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SOCIETY
Log scaffolding and traditional techniques passed down
When important cultural properties are repaired in Kyoto, the traditional technique of "log scaffolding" that has been used since before the Edo period is used. This is an initiative by Kyoto Prefecture that aims to pass on not only cultural properties but also the techniques surrounding them. What exactly is "log scaffolding" and who makes it? We gathered craftsmen from Fuchigami Co., Ltd., which repairs temples and shrines, to talk to us.
Text: Ran Domon
Photo: Jun Shionoya
INDEX
PROIFILE
- Fuchigami Co., Ltd.
- 設立1970年。初代、渕上 良造が鳶職人だった父のもと修業し、35歳の時に会社を設立、2020年で創立50年を迎える。約40年前から京都府教育委員会様の仕事に携わるようになり、国宝・重要文化財修復工事をする。2001年に渕上 一が代表取締役に就任し、技術継承のため、先代の父のひ孫にあたる3人の職人を含んだ若手の育成に努める。 TEL：075-491-4857 E-mail：hutigami1@etude.ocn.ne.jp
- Ran Domon
- Born in Hiroshima in 1985. Lives in Kyoto. In addition to writing novels, tanka, and other literary works, she also writes interview articles and copywriting. Her books include the song and art book "On the day when neither you nor I are around 100 years later" (Kyoto Bunchosha, co-authored), the reportage "The Solitude of the Manager" (Poplar Publishing), and the novel "War and Five Women" (Kyoto Bunchosha). https://bunchosha.theshop.jp/
Would you like to write an interview article about "log scaffolding"?
When I received this request, I first became aware of the concept of "log scaffolding." I've been living in Kyoto for 15 years now, so I feel like I've seen it somewhere when I go out. But that was the first time I really paid attention to it, and learned that it was a traditional technique.
The location of the interview was Ryoshoin, a subtemple of Chion-in Temple.
Once inside the gate, you can see that scaffolding is currently being erected. Many long, thin logs surround the main hall, as if an even larger building had been constructed on the outside.
Looking at it again, I was surprised at how large, solid, yet simple it was. The heavy logs arranged in a lattice pattern were simply wrapped around with iron wire. Craftsmen placed boards on top of them and moved easily. This structure apparently existed before the Edo period.
Log scaffolding is a temporary structure that usually goes unnoticed and will eventually disappear.
Although they are built and dismantled, built and dismantled, traditional techniques have survived to this day through these temporary "temporary structures." I found this fact intriguing and wanted to hear more about it.
What on earth are the craftsmen who inherit the techniques of "log scaffolding" thinking about as they work?
I was a little nervous as I approached the interview with these craftsmen, who I don't usually get to talk to very often.
Log scaffolding can only be seen in Kyoto
Domon: I heard that there are two types of scaffolding materials: iron and logs. I have a simple question: why are scaffolding for important cultural properties still made of logs? Is there a rule that makes it so?
Fuchigami: Kyoto Prefecture is promoting the construction of log scaffolding to pass on techniques for restoring cultural properties. They say, "When repairing cultural properties, let's build log scaffolding to pass on the techniques." In the past, log scaffolding was common in every prefecture, but I think Kyoto is the only place where that technique is still being properly passed down.
Domon: So, Kyoto is the only place where you can see log scaffolding now?
Fuchigami: I think they're all probably made of iron now. There might still be some left in Nara, though.
Domon: By the way, how is the way scaffolding is constructed differently between logs and iron?
Fuchikami: Of course, it's completely different.
Kinoshita: The structure is the same, but the biggest difference is whether you use wire or clamps (steel fasteners).
Domon: Track number?
Kinoshita: The wire is an iron wire. We wrap the logs together with it to tie them down. If we used clamps, we just tighten them with an impact driver, so it's quick. But wire takes a lot of time.
Fuchigami: We still use the same tools we used to make them. All you need are logs, wire, and nails. All you have to do is drill holes in key places and insert bolts.
Domon: This was my first time seeing it up close, and even though it's so big, it's actually quite simply made. The way the wire is tied is very refined and efficient.
Fuchigami: Yes, log scaffolding is essentially just tied together with wire. Different methods of tying are used depending on the location, though.
Kinoshita: It's hard to find craftsmen who can tie wires.
Even if you have experience in scaffolding, if someone who has only worked in ironworks comes here,
Like, "How do I tie this together?" Even if I try to tie it together, it doesn't work.
