Evaluate and appraise a selection of joints from both the eastern and western traditions.

And assess their buildability and performance comparatively

Author Student 10019743 2011

Traditional joints Eastern joints 1 . Kamatsugi 1.2 Koshikake kamatsugi 1.3 Mechigai hozotsuki kamatsugi 2 . Sen 2.1 Komisen 2.2 Hanasen 2.3 SHachisen 2.4 Yokosen 2.5 Hiyodorisen 3.Kanawatsugi 3.1 Okkake daisentsugi 3.2 Shachi 3.3 Shippasamitsugi Western joints 1.Tongue-And-Groove How to Make Tongue and Groove Joints 1.1 Tongued and Grooved Flooring Board 1.2 Tongued and Grooved Matchboarding 1.2.1 Tongued, Grooved and Beaded 1.2.2 tongued, grooved and veed 1.2.3 Double tongued and grooved 1.2.4 Dovetail Tongue and Groove 1.3 Tongued and Grooved Mitre 2. Birdsmouth joint How to Cut a Birdsmouth Joint 3. Half joint How to Make half lap Joints

Different between Eastern and Western joint Shape and structure Different in Protection and prestige Different in Protection sill beam Different in Construction Different in Log construction The function of wood joint The role of the tools The influence of climatic condition Different in nominate.

Royal Botanic Garden - John Hope Gateway

Introduction Building Description Concept Design Landscape Description Inside Description Structure Materials Roof Structure Stair Cladding and Glazing Fire Resistance and Timber Surface Treatment Sustainability Conclusions Reference, Traditional joints Reference, Royal Botanic Garden - John Hope Gateway

1 . Kamatsugi
1.1 A gooseneck tenon and mortise
joint. The mortise is cut into one section, and the tenon, with head and neck a single member, is cut into the other. The neck of the tenon is roughly square or rectagular and varies in length according to need. Kamatsugi were used as early as the 7c. By the medieval period (13c-16c), the head was tapered and resembled a blunted arrow. A variation resembling a double gooseneck with heads at each end of the tenon is set into the mortise of the same shape. Usually used to connect two beams. The joint is called chigiritsugi (Figure 1.1)

Figure 1.1 : Chigirtsugi Note :Spline joints using small pieces of wood, tenons inserted into the slots, mortises, cut in corresponding shapes on the timbers to be joined. The spline derives its basic shape from combining the narrow ends of two dovetails. There are various types, for example, the bow-tie spline kinekata and the dumbbell spline areigata. If the splines join timbers parallel to the grain, the spline is usually lengthened Image: Kiyos,Seiko

1.2 Koshikake kamatsugi

also called shikimen kamatsugi. A half-lap, gooseneck tenon joint. An end joint which combines two joints: a half-lap koshikaketsugi and a gooseneck tenon joint kamatsugi. The gooseneck mortise and the bench, or seat, of the lap joint are cut so that the mortise occupies about half the thickness of the timber. The bench made from the remaining half extends like a step beyond the mortise. The second timber contains the gooseneck tenon; the undercut overlaps the bench when the tenon is dropped into place in the corresponding mortise. If a half-blind mortise, (mechigai hozoana), is cut vertically into the center of the bench and a matching tenon is made on the undercut part beneath the dovetail, the combination joint is called koshiire mechigaitsuki kamatsugi. The half blind tenon prevents damage from twisting forces.(Figure 1.2)

Koshikake kamatsugi is based on the same principles as koshikake aritsugi (Figure 1.2.1 ); only the shape of the tenon and mortise differ. koshikake Frequently used to join two hidden purlins (roof joints), nogeta, and foundation footings, dodai.
ogi kubi kama shikimen Figure 1.2 Koshikake kamatsugi , Image: Kiyos,Seiko megi

Figure 1.2.1 : koshikake aritsugi Image: Kiyos,Seiko Note: A half-lap, dovetailed joint. An end joint which combines two joints: a half-lap and a dovetail. The dovetail mortise and the bench, or seat, of the lap joint are cut so that the mortise occupies about half the thickness of the timber. The bench made from the remaining half extends like a step beyond the mortise. The second timber contains the dovetail tenon; the undercut overlaps the bench when the dovetail tenon is dropped into place in the corresponding mortise. If a half-blind mortise, mechigai hozoana, is cut vertically into the center of the bench and a matching tenon is made on the undercut part beneath the dovetail, it is called koshiire mechigaitsuki aritsugi (Figure 1.2.1.1). The half blind tenon prevents damage from twisting forces.

Figure 1.2.1.1 : koshiire mechigaitsuki aritsugi, Image: Kiyos,Seiko Note: A half-lapped, half-blind, tenoned dovetail joint. The indented piece is cut with a bench, lit. hip koshi , open in the centre to receive the half blind tenon mechigai . The dovetail and half blind tenons fit into a dovetail-shaped cavity. Besides having a half blind tenon, the tenoned piece also has extended shoulders which rest on the benches on each side of the opening for the blind tenon and the dovetail. The same principle applies to the half-lapped, half-blind, tenoned gooseneck joint mechigaihozotsuki kamatsugi

1.3 Mechigai hozotsuki kamatsugi

`corners made by the projection of the neck from the beam. A blind mortise is cut on the lower half of the matching piece. The upper sides are adjacent to the gooseneck mortise and are cut away to form benches koshikake, on either side of the blind mortise. These fit snugly into the cutaway sides of the blind tenon. A variation used to further strengthen the joint and prevent twisting includes right angled blind mortises which may be cut on either side of the entrance for the neck. Blind tenons are then cut into the matching piece.

The shape of the joint is visible on top, but from the side, it appears to be an ordinary splicing joint. This joint is used for purlins and ground sills and must have supporting members beneath it.

Figure 1.3 mechigai hozotsuki kamatsugi Image: Kiyos,Seiko

2 . Sen
Also called komisen. A pin, peg, key, cotter or dowel made of hardwood, usually oak. It varies in shape and size depending upon need and placement. It is added to butt or end joints tsugite, and to angle joints shiguchi , for strength and security. Holes are bored where necessary and pins are inserted and may pass through tenonned and indented pieces. The sen may be blind and only partially inserted to prevent slippage. There are many kinds of sen:

2.1 Komisen or daisen. A blind

joint with pins slightly off center. Komisengama is gooseneck joint with pins or a mortise-and-tenon joint used on a penetrating tie beam nuki. It is characterized by the addition of a pin or key inserted through the head of the tenon hozo into the top of the pillar for purpose of tightening and strengthening the joint.(Figure 2.1 Komisen)

Figure 2.1 Komisen Image : Yasuo,nakahara & paul nii

2.2 Hanasen (lit. nose pin).

A blocking draw pin used in vernacular houses minka . For example, a suspended strut tsurizuka, is joined to a purlin keta. The end of the transverse beam hari, in the roof framework is cut into a large tenon that extends through and beyond the outer surface of the pillar. In order to draw the nose of the beam tightly to the pillar and to prevent the pin from penetrating the post or from slipping, the pin hanasen is cut at an angle and is driven through a mortise cut in the extended tenon.
(Figure 2.2 Hanasen)

