese word 削ろう 会 and the most widely used translation is with "z" is written (American spelling) and also often separated so that kezuro-kai, or sometimes kezurou-kai ergibt.

Nun liefert Google allerlei interessante Sachen, zum Beispiel folgendes:

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Profil: Ulrik Hjort Lassen

Ulrik stammt aus Dänemark, lebt aber zur Zeit in Schweden, während er an seiner PhD über praktische Zimmerei arbeitet, wofür er Arbeitsmethoden zur fertigung von Fachwerk-Konstruktionen untersucht. Sein besonderes Interesse gilt den unterschiedlichen Methoden des “Afbinding, Opsnøring and Tilridsning,”, Dänischer Brgriffe, die (unzureichend) mit Tearing and Marking can be translated.

The Scandinavians take traditional craft much more seriously than here in the UK, and there are many good training programs. Ulrik began his training as a carpenter at the Dacapo Craft School in Sweden, which was originally a vocational school for carpenters, which deal with traditional building techniques, but later was incorporated into the University of Gothenburg . He has now earned a bachelor's degree and is now working on a five-year research project for his PhD .

While I admire the attitude of Scandinavians to the traditional crafts, it seems as if practically oriented PhDs are not yet established in this area, so he is always looking for ways, "a practical investigation into an academic world to carry out, without losing the performance of the craft out of sight. I own a practice-oriented PhD made and have guided later other people with similar projects, is perhaps something that can assist in me. I'm looking forward to spending in Japan some time with Ulrik and discuss these issues.

a large of their time with Ulrik practical construction projects, both in their own yard as well as other projects that spread across Europe are, because in Sweden there are mainly log construction designs and a few half-timbered buildings. The Japanese Kesurokai offers the opportunity to expand his knowledge!

Ulrik will travel to Lina Lo Gille Falk, his fiancee, to Japan, which just makes their conclusion as a monument conservationist, and has specialized in cultural heritage buildings in the area ("bebyggelsesantikvarie") specialized. It will monitor the project and together they want to write about the importance of practical workshops on the preservation of practical skills and the intangible, cultural heritage of the construction work.

learn more Ulrik, even some videos can be found on this French Website of truss structures .

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Die ursprüngliche Japanische Kesurokai

The Kesurokai began meeting in san Japan in 1995, organized by the prestigious architect Temple Sugimura. His goal was to bring together artisans who work individually usually to allow an exchange of traditional craft techniques and knowledge.

These meetings serve not only the conservation old skills, but also to a sense of community among the artisans to donate and to help in the maintenance of their companies. Kesurokai The movement has about 1,500 members in Japan and holds meetings twice a year throughout the country.

A friend recently pointed me to this site , with some pictures from a Kesurokai Meeting 2006 - are here, you can see how big and well-attended the meeting.

On this website there are some really great videos, is shown in which, as various woodworking tools are made.

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Lernen auf Entfernung

Two years ago Robin for the first time over email contact with a Japanese Drechsler, Tomio Imaru . Inspired by my videos on YouTube and Robins book "The Wooden Bowl ', he had a lathe built for shells, forged some tools and teach their use. The two remain in contact over the Internet; Imaru san has proven to be a good student and makes very nice bowls!

Now they will also meet in real life, because Robin is a visit from Imaru san on the Chisana organize Kesurokai construction site, while we are in August in Japan. You want to build a lathe, forge a few tools and lathe some bowls and plates, the barbecue in the European Pavilion may be used. It is certainly a great experience for both, because there's nothing like working together with trade colleagues in order to enhance the abilities.

Here is a video I did of Robin and other artisans, whom he cared for range, Mikhail Schütte - he is German, so we are looking at a little more often!

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Traditionelle Handwerksausbildung

think As a big admirer trditioneller craftsmanship I always sad when workmen arrive at the end of their working lives without have given their abilities to dish as unique. The more I read, however, about the nature of trditionellen training, the better I understand why this happened and I do not wish to return to the old teaching methods.

Now I've read the book " Edo Craftsmen, master artisans of old Tokyo " and of the twelve featured artisans snows only two long-term ongoing operations performed well and passed their knowledge to have. Part of the problem is the growing availability of cheaper, mass produced alternatives to the things they produce. However, many craftsmen still make it to market their products by making small amounts of sell at higher prices to discerning clients. The problem is rather that always get fewer young people in the trades, the dream to serve this market.

The descriptions of the experiences of these craftsmen with traditional training reveal both the hardness of this system and the current disadvantages. The program begins at a very young age and performed during the first years of apprenticeship only menial tasks, as he watches the range of techniques only. The complexity of the tasks, then increases slowly, while the apprentice is getting older and more experienced. The emphasis is on learning rather than to observe lessons and to imitate rather than to get an explanation of how to do it.

with a good master and an apprentice motivated this system works well. In its observation of Japanese potter Shoji Hamada describes Susan Peterson, the relationship between deshi (apprentice) and masters as follows: ". Perfect to take this" "When Deshi means to learn to surrender to the master, leaving himself and in subjection "does not blind imitation, but is the spiritual discipline and the ability to include a skill in itself."

Be that as it may, it is a system which relies heavily on trust and non-verbal communication between master and apprentice, and not always will work well. While a very strict master shall ensure that the high level of craft skills passed on from one generation to the next, this is possibly derKreativität the expense and the ability of young people to recognize opportunities and erchließen new markets. As young people nowadays go to school also much longer, I think the traditional handicraft training is not an attractive option for them to be.

But the future is not entirely bleak, and I think there are craftsmen who adapt to new ways of teaching and multimedia has great potential to document and communicate complex skills. On my recent research project I have worked with the traditional Sheffield knifemakers and creates a online service that has already been successfully used by different learners. Through the wonders of the Internet to disseminate information quickly and whoever wants to learn something, just use those resources and make educated in the way that it is close to his best.