Fuchigami: Nowadays, everyone does it with a hammer. I think we're the only ones that tie it.
Domon: Are there differences in how things are done depending on the company, even within Kyoto?
Fuchigami: Of course, each company has their own way of doing things. When I see scaffolding that other companies are doing, I often think, "Wow, so that's how they do it."
It's hard to find craftsmen who can tie these wires. Even if they have experience in scaffolding, if someone who has only worked with iron comes here, they're like, "How do I tie this?" Even if they try to tie it, it doesn't work.
Kinoshita
See, do, fail, and learn
Domon: How are those manufacturing methods passed down? Manuals, etc.?
Fuchigami: No, not at all (laughs). Rather than being taught, I learned by watching.
Domon: Is it something you can remember just by looking at it?
Fuchikami: Well, I teach the key points verbally, but for the most part it's a "see, do, fail, and learn" type of approach.
Domon: (Looking at Nishida) Is that how it feels?
Nishida: Yes, that's about it.
Domon: Wow, that's amazing.
Kinoshita: When we were young, we were yelled at almost every day. Our superiors would say things like, "What are you doing?" and "That's not what you meant."
Fuchigami: It's a lot better now. I think it was amazing in the past though.
Kinoshita: It was amazing. I was constantly told to go home (laughs).
Domon: Approximately how many years does it take to become a full-fledged professional?
Nishida: It's my eighth year now, and I feel like I'm finally starting to understand it a little.
Domon: 8 years!
Fuchigami: Well, I think it depends on the person's awareness, too (laughs). I've been doing this for 15 years now, and I feel like I'm finally starting to understand the whole picture.
Domon: It took me 15 years to finally become a full-fledged professional.
Fuchikami: This guy (Kinoshita) is already a veteran.
Kinoshita: It's been 43 years for me. I've been doing it since I was 19.
Domon: From your perspective as a veteran, what is the most difficult part about log scaffolding?
Kinoshita: After all, the most difficult thing is to keep the roof from sagging. It's made of wood, so it's inevitable that it will sag. So you can't just make it straight from the start, you have to take that into account when assembling it.
Fuchigami: Pedestrian bridges are also slightly arched, aren't they? We do the same thing with logs. Once they reach a width of about 30 meters, they will inevitably sag under their own weight. It depends on the site, but for example, here they will be used for five years after completion, so they build them while thinking about five years from now. But that can only be understood through experience.
Since it's wood, it will inevitably sag. So you can't just make it straight from the start, you have to take that into account when assembling it.
Kinoshita
It takes time and effort, but it's a job you can be proud of.
Domon: By the way, what are the advantages of scaffolding made from logs? What makes it better than steel?
Kinoshita: It seems that log scaffolding is easier for carpenters to use. When hanging heavy materials, iron can bend, but wood is said to be more flexible.
Domon: It's sticky.
Fuchigami: If iron bends, it's all over, but wood has a resilience and will bounce back. It's flexible and versatile. So you can hang heavy things on it without worrying.
Domon: As a craftsman, what do you think? Which is easier to work with: logs or iron?
Kinoshita: Hmm. Logs are difficult.
Fuchigami: It's about 10:0, and logs are harder. It requires more people and time, and it takes more than twice as much work. There are only disadvantages in that respect. But Kyoto Prefecture is working to pass on the techniques, so we've been able to keep it like this. It's hard, but it's fun to do. This is not a job that anyone can do. There is a sense of pride in that.
Domon: Pride and pride.
Nishida: There's no one around me doing the same kind of work, so when I tell people I do this kind of work they're like, "That's amazing," and find it unusual, but every time I do that I feel like I'm having an experience that I can't get anywhere else.
Kinoshita: It's the same for me. If I work on Kinkakuji or Ginkakuji, people say, "That's amazing."
Domon: It's a job that puts you very close to cultural assets, even though they will disappear someday.
Fuchigami: But that also means the responsibility is great.
Kinoshita: You can't crush anything. scaffolding will be dismantled once the repairs are complete. That's when you have to be the most careful. If you drop something there, it's all over. For example, if you drop something and break a tile. It's not so bad if it's a flat tile, but if it's a real tile, it's a real disaster. If you break one tile, you have to replace the whole thing.
Domon: That's scary!