Figure 2.2 Hanasen Image : Yasuo,nakahara & paul nii

2.3 SHachisen or shachi

are slightly tapered keys placed in hunched or right angle mortises formed by oblique positioning of matching right angle cuts in both the tenon and beam. When these parts are joined, the key's tapered ends are pounded into the resulting slots. The Top (Figure 2.3 SHachisen slots may be aligned, half or fully Right (Figure 2.3.1 saoshachitsugi), staggered. If two boards are held Bottom (Figure 2.3.2 saobiki dokko). together by shachisen, only mortises are made obliquely, part on each board, to receive the pin. See (Figure 3.2.1
saoshachitsugi), (Figure 3.2.2 saobiki dokko)

Image : Yasuo,nakahara & paul nii

2.4 Yokosen
a threshold-to-post pin. This is driven horizontally into a groove where the threshold and post meet.
(Figure 4.3 yokosen)

2.5 Hiyodorisen
A long cotter with a head, (kashirasen), that passes through the tail rafters, (odaruki), where they meet at right angle on each side of the hip tail rafter sumiodaruki. It protrudes beyond the rafter on the side opposite its entry. A small pin called a magosen (lit. grandchild pin) is driven through the protruding part to prevent slippage and to tighten the pin. It is used in shrine and temple architecture.(Figure 5.3 hiyodorisen)

Figure 2.4 yokosen Image : Yasuo,nakahara & paul nii

Figure 2.5 hiyodorisen Image : Yasuo,nakahara & paul nii

3 Kanawatsugi
An oblique, housed (dadoed), rabbeted, T-shaped, half-blind, tenoned scarf joint. Because both the tenon and mortise are blind, the joint cannot be slipped together from the side, as in an oblique, housed, rabbeted, scarf joint okkake daisentsugi (Figure 3.1 ). The oblique surface on the mortised half of the indented part is decreased by the depth of the rabbet. Therefore, the end with the inverted T-tenon on the corresponding piece must be inserted in a lengthwise direction. Then a joining draw pin komisen is driven through the opening provided in the center to lock the joints. Sometimes two keys shachi (Figure 3.2) are used in place of a draw pin to strengthen the joint.

Figure 3.1 Okkake daisentsugi Note : An oblique, housed (dadoed) and rabbeted scarf joint. The upper and lower pieces are exactly the same but reversed. The upper part is fitted into the lower part from the side and two pins komisen are driven through the two mortises. The result is a very tight and stable joint used to join ground sills and various beams that must withstand great stress and strain. Okkake tsugi is identical to okkake daisentsugi except that pins are not inserted. Image: S.Azby brown

Figure 3 Kanawatsugi Image: S.Azby brown

Figure 3.2 Shachi Note: An abbreviation of shachisen. A draw pin, key or cotter made of hard wood, usually zelkova or oak. The pin is long and thin, with a square or circular crosssection. It is driven into the upper and lower parts of a joint, either diagonally or at right angles, to prevent slippage. Often used to secure joints such as the saotsugi. Image: S.Azby brown

This joint is commonly used in foundation footings dodai (1) , wall plates daiwa (2), the beam used for the bottom tracks for sliding doors or window shikigeta(3) , and in eave purlins dashigeta. The improvement in carpenter's tools in the Edo period made it possible to fashion complex joints such as this.

3.3 Shippasamitsugi
A type of kanawatsugi, a mortised, rabbeted, oblique, spliced joint. Also called shiribasamitsugi ; obasamitsugi. A blind, stubbed, housed, rabbeted, oblique, scarf joint. The shippasami joint has a Tshaped tenon and mortise and the two members to be joined are slipped in from the side. A pin komisen is inserted into a 15mm square hole at the center of the joint to hold it securely. The tenon and mortise are not visible from the sides of the joint but a fine, straight line is discernible. This is the chief difference between the shippasamitsugi and the kanawatsugi joint. This joint is used to connect beams and foundation footings.

Figure 3.3 Shippasamitsugi Image: S.Azby brown Note : 1. Dadoi A sill, ground sill or footplate. Generally the heavy timber members laid horizontally at the base of a wooden building upon which pillars or posts are erected. Occasionally, it is called a sill frame because it forms a grid pattern when laid on all four sides. If ground sills are provided under wall partitions, they are called partition sills majikiri dodai. In some small shrine buildings the footplates are laid directly on the ground. 2.Daiwa A wall plate or top plate placed along the top of head-penetrating tie beams or A circular plate placed on the top of a pillar. 3.Shikiaeta A beam placed on top of a wall

1.Tongue-And-Groove
The tongue and groove joints offer a means of registering the joint edges during assembly. They are often used without any glue, allowing the boards to expand and contract without any negative effects. The joint is formed by having one piece having a groove, or slot, cut the length of the edge. This groove is most often one third of the wood's thickness and is placed in the centre of the edge, producing two walls of wood that are the same thickness. The other piece has the sides of the stock removed, leaving a tongue that is precisely the width of the groove formed on the first piece.
Figure 1. Tongue-And-Groove Image: Terrie, Nall

The recommended length of the tongue depends on the width of the stock used to form the panel. For panels formed with stock less than 3 inches wide, the tongue length is not that much of a factor. For these panels, the tongue only needs to be as long as they are thick. This will produce a tongue that appears square when viewed from the end. For panels that are formed with wider stock, it is recommended that you make the tongue's length at This figure shows a tongued least half the stock's thickness. The groove should always be slightly deeper than the tongue is long, by as much as 1/16" for 3-inch wide boards. The reason for this is two-fold. First is to prevent problems during assembly. If the tongue length is cut exactly to the groove depth, then the slightest piece of sawdust or imperfection in the wood will keep the two pieces from mating properly.

Note: tongued and grooved joint suitable for edge or end jointing, such as fitting matchboarding round a chimney breast, making small jewel drawers, etc. Image: Terrie, Nall

and grooved joint with a bead worked on same to hide the joint, sometimes called a staff-bead. It would be used in positions such as boarding around an upright iron pillar, etc., the bead giving a neat finish at each corner. Image: Terrie, Nall

The second is because of the effects of seasonal expansion and contraction. If one panel expands at a slightly different rate than its neighbour, the tongue from one piece can actually push its neighbour away, its use is in fixing boarding around an octagonal column of and break the joint.
brickwork. Image: Terrie, Nall

When all the tongue and groove boards in a panel are assembled, there is often a slight difference in height between the panels, or the panels may separate slightly due to seasonal changes, and that can produce an effect that is undesirable for some people. In those cases, you can add a tiny bevel on the edge of every board. This will produce a v-groove effect between each board, and it will camouflage the uneven height, at the expense of having a visible groove.

Methods
One of the following woodworking tools may be used to produce the tongue and groove: A four- or six-head moulder (for large quantities) A spindle moulder (wood shaper) A circular saw bench Suitable hand planes: a plough plane for the groove and a tongue plane for the tongue, or a combination plane A spindle router A table saw Where used The tongue-and-groove joint is often used to form wider panels from narrower boards, such as when forming table tops, doors, or architectural panelling. Its also widely used for strip flooring. Historically, the tongue-and-groove joint was also used to register and align the edges of vertical panelling in early homes. In this application, the joint allowed for seasonal expansion and shrinkage of the individual boards while creating an airtight wall. By hand or machine Historically, the joint was cut with matched wooden planes. These planes were sold in pairs (in sizes designed to work material ranging from 1/4 in. to 1-1/2 in. in thickness). One plane would cut the groove, and the other would cut the tongue. In todays small shop, the tongue-and-groove joint is most often milled with a router or router table fitted with a pair of matched bits. The matched bits work much like the old wooden planes, only faster and with less effort. This joint can also be produced on the table saw

