Opening event "Takumi's Technique to Create Beauty"

Date and time September 3 (Sat)-September 11 (Sun), 2016
Place Takenaka Carpentry Tools Museum 1F Special Venue

The production work has been completed, and the exhibition can now be seen in the completed form. In this exhibition, it is structured so that you can systematically look at the spatial structure and tools classified according to their wall specifications according to the morphology of Shinyuki grass.

The concept of "Shingyokusa" derived from ancient Chinese kanji typefaces and formed as a morphology in Japan is based on renga, Noh, Flower, Tea, etc.
I was also involved in art such as gardens. Especially in Sukiya architecture, it is important to shape a certain form. For example, if a bamboo base window is used in square column, Juraku soil is used in fine-grained water, and the window frame is also pin-angled. For the roundness, we will prepare a curvature that matches each formal style. You can see it very well if you look at the mud wall of Shinyuki grass set up at the exhibition hall.

The real space has a sense of tension that a dignified air drifts. The edge of the arch is covered with plaster, and the surface is finished with Asagi soil glue to kill the texture of the soil and accentuate only the color. The shape of the continuous arch adds a forehead to a Japanese garden and invites people's movements and eyes to various angles with a gradually changing curvature wall.

"Low" is the formality between true and grass. A continuous arch that responds to true replaces a spire arch. Sprays Awaji's Nakadori clay and Kyoto's Joyo sand, creating a weathered stone wall that emphasizes the large sand. This is an attempt to make the formal style of "line" composed of floating walls that cannot be neither Japanese nor Western.

Although it is a break, how to create the knowledge of elegance determines the form of "grass". From the orthodox specification of Makabe, which is finished with red rust soil on the column of rust logs, the wall is gradually bent into three dimensions to release it. The inner wall is finished with a black clay base red rust (red rust) clay wall with a homage of the wall of Gyokurin-in Minoan, subordinate Zen Temple Yulin, Daitokuji Temple.

Then, the space is created by combining white, ash, and black scripture paper fluttering in the wind with Tachiki, which is made up with plaster. Light and shadow color the space of soil, wood, and paper.

The true wall is processed with plaster on the plywood base to finish the glue soil of Asagi soil.

The chamfer is molded into 1cm and applied with plaster to finish accurately.

The wall of the line is the same as true. Throw a gravel of about 1/5, spray the soil containing large sand, and wipe it off with a sponge after drying. The stone floating at this time peels off and traces remain.

In contrast to true, the chamfer is put on a mold plate and the soil is brushed from above it.

The grass wall is a drawing finish of red rust soil. Using a special mortar with a straight pine board attached to an iron mortar, it has a rough and diagonally ripple pattern. It seems to have inspired the waves of the Sea of Genkai.

The inner wall of the grass is made of black earth red rust earth rough wall.

After applying the base with red rust soil, paste it with about one inch of soil, and throw gravel.

On top of it, apply black soil mixed with a small amount of color powder and spray red rust soil without drying.
The coating thickness is more than 2 minutes in total.

In a few days, the soil will dry and thin, the soil mass and gravel will emerge, and the unevenness will be stronger like a rough wall. Finally, rub the hands to remove the soil on the surface a little and soak the black soil.