Fuchigami: Yes, we are more careful with demolition. The most important thing in our work is "don't break anything at all." This is the most important thing. We're putting up scaffolding to repair things, so if we break it, it would be counterproductive (laughs). I think we can only gain trust if this rule is followed.
Domon: By the way, don't you feel sad when it's dismantled?
Kinoshita: There's no such thing (laughs). The only thing I was thinking about was making sure it wouldn't get crushed during the demolition.
Domon: So once we've finished packing up neatly, it's like the job is finally done.
Fuchigami: Yes. It's such a relief when we finish without incident. There's been a lot of natural disasters recently, like typhoons and earthquakes. It's scary after all. Last year, when Typhoon Jebi hit, I even went to see my work site at Toji Temple. I had to climb to the top of scaffolding in the middle of a really strong wind. That kind of anxiety is always there.
Kinoshita: I was once told to go and check on the situation during a typhoon, but it was difficult to fix in the storm. The thing was almost blown away by the wind, but I pretended not to notice and went home (laughs).
Log scaffolding is something that makes it clear that it is the work of this person.
Domon: The thing I wanted to ask you most this time was about the fact that it was "temporary." Carpenters who build and repair buildings leave behind what they have worked on. But scaffolding is temporary and doesn't last forever. I was wondering what the appeal is from a craftsman's point of view...
Kinoshita: ...That's true. It's true that there's no scaffolding left behind.
Domon: I wanted to ask you one last time about what's so interesting about that.
Fuchikami: When you mentioned it, I started thinking for the first time, but I wonder what's so fun about it (laughs).
Domon: (laughs)
Fuchigami: Well, I guess it's the "amazingness that amateurs don't understand, but experts can." People who understand can tell "this is an amazing technique." That's what's fun. And I guess it's also the feeling of something special. I think there's a sense of pride, honor, and specialness in knowing that "we're carrying on the tradition." I don't think I would be able to continue this job if I was an ordinary scaffolder.
Kinoshita: I feel the same way. I feel like I'm carrying on a tradition.
Nishida: I feel the same way. There are so many things you can't experience anywhere else.
Domon: There's something mysterious about "scaffolding" as a traditional technique. Because it's temporary, it can only be seen temporarily and then it disappears. And every time a new one is made, I think the inherited technique itself changes little by little.
Fuchigami: That's right. We add our own ingenuity to the techniques we learned from our seniors, thinking, "What if I did it like this next time?" It's a traditional technique, and it's Fuchigami's technique alone. That's why we get requests to have a particular craftsman do a certain job on a certain site. It's not "it's the same no matter who does it," but rather, you can tell that it's "this person's work." People who are watching are watching the work that we've inherited. When I feel that, I'm really happy.
Traditional techniques passed down through movement, not words
It was impressive to see the faces of the craftsmen, who were initially tense, gradually soften as they talked. Surrounded by the model that Kinoshita had made, they explained with a cheerful tone, "People enter from here, and we put up a sheet here to protect from the wind and rain..."
"The most fun part is when you see it gradually coming together," said Fuchigami.
Finally, we were given the opportunity to actually stand on the log scaffolding.
The craftsmen quickly built a staircase for us, as we were not used to scaffolding. We stepped onto the completed staircase in just a few minutes and entered the building. Watching the craftsmen moving swiftly on scaffolding set up high above our heads, I felt that the "traditional techniques" had permeated the bodies of each and every person here.
"It's rare to get the chance to see something being made."
Mr. Fuchigami, wearing a helmet, says as he looks out over the scene.
Mr. Fuchigami, wearing a helmet, says as he looks out over the scene.
As I listened to him, I remembered his words, "See, do, fail, and learn."
At this moment, traditional techniques are passed on, not through words, but through movement.
Their works, completed through the accumulation of these moments, appear temporarily and one day disappear. But once the cultural properties have been restored, their traditional techniques will remain as a protective presence.
I'm sure there are signs of this everywhere in the city of Kyoto, and I just haven't noticed it yet.
I thought about this as I watched the backs of the craftsmen returning to their workplaces.
| What is "POP UP SOCIETY"? | "POP UP SOCIETY" is an irregularly published magazine that ASNOVA ran from March 2020 to March 2022 with the aim of getting the general public interested in the industry and contributing to the mid-to-long term shortage of young talent in the temporary construction industry. It introduces unique and experimental initiatives from Japan and abroad through interviews with people and companies, experience reports, and more, focusing on temporary construction. |
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