How to Make Tongue and Groove Joints

Step 1: Cut the Groove When cutting joints, make sure the router table is clear of sawdust. The debris under the wood can cause the cut to be misaligned. The tongue-and-groove bits are a matched set. The smaller bit on the right cuts the groove. The larger bit cuts the tongue. Washers can be used to adjust the size of both bits if needed. Put the groove bit in your router table and set up the cut. An indexing line on the bit shows you where the two plates match together so you can locate the centre of the cut. Step 2: Cut the Tongue To make the matching cut, use the bit for cutting the tongue. This pass removes a large amount of material, so take it slowly. The two pieces should fit together to form a nice joint. Step 3: Use a Straight Flute Bit to Cut the Joint (Optional) Specialty tongue-and-groove bits make easy work of creating the joints, but they can be a bit expensive. If you dont have the budget for those bits, a simple straight flute bit can be used to cut a tongue-and-groove joint. The same bit can be used to cut both pieces of the joint. Cut the groove first. Set the fence on the router table so that the bit will cut approximately through the center of the board. Turn the board around and make another pass. The board now has a cut through the center. For the tongue, move the fence forward so that youre cutting away the edges of the board. Your goal is to leave the same amount of material on the tongue board as you cut away on the groove board. This will take at least two passes. Once the cuts are made, put the boards All Images: http://woodworkbasic.com together to get a tongue-and-groove joint.

The tongued and grooved joint is used in one form or another throughout the whole of the woodworking trades, covering, as it does, a great variety of work from the laying of flooring boards to the construction of dressers, bookcases and other cabinet work. Flooring and match boarding generally have the tongues worked on the solid board, and examples of a few of the various types are shown as follows: 1.1 : Tongued and Grooved Flooring Board
It used in the construction of floors for mills, workshops and cottage property. This type of flooring is nailed to the joists in the ordinary manner, no attempt being made to conceal the nails used .(Figure 1.1 ) the tongue and groove being worked in such a manner that the joint covers the nails as shown. Each nail is driven into its position at One edge of the board, the groove holding the next board and hiding the nail (Figure 1.1.1)

Figure 1.1 : It is a section of flooring which is generally made of hardwood, such as maple, oak, or jarrah. It is used in positions such as ballroom and skating rink floors, etc

1.2 : Tongued and Grooved Matchboarding 1.2.1 Tongued, Grooved and Beaded
It is used for nailing on framing to form partitions for rooms, etc., for panelling corridors, etc., and for making framed and ledged doors, building tool houses, cycle sheds and other outhouses. The object of working a bead or beads on matchboarding is to break the jointing of the various pieces and to aim at ornamental effect; also to prevent unsightliness should the timber shrink slightly. When a moderate amount of shrinkage takes place, as is nearly always the case, the joint at the side of the bead appears to the casual observer to be the fillet or channel worked at the side of the bead.

Figure 1.1.1 Tongue and groove joint for nailing

Figure 1.2.1 Tongue and groove joint with bead All Images: WILLIAM FAIRHAM

1.2.2 tongued, grooved and veed These are used for similar purposes to Tongued, Grooved and Beaded joint, and many prefer the V matchboarding variety because it is more easily painted than the beaded variety.

Figure 1.2.2.1 Tongued Grooved and Veed joint chamfer

Figure 1.2.2.2 Tongued Grooved and Veed joint radius

Figure 1.2.2.3 Tongued Grooved and Veed joint radius with bottom

1.2.3 Double tongued and grooved used in the wholesale cabinet factories. It is preferred for the jointing of cabinet stock, and the amateur can make a similar joint by working two grooves and inserting loose tongues. 1.2.4 Dovetail Tongue and Groove The dovetail tongue tapers slightly throughout its entire length, gripping the joint on the principle of the wedge and squeezing the glue into the pores of the wood.

Figure 1.2.3 Double tongued and grooved joint

Left : Figure 1.2.4 Dovetail Tongue and Groove Top : Figure 1.2.4.1 Double dovetailed tongue and groove joint All Images: WILLIAM FAIRHAM

1.3 Tongued and Grooved Mitre

used for strengthening the corners of cabinet work, such as tea caddies, small boxes, plinths, etc. Two pieces of wood are glued in position and allowed to set prior to glueing and cramping the joint proper. These pieces are afterwards planed away, Figure 1.3 Tongued and Grooved Mitre thus leaving a clear surface to the box Image: Terrie, noll sides.
Figure 1.3.1 shows the method of working the groove in the above joints. The pieces are turned back to back, the mitres thus making a right angle. The guide on the grooving plane thus works against each face of the joint, and this ensures correct jointing. Figure 1.3.2 is somewhat similar but with a quarter circle mould to hide the joint. Ploughing.When grooves have to be worked in the edge or face of a board to receive tongues, the process is generally called ploughing, and it is usually accomplished by a special tool Image: Terrie, noll called a plough This Figure indicates the building up of a double skirting mould. C represents the brickwork, A the oak-framed panelling, and B the packing and fixing block. A wide skirting of this type is made in two portions for convenience in working the moulding and to prevent undue shrinkage.

Figure 1.3.1

Figure 1.3.2

Image: Terrie, noll

2. Birdsmouth joint
In light frame construction, a birdsmouth joint is a woodworking joint that is generally used to connect a roof rafter to the top plate of a supporting wall. It is an indentation cut into the rafter which consists of a "seat cut" (the face of which rests on the top plate) and a "heel cut" or "plumb cut" (the face of which lies parallel to the supporting wall), forming a shape resembling a bird's mouth. The indentation should not be too deep (less than a third of the rafter's thickness) in order to maintain the structural integrity of the rafter. The joint is generally fastened with nails. And it is used a lot for permanent propping of under purloins in roofs and for temporary propping in formwork and shoring work.
Left : Figure 2.2 birdsmouth joint. NOTE: It can be readily made by the handsaw, used when a spar fits on the wall plate. A nail is shown securing it in position.

Figure 2.Birdsmouth joint Note: A birds-mouth joint in a rafter, set upon a double top plate. Shown are the two cuts of the joint: the seat cut and the heel cut.

Right : Figure 2.3 shows the birdsmouth joint where the spar runs over the outside of the wall plate, thus allowing a fixing for an ornamental finish All Images : William Fairham

Figure 2.1.Birdsmouth joint Note : The sketch above shows the centre lines of the two members lining up, and this works in most cases. It is a good rule of thumb that makes sure that the small lip is never so small that it can split off under load and let the prop slide. Usually fixed with nails in temporary work

How to Cut a Birdsmouth Joint

Instructions 1. Angle the blade of your table saw at 45 degrees when you prepare to cut a birdsmouth joint. 2. Position the fence of your table saw so that the board will be almost the board's width away when you cut a birdsmouth joint. This way, you will save yourself the possibility of Figure 2.4 the rafter birds mouth cut can't be any more than 1/3 the rafter the waste getting trapped between depth. the board you are cutting and the table Image: Jim rogers saw's fence. 3. Take your first board and guide it along the fence until you are able to get the depth you wish. This depth will depend on the thickness of the boards and the column you are building. You will find that the depth of the blade will match the board's thickness. 4 . Repeat the process with the rest of the boards. 5 . Turn the first board over and place it on the table saw. 6 . Adjust the blade downwards about halfway, and adjust the fence of the table saw of an inch to the left. 7 . Cut the board again, moving the fence to the left as you cut. Continue doing this until the bottom of the birdsmouth joint, or the bird's beak, is flat. 8 . Continue doing the same with all of the boards when cutting birdsmouth joints.

Figure 2.5 Adjustable roofing protractor The tool with particular application to setting compound angles. The Tool is a 3 dimensional protractor, all the angles are converted to degrees

The purpose of the birds mouth is to allow the rafter to sit easily in the correct position while fixing. If the rafter was fixed without a birdsmouth the carpenters fixing the rafters would have a hard time stopping them sliding downhill while nailing them into place. Using metal framing anchors or bolted connections there is no reason to have the notch cut out provided that there was All Images: Jim Rogers some way of holding the rafters accurately in position while fixing them. In normal framed roofs it is a general rule that the notch should be no more than 1/3rd the depth of the rafter.

Figure 2.6 : Note : Cutting a birdsmouth on a roof depends on the pitch angle of the roof. Looking at the image on the right you can see a horizontal line drawn above the birdsmouth cut. The angle between this line and the face of the rafter (i.e. the top face of the rafter where the roof tiles will be laid) is the same as the angle at which the roof is pitched. Drawing a line 90 degrees down from this line gives you the vertical cut which sits at the front of the wall plate. In the case of a 30 degree pitched roof, the angle between the vertical birdsmouth cut and the underside of the rafter, is 120 degrees.

This figure shows the two components of the rafter, the main roof triangle, and the eaves triangle. You need them separated (mark them separately), to get your birds mouth line. If you are fixing timber fascias, leave the bottom of the rafter uncut, and cut it off after the roof is finished to a string line. When using a metal fascia with pressed metal clips that are nailed to the ends of the rafters, cut your fascia cuts on the ground, because the clips can take up any small discrepancies.

LapJoint
There are two categories of lap joints in existence the full and the half and both of these are used in a slightly different way. The full lap joint is contrasted from the half-lap in the amount of material that is used to make the joints. Different types of these joints are used in framing and in cabinetry. In addition, variations on the joint exist and include the cross, the dovetail, and the mitred. If two pieces of wood are joined without any material being removed, a joiner will have made a full lap joint. The thickness of this joint will be the sum of the thickness of both wood pieces. A full lap requires fasteners in order to stay together and offers no resistance to racking. However, it does partly resist twisting and shearing. This joint can be used in temporary framing and in the construction of some timber frames. In a half lap joint, material is removed from each of the members so that the resulting joint is the thickness of the thickest member. Most commonly in half lap joints, the members are of the same thickness and half the thickness of each is removed, A half-lap joint can be reinforced by dowels or by fasteners. It offers some resistance to racking and, when it uses fasteners, to twisting and shearing.

3 Half joint

Figure 3.1 Half lap joint terminology

A half lap joint is where two pieces of stock, which are typically of the same thickness, have half of the material removed so that the two boards fit together so that the joint adds no thickness at the joint. These joints work well for right-angle connections Use for : Frame assembly in cabinet making Temporary framing Some applications in timber frame construction There are many ways to cut half lap joints and the method employed depends on the size of the stock. For larger projects where the stock is at least two inches in either direction, use table saw with a stacked dado set. For smaller stock, a router table works well.

When to Use Half Lap Joints: The half-lap joint can be quite strong when properly used. However, be advised that thin pieces of stock may be weakened by removing half of the material to accommodate the joint, so use this connection only when the stock is thick enough to maintain the structural integrity of the board after half of the material is removed.

How to Make half lap Joints

Step 1: Trace the Lap Using a pencil, trace the lap on each piece of wood. The lap should be half the thickness of the wood and two to four times as long as the wood is thick. It's essential to measure so that the laps on both pieces of wood have identical dimensions. Step 2: Set the Table-Saw Blade Set a table-saw blade at exactly half the thickness of the first strip of wood. In this case, For example if the pieces of wood are 2" x 4" lumber, whose thickness is actually 1-1/2", so the saw blade is set at a height of 3/4". Step 3: Cut the Wood, and Create an L Shape Pass the wood through the blade, starting at the innermost edge of the lap . Make as many passes as needed, working the blade toward the end of the work piece. Eventually you'll create an L shape in the wood. Step 4: Secure the Joint Repeat steps 3 and 4 for the second piece of wood. The two laps should be a perfect fit. Fasten the joint with glue. All Images :http://www.sawdustalley.co.uk/ Secure the joint with wood screws.

All Images: WILLIAM FAIRHAM Figure 3.2 : shows the elevation of an imaginary frame which is indicated as made up of a number of halving joints; it shows also the application of the various joints to this class of work. Each joint used in the construction of this frame may be dealt with separately. The numbers marked on Fig. 1.2 refer to the individual joints, shown separately in Figs. 1.2.1 to ...

Figure 3.2.3 Oblique halving joint with Shoulder (see Figure 3.2, 3). This type of joint is used for strengthening framings and shelf brackets. A strut or rail of this type prevents movement or distortion to a frame diagonally.

Figrue 3.2.1 :Corner half lap joint (see Figure 3.2, 1). Each piece is halved and shouldered at opposite sides, thus forming a perfect fit one with the other and giving a strong joint with a minimum amount of labour. For inside work the joint would be glued. For outside work,, the alternative method of smearing the joint with paint or with a mixture of varnish and white lead would be advisable, the joint being nailed or screwed.

Figure 3.2.4 Oblique halving joint.(see Figure 3.2,4) It used in similar positions to Figure 3.2.3, and has in some cases the disadvantage of showing end grain at the top of the frame.

Figure 3.2.2 T half lap joint (see Figure 3.2, 2). It may be used in nearly all cases where a top or bottom rail runs through an upright.

Figure 3.2.6 Mitred half lap.(see Figure 3.2,6) This is a variation of the end lap which shows a mitre on the face of the finished work. The mitred half lap is the weakest version of the joint because of the reduced gluing surface. Use for: Visible framing applications where a mitred corner is desired It used in similar positions to Figure 3.2.3, and has in some cases the disadvantage of showing end grain at the top of the frame.

Figure 3.2.5 Dovetailed Half Lap Joint.(see Figure 3.2,5) The dovetailed half-lap improves upon the design by preventing the lap from being pulled out due to the dovetailshaped lap. To create the joint, first create the end lap one board and trim the cheeks to a dovetail shape. Once done, simply transfer the shape to its mate and notch it accordingly. It used in similar positions to Figure 3.2.3, and has in some cases the disadvantage of showing end grain at the top of the frame.

Figure 3.2.8 Halved Joint with one side Dovetailed.(see Figure 3.2,8) This joint is used in similar positions to Figure 3.2.5, and rather less labour is required in the making.

Figure 3.2.7 Halved Joint with Double Dovetail.(see Figure 3.2,7) the pieces at one end showing a double dovetail. This particular joint is seldom used except for Manual Training

Figure 3.2.9 Oblique Dovetail Halving.(see Figure 3.2,9) one side of the piece being dovetailed. The joint is used to prevent racking, and as a cross brace to framing. It is occasionally made with both its sides dovetailed as shown at Figu8re 3.2.5. All Images: WILLIAM FAIRHAM

Figure 3.2.12 shows a Tee Halving Joint with a dovetail cut on the edge. This is seldom used except as a woodwork exercise

Figure 3.2.13 Halved moulded joint indicate the halving of cross pieces which have their edges moulded; the pieces are shown separately, the moulding being omitted to give a clearer representation of the method of construction. Figure 3.2.14 Halved joint on barrow wheels we have the application of halving joints when constructing a barrow wheel. The centre portion is an example of three pieces half-lapped or, as it is sometimes called, onethird lapped. A sketch of the three pieces separated is shown at L, B, C, Figure 3.2.14.1. This joint is extensively used in the pattern making trade for lap-jointing the arms of pulley patterns, etc. It is probably the most difficult of the halving joints to mark out and construct with the desired degree of accuracy.

Figure 3.2.10 Stopped dovetail half lap joint (see figure 3.2,10) In this joint the dovetail is similar to Figure 3.2.5, with the exception that it does not run through the bottom rail. This is an advantage if the bottom edge of the rail is in evidence, or if it is required to glue a moulding or hardwood facing slip on the lower edge. The glue adheres better with the grain than it would end way of the grain, and if slight shrinkage occurs across the width of the bottom rail the moulding would not be forced away by the upright.

Figure 3.2.11 cross half lap joint. It is lettered B in Figure 3.2 where each piece runs through the other. All Images: WILLIAM FAIRHAM

Top Figure 3.2.14 Left Figure 3.2.14.1

Different between Eastern and Western joint

Shape and structure

European joints are very simple and strong rather than Japanese one ( left Images), Japanese joints are very decorative but not strong.(Right Images) Japanese carpenters have traditionally lavished as much attention on the frames of their buildings as Westerners gave to their furniture, partly because Japanese shrines and houses have traditionally had very little furniture. Before hand-operated power tools were introduced to Japan in 1943, the Japanese carpenters tool chest contained 179 items, mostly wood-working tools. Japanese and Asian carpenters tend to saw and plane towards the body rather than away from it as Western carpenters do (the Japanese method are accuracy than Western method)and sometimes maneuver around the outside of tall structures on poles rather than Westernstyle scaffolding. Abundance and scarcity of timber European splicing joints were seldom as impressive as Japanese versions. When a carpenter in Europe went out of his way to design a new joint, in the 19th century he had to accept being ridiculed.

Japanese carpenters and architects use their skills not decorate wood surface but rather to maximize the effect of unadorned wooden surfaces. Variations are made with different woods, grains and finishes. In Japanese lumberyards, pieces of wood are not piled in big stacks as they are in Western lumberyard; rather they are organized by color and grain. Different in Protection and prestige European timber construction without wooden nails (dowels) would unthinkable. Every scarf, lap or tenon had to be secured to prevent one part pulling away from its mate. The wooden dowel, although normally hidden from view. Traditional Japanese wood structure have few nails .In juxtaposing Japanese solutions, the very different artistic attitude of the European is proved by the dilettantish and often seemingly makeshift nature of protective measure on building. Different in Protection sill beam In Japanese end grain had to be hidden. Unattractive things are hidden, i.e. denying the presence of any constructional problems, became an increasingly tantalizing challenge for the Japanese carpenter as exposed surfaces multiplied. Specifying the aesthetic value of not countenancing any visible end grain demanded even more refined designs on the eaves corners than it did on the sill corners, a large properties of which were normally screened by a column (see frig.1). At the eaves at least two sides were always completely visible, so joints here were only permitted to exhibit a mitre seam after assembly (see fig.2).

Fig 1. Eaves corner detail Enjo-ji hondo,Nara, Japan(according to: Bunkazai...,1986,p.348/1) Fig 2. Eaves corner detail on a hipped roof (according to: Graubner,1986,p.132)

Different in Construction The focus on creativity shifted appreciably towards decoration-quite differently in Japan owing to the aesthetic criteria which different from those in Europe. The products of this shift in emphasis are judged all too easily as nonsense by European with their modern sense of values. The renewal of the bases of columns probably made up the bulk of the Japanese carpenters workload. This gave him the chance to express his individuality on a daily basis (see fig.3). The viewer is forced to reflect on the comparison with the European examples of joints, the functions of which have been left further and further behind. The age of the frivolous increasingly takes centre stage (see Fig.4)
Fig 3. Column-base joint on the lmanishi House in Imai cho,Nara,Japan

Fig 4. Decorative joints on the Sumiya,Kyoto.

In Europe the carpenter proudly displayed his wares, in Japan the carpenter compelled the viewer to look more closely(see fig.5)

Fig 5. Tranferring the functional parts of a joint to the inside was in no way abandoned with the coming of the exclusively decorative features on the surface.Sumiya,Kyoto.

The carpenter has connected the pieces in a way which, at first sight, appears impossible. And that is exactly the effect desired by the joints creator. His attention having been captured, the observe is normally at a loss to explain the mystery; every colleagues are puzzled by the seemingly inexplicable (see fig.6). In this way they achieve a vague justification for their insubordination with regard to the first rule of aesthetic, i.e. that the position of the joint should remain hidden from view. Such puzzles were not unknown in Europe. So called meister witze (masters pranks) are impossible joints. What makes them possible is, on the one hand, knowledge of the materials properties and, on the other, the ability to break free frame from the chains of conventional ways of thinking. What began just above the ground become even more noticeable once placed at eye level, even for the Japanese, despite their very different relationship with the ground compared to the people of Europe (Fig.7)

Fig 6. A decorative joint which requires lateral thinking to solve the puzzle.-Model of the Takenaqka-daiku-dogu-kam in Kobe,Japan

Fig 7. The other two sides of this gatepost are identical their visible counterparts.-Osakajo otemon,Hyogo,Japan

Different in Log construction In Europe one fundamental problem with log construction is that the selfweight of the members can add up to such a colossal figure that the wall threatens to buckle under the load (see fig.8). In Japan multitude of joints have been developed which allow members to be incorporated subsequently (see figs.9,10). While wind bracing in Europe was based on fixing the angles between members, attained through triangulation, the emphasis in Japan was on the maxim solid and resilient .this leitmotiv in Japanese columnand-beam construction clearly illustrates the reason why diagonal brace are encountered comparatively rarely. Only in this way could builders achieve the elasticity required to cope with the many earthquakes. The carpenters obtained stability by way of the revolutionary introduction of the tenon which passed right through the column (see fig.11).
Fig .8 Bulgin describes superbly the buckling of these logs on the church in Topola, Slovakia.

Fig .9 the dovetail of the loose tenon is inserted into the column and pushed upwards. The rail, erected afterwards, is now inserted into the column. The protruding end of the loose tenon slips into the rail and is held firmly in place by means of a key.

Fig .11 in Japan it is specified exactly which tenon should penetrate the corner column above and which below. One identifies the longitudinal direction , the other the transverse.

Fig .10 in order to incorporate a ceiling, for instance, battens to carry the ceiling can be suspended in this manner. A member fixed under the roof construction has a dovetail end which fits into the batten. Keys are then inserted into the batten left and right of the hanger and pushed into place either side of the dovetail to secure the batten.

When the area enclosed by two horizontal beams meeting at right-angles was too large, this area had to be halved by adding a future beam, It is interesting to observe here to what extent carpenters remained loyal to their respective traditions. In Europe they simply provided a trimmer to pick up the load from the extra beam and transfer it back to the two main beams (see figs.12,13). In Japan they continued to design tension joints in the manner to which they were accustomed (see fig.14).

Fig .12 As this segment from the octagonal floor of the lantern at Ely Cathedral,Cambridgeshire,E ngland, illustrates, the system of providing trimmer beams was a principle which was certainly common throughout Europe. (According to: Hewett,1985,Figure.113)

Fig .14 The carpenters of the Kyuan-ji romon,Osaka,Japan, first secured the main axis beyond the usual dimension by means of two dovetailed rebates in order to secure the other beams in the intersection using suitably adapted dovetails. (According to : Bunkazai..., p.306/1)

Fig .13 By providing a trimmer between the main beams, carpenters created space for fixing an additional beam.Granary of Ernstbrunn Castle,NE A ustria

The function of wood joint The function of loadbearing structural wood joint in terms of construction is to join together pieces of timber permanently and securely in such a way that the required structural interaction of the constructional element or the construction itself is enabled. There are various ways in which we can reach this goal, as a peculiarity of Japanese timber construction illustrate superbly. What at first sight distinguishes a Japanese building from its European equivalent is the almost total absence of diagonal bracing. This is suspected as being one of the reason why large buildings too have survived severe earthquakes without suffering more serious damage. To be able to absorb these destructive forces has always been one of the prime tasks of Japanese wood joints.

Characteristic of many Japanese joints are the lateral shoulders which embrace the support; these prevent the horizontal member from twisting which would seriously endanger such a thin tenon. At the same time, this partial enclosing of the support seems to be its weak point, caused by the mortise. The reason for using this type of joint was to offset the lack of straight building timber and to enable construction with timber of poorer quality. Only at first sight does this appear to contradict the enormous volume of wood used in building. Accuracy of fit was no mere ideal in Japanese building. It was the absolute minimum requirement for everyday practice. The joints themselves are the best examples of the interplay: the more branches to the joint, the more accuracy the carpenter had to work. The reverse of this is that the carpenter would obviously only invest time and effort in evermore complicated intersections if his work had a practical objective, if a real improvement in the joint, with its increasing complexity, could be expected.

The longitudinal and transverse stiffening of a framework by means of rails and beams was solved very differently by the Japanese in comparison with their European colleagues. While the latter often only accomplished their task through the vertical displacement of horizontal members leading away from columns, in Japan every effort was made to remain in one place (see fig.15).

Fig.15 in the Todai-ji nandaimon,Nara,Japan, the solution in 1199 was to treat each member equally,all parts being weakend in the same way.(According to:Zairai koho no kenkyu,1993)

The role of the tools For examples dovetail joint linking two parallel log walls, the logs with the dovetail cut in their end grain are not visible externally. They alternate with the log with projecting ends. The log walls of which connected in an astonishingly similar manner to the first Japanese ones but do not exhibit projecting ends at the corners because they were buried and so did not require the same secure joints. In contracts, the pectinate European logs formed, via the joints, a selfsupporting three-dimensional object right from the start, while the Japanese equivalents, without their vertical retaining supports, would have fallen apart. In Japan it is suspected that saws were used in producing tenon as early as the 7th century. In Europe the frame saw was not put to use until the end of the 14th century, from it speeded up or simplified the work. This is probably a correct assumption for most of those areas in which column-and-beam construction was common, such construction prevailed in the towns where it was erected by professional carpenters who had recognized the advantage of saws much earlier and had already put them into use.

The influence of climatic condition The conditions encountered in Japan are not met with in Europe in the same way. The traditional Chinese tiled roof, from which the Japanese roof is derived, weights up to four times that of a modern European roof. The frequent earthquakes and the typhoons with hurricane-like rainfall represent a challenge which could not have been tackled by simply using the unaltered Chinese system. Besides constructional modifications, the Japanese carpenter also decided to adapt the joints, seen in this right, statements contrasting the most technically advanced and ingenious Japanese joints whit those of central Europe, which are weather-resistant and capable of carrying heavy loads. (In Japan condition such as high loadcarrying capacity were occasionally regarded as being of secondary importance.) A straightforward comparison is problematic because the condition are so different. Kawashima describe very small buildings on the island of Amami Oshima, Japan, whose exposed position has been taken into account in their special construction. Limited by inferior tools, framers used extremely long tenons of reduces width on their columns, onto which all the horizontal members, provided with corresponding holes, were threaded cross-wise. That this type of construction has proved to be worthwhile might well be attributable to the flexibility of this tenon (see fig.16), comparing these with the throughtenons of keyed tenon joints, which were in fact often assisted by kneebraces but still broke, or the teazle tenons of the columns, which could not withstand the thrust of the roof loads, it is interesting to note just how well the builders of such structures had to know their material. The Japanese column tenon was not stronger because it represented a more sophisticated engineering design. Nor was it more durable because the timber chosen was more suitable. .

Fig.16 Koune ke jutaku no otoshi koho: the principle of the framing in this construction in koune House ,Tokushima,Japan,is based on threading the horizontal members onto the variously tapered end of the loadbearing column. (source:Tsigu shiguchi kenchiku no kakusareta chie,1984, p.51)

For centuries, the Haubarg columns carried their loads without complaint, so long as their inclination resisted the thrust of the loads. It was only when this tradition was cast aside and the columns places vertically that elasticity if the tenon was overtaxed. If individual components of an assembly are altered, whether due to thoughtlessness or lack of expertise, that can lead to apparently inexplicable or wrongly interpreted consequence.

Column which stand directly on the ground suffer from the effect of moisture .Renewal of the column base is required more frequently than any other part of the construction (see fig.17). In such cases both European and Japanese carpenters relied on triedand-tested techniques. In contrast, one conspicuous different between Japanese and European solutions was the complexity of the joint and its implementation (see figs.18,19). Furthermore the climatic conditions in Japan demanded far more frequent replacements than in Europe (see fig.20). Some wood joints are made unusable by the weather. The angled jointing nail, for example , was both a strong and widely used method of jointing

Fig .17 Renewing the base of a post to a simple grain-drying shed in Kramsach,Tyrol,Austri a.

Fig.18 renewed column base on the Osakajo sakuramon, Osaka, Japan.

Fig.19 The new column base of this grain drying shed from Carinthia in the Stubing Open-air Museum,Austria, appears primitive by comparison.

Fig .20 Does this stone plinth the temple gate in Hagi,Yamaguchi, Japan, express a sense of weariness or does its shape perfectly matched to the rimber reflect a hearty joviality ?

Different in nominate some Japanese joint have More than one (see figs.21,22) The lack of identification in some of the names given to joints appears excessively liberal. For many Japanese joints, designate exactly the place at which they are to be incorporated. While in Europe a long name for a joint lets us suppose a complicated variant, a similar conclusion would be totally erroneous in Japan. For example : Zushi-dodai-sumi-shiguchi tells us absolutely nothing about the complexity of the connection but instead solely describes where it is ues: the corner Fig .21 connection of a sill in a small shrine (see fig.23). Both joints are called The Japanese carpenter made it his business to not only produce a joint matched to the respective building task but to also try out a combination of experience gained and new ideas in every new building of significance. Just as the names given to some joints allow us to discern the purpose for which they were conceived, the joint receives its final accolade by being build into the structure: in the first case security against vertical displacement, in the second horizontal.
ari-kake,irrespective of whether they interconnect flush or not.

Fig .22 the secret dovetail corner joint, only used in Europe by cabinetmakers, is to be found on many Japanese temples and shrines. In Japan this joint is variously called kakushi-ari ( hidden dovetail) and sumi-tome-ari (mitred corner dovetail).

Fig.23 Sill corner detail Tomyo-ji hondo,Kanagawa, Japan ( according to: ibid.,p.255/1)

Introduction
the royal botanic garden, established in 1670 as a physic garden, is now a worldrenowned centre for plant science, research and education. the building has been designed by Edward Cullinan. the gateway acts as a threshold to one of the worlds most important botanical institutions and aims to capture the spirit and enthusiasm of that organisation. the building combines the practical need for improved visitor facilities with an opportunity to engage visitors in the work of RBGE and the exploration of the relevance of plants to the critical issues of our time. thus, as well as office space, a restaurant, an outdoor caf, a plant sales area and visitor restrooms, the new centre houses exhibitions and a studio space for demonstrations and exploration into the world of plants.

Figure.2 Outside Image: Paul Raftry

Figure.1 The garden terrace and biodiversity ponds , Image: Paul Raftry

Figure.3 Inside Image: Paul Raftry

Building Description
The Gateway is set on an important crossing of routes and gives wheelchair access to the central part of the Garden. Most visitors enter through the double-height entrance foyer, a dramatic space supported by a diagrid of tapering glulam beams and framing a view of the Garden beyond. The foyer leads into a large exhibition space with a fully glazed east wall, 60 metres long, which forms a gentle curve to frame views of the new biodiversity garden. At the centre is a helical timber staircase set in a rooflit atrium where the diagrid roof is again revealed, oversailing the open-plan first floor restaurant and extending beyond to shelter the outdoor terrace of the restaurant. Rather than a traditional front and back layout, the building can be approached and entered from several directions and from different levels, through the glazed and permeable faades. In contrast, the service elements of the building are enclosed in solid external walls of broken-edged, stacked Caithness slate slabs. The building is on two storeys with an overall dimension of approximately 100 metres x 50 metres. Spans between columns vary between 8 and 6 metres. It uses 2750 square metres of cross-laminated timber slabs, 226mm thick on the first floor and 146mm at roof level.

Figure. 4 Image: Paul Raftry

Figure .6 Image: Paul Raftry

Figure .5 Image: Paul Raftry

Concept Design
The pre-eminence of the Garden is the conceptual driver for the design. The Gateway marks the entrance to the gardens by facing a road to the west (Figure.8). On the garden side, stepped biodiversity ponds extend from the glass wall of the exhibition space and blend into the surrounding landscape. The glass wall is some 60 metres long and enables the message of the interpretation delivered within the building to be extended into the Garden and vice versa (Figure.7). At first floor, a roof terrace overlooks the biodiversity pond and garden (Figure.9). Given the botanical nature of the building, it was natural that the structure should use timber extensively. It uses an innovative combination of gluedlaminated timber and cross-laminated timber for its walls, floors and roof. Although timber was considered for the columns, they are made from slender fabricated steel elements.
Figure.7 The double-height entrance is glazed to frame a view of the garden beyond. Image: Paul Raftery

Figure.8 The building in context (Image : Edward Cullinan Architects)

Figure.9 The garden terrace and biodiversity ponds (Image: Buro Happold)

Landscape Description

Figure 10.Section Image: Buro Happold

a major requirement for the design was to reconcile these two uses: visitors were to pass through the building into the garden but also to be drawn into the interior. Moreover, visitor movement was not simply in one direction: the westerly John Hope Gateway is not the only entrance to the gardens (the east entrance) and within the garden the serpentine arrangement of pathways means that visitors exiting through the new gateway could approach it from north and south as well as east. Unlike the simple front and back character of a classical gateway like Stones, this is a building with bulk and with four facades. The architects response to these complex demands was to make a clear formal distinction between the gateway and the accommodation. The gateway is expressed as a glass box, fully glazed on both park and garden sides from ground to roof, like a greenhouse, through which the eye passes with minimum obstruction from park to garden and vice versa. The accommodation is expressed as a solid volume, largely timber-clad and orthogonal on the side facing the park but cut away on the Garden side to create a biodiversity garden, with the contours of the land thereby inscribed in the curved shape of the plan. Separating the two, and marking the direction of travel through the gateway, is a long wall more like a garden boundary than the face of a building built of Caithness slate in horizontal strata, which on the park side projects as a tower (albeit only two storeys high) announcing the entrance. Connecting the two is a floating roof supported on glulam beams and steel columns, its diagonal geometry offsetting the orthogonal arrangement of the plan and its clever design and engineering, allowing a mass of daylight to penetrate via an EFTE rooflight and clerestorey windows to the space below. When seen from the park this roof is visible only in the glass box, the glow of top light helping to identify it as the point of entry, whereas on the Garden side the elevation to the accommodation block is fully glazed, allowing the roof to appear to hover above an effect that is particularly pronounced at night.

Inside Description
Once inside the glass box, the visitor has to turn 90 degrees, left or right. Left for the toilets, contained in a characteristic Cullinan drum, clad in slate and topped by a smaller drum housing the rainwater collection tank; right for entry to the garden via the visitor centre. Taking this second route, we step into a double-height galleried hall, slightly longer and higher than a double cube, flooded with daylight from above. At the far end a helical timber staircase beckons, drawing the visitor up to the first floor. This staircase, 1.5 metres in width but splaying to 2.3 metres as it meets the ground, is constructed of 164mm-deep horizontal layers of Douglas fir. Whether or not it is, as the architects believe, the first helical structured veneered lumber staircase in the world,.

1 Foyer 2 toilets 3 reception 4 temporary exhibitions 5 permanent exhibition 6 science studio 7 plant room 8 shop 9 outdoor shop 10, biodiversity pools 11 biodiversity gardens 12 performance space 13 service yard 14 education room 15 offices 16 kitchen 17 restaurant 18 VIP room 19 outdoor classroom 20 external terrace

Figure.11 First floor plan Image: Buro Happold Figure.12 Ground floor plan Image: Buro Happold

From the top of the staircase visitors can cross the cafe and step straight out onto a large terrace overlooking the biodiversity garden, or return back down the stairs and across the double-height hall to re-enter the glass box. Either way, they can then enter the botanic garden and explore its delights, perhaps exiting after a few hours by one of the paths leading to the John Hope Gateway from different angles. Approached from the north, the building reads as not much more than a garden wall; from the south, it appears much more substantial, with the VIP room on the first floor projecting under the cantilevered roof, the staff and service entrance below and the wooden steps of the giant outdoor lecture theatre alongside. Approaching head-on from the east, it appears long and low, tied into the land by its reflection in the ponds of the biodiversity garden.

Figure.13 North elevation

Image: Buro Happold

Figure.14 South elevation

Image: Buro Happold

Figure.15 West elevation

Image: Buro Happold

Structure
Materials The use of timber As befits a building in the Botanic Garden, the Gateway is made out of natural materials with low embodied energy, including a predominantly timber structure. Wherever possible the use of Scottish, then British, then European materials were specified to minimise transport distances to site.
As the building is designed for long life it was important to use durable and stable materials. Several types of engineered timber were used in the buildings construction: Glulam timber, used for the primary and secondary beams to the first floor and roof, is European whitewood from Sweden, formed into glulam beams by Cosylva in France, using 45mm thick laminations. First floor and roof decks are of cross-laminated spruce panels manufactured by KLH in Austria. Exposed partitions are also made of these panels. Douglas fir structural veneered lumber (SVL) from Germany, supplied by Wood trade, was used for the mullions and transoms of the timber-framed glazing system. To maintain a consistent palette of materials, SVL was also used to construct the helical staircase and major items of furniture such as the reception desk and bar. SVL is made of thin veneers of timber (approx 2mm wide), glued together to form large sheets. Wherever possible the timber has been exposed, with cross-laminated timber panels forming the finished surface of the ceilings and exposed walls to public areas. Vertically lapped, untreated Scottish larch boards fixed on battens act as a rain screen cladding system that was designed in consultation with TRADA Technology to ensure it needs minimal maintenance and easy replacement of the boards. The lap runs in different directions on three overlapping layers, creating different shadows that draw the eye along the faade. The helical staircase continues the horizontally layered emphasis of the buildings design. It is constructed from SVL sheet, cut and bonded together to form solid treads and curved balustrade, and reinforced with vertical steel bars. The staircase drawing was fed into a CNC machine which laser-cut the SVL sheet into precise pieces, including the holes for the bars and the handrail (the handrail itself was hand-cut). Use MDF panel for decorate in restaurant Tables in the restaurant were cut from seasoned logs felled in the Garden itself; they join together to form large composite tables in the evenings.

Roof Structure The roof, a single horizontal plane about 100 x 50 metres overall , is supported by a series of deep, tapered glulam beams on which rest cross-laminated spruce planks covered with insulation, membrane and a sedum blanket. The glulam beams are laid on the diagonal and the resulting coffered soffit shapes give an individual identity to the open plan spaces below. The beams are supported on pencil-thin steel columns formed of four steel angles a deliberate strategy, as the architect explains; We wanted this visually weighty timber roof to appear as if it is floating. (figure.16)

Figure .16 Cross-laminated panels Spanning between Glulam beams (Image : Buro Happold)

Particular features of the roof structure are as follows: Diagonal grid arrangement Flitch plates allow moment continuity across the column head detail Low stiffness of column leads to small moment transfer from the beam into the column. By reducing the bending moment, the use of a slender steel rod is permitted at the top of the column. As an equal and large lever arm is provided from the centre of the beam to each fixing, the annular ring of dowels resists the bending applied to the beam in a very efficient manner. It also creates a striking visual effect when contrasting with the orthogonal arrangement at first floor level. Connection design to EC5. Countersunk bolt detail leads to a loss of section, which affects the local stress in the timber Great care was taken to ensure that edge distances complied with the minimum spacing requirements of EC5

Figure.17 A view of the tapered glulam beam roof structure during construction. Image: Edward Cullinan Architects Ltd

Due to the column heads being rather flexible in the horizontal direction, it was important to provide a stiff diaphragm action to transmit lateral loads to the various concrete walls and cores, which carry lateral loads down to the foundations. The cross-laminated panels are screwed into the glulam beams and to adjacent panels to form these stability diaphragms at first floor and roof levels.

The first floor structure of 226mm thick cross-laminated (KLH) spruce planks rests on the lower set of glulam beams, 210 x 815mm deep and set in pairs at 6 metre grid centres.(fig ure.19 ) To achieve a visually discrete connection, the beams are bolted to steel flitch plates welded between the angles of the cruciform steel columns. (Figures 20 and 21 ). This provides continuity past the columns to help control deflection of the roof structure. The connections are carefully tailored to suit their position in the building; for instance the use of paired glulam beams allows them to be reinforced with additional steel flitch plates for special situations, including cantilever ends and in one location, load transfer of a column that supports the roof but does not extend to the ground (to create a column-free space for the educational studio area).

Figure.18 Before installation, slots are cut into the ends of the glulam beams to receive the flitch plates. Photo: Edward Cullinan Architects Ltd

Figure.20 Primary structural elements (Image : Edward Cullinan Architects)

Figure.19 Glulam to Cross-Laminated Panel Detail showing adjustment for finishes thickness (Image : Buro Happold)

Figure.21 Four glulam beams connect to a column head with flitch plates; the bolts are arranged in circular groups to reflect rotational forces. Photo: Edward Cullinan Architects

At the top of the columns, steel rods receive the vertical load from the roof. In architectural terms, this rod is the opposite of the classical capital; rather than expressing and celebrating the connection between column and beam, the junction is visually diminished. Being on a diagonal grid, the beams meet at the centre of the rectangular grid. The steel flitch plates which are bolted to the beams are welded to a steel bar which provides moment continuity in the structure and creates a strong visual location to the centre of the coffered slab. While at first floor the bolts to the column flitch plates are arranged in rectangular groups, at roof level, for visual reasons and for structural efficiency, the bolts are arranged in circular groups, providing a strong visual contrast. The arrangement also helps visitors understand the structure; a circular arrangement indicates a rotational force or movement while a vertical arrangement indicates a vertical force or shear. (figure.22 )
Figure.22 Detail (Image : Edward Cullinan Architects)

Stair Timber staircase In the atrium makes a sculptural addition to the space (Figure.23). It integrated light in an eyecatching way to accentuate the spiral form. LED strips of light, embedded into the timber treads, simultaneously light both the tops and undersides of the steps. The effect is of a seamlessly crafted object.(Figure.24) First there were complaints about the stairs bouncing as folk walked on them. Then some wooden supporting pillars were added to reduce the bouncing. (Figure.25). This of course would increase the stress loading on the parts of the stairs closest to the supports. In the centre of the Figure.26 can be seen a small bit of white sticky tape

Figure.24 The iron hanger on the left holding up the top landing is half of the structural strengthening to stop the bouncing Image: Paul Raftery

Figure.26 crack on stair (Image : Edward Cullinan Architects)

Figure.25 Wooden props were added to it temporarily while the problem was considered. It then developed some cracks in the side wall at a point of minor inflexion close to a support point where the stresses would be concentrated, and was closed to the public. Image: Paul Raftery

Figure.23 (Image : Edward Cullinan Architects)

Cladding and Glazing The glazing system was encloses the building, whilst maintaining strong expression of the structure. This was achieved through the connection of timber mullions to the structure at the column positions. The glazing system is by Seufert Niklaus and the SVL (Structural Veneered Lumber) was supplied by Woodtrade of Germany. (Figure 27) The building is clad with vertical boards of Scottish larch (Larix decidua) sourced from Russwood timber in the Cairngorms, shiplapped in a vertical manner. (Figure 28)

Figure .27 Glazing mullions, showing the detailing that maintains visual expression of the steel column and timber structure (Image : Buro Happold)

Figure .28 Larch cladding (Image : Buro Happold)

Figure.29 A series of Douglas fir SVL mullions support the frameless glazing system. Image: Paul Raftery

Figure.30 Close up of the timber used to clad the external walls.Image: Edward Cullinan Architects Ltd

Fire Resistance and Timber Surface Treatment The timber beams and slabs have inherent charring resistance. The Scottish Regulations only require that the first floor has a fire rating and no special measures, other than intumescent paint to the steel structure, were required to achieve this. In the UK, it is a normal requirement of the regulations that large areas of timber be treated to achieve a spread-of-flame rating to their underside. Before specifying the finishes to the timber, the Architects visited projects to examine weathering, noting that some fire retardant treatments colour the timber orange after long exposure to UV light. They tested possible finishes identifying one that would give a good white finish and show grain of the timber. The following summarises finishes chosen: INTERNALLY - KLH walls, (stained): Sikkens Cetol stain, then, to achieve class 1 surface spread of flame, Envirograf fire retardant varnish INTERNALLY - Glulam beams: Buro Happold fire engineers (FEDRA) prepared a Technical Justification Report, which was accepted by the building control approval body, after discussions with the Scottish Fire & Rescue Advisory Unit. This showed the fire (flame-spread) treatment to the Glulam beams to be unnecessary. EXTERNALLY- KLH soffit: Clear Sadolin quick drying wood preservative, and top coats Sikkens Cetol white stain EXTERNALLY- Glulam beams under soffit (clear): All of the external glulams were treated with externally suitable, clear treatment of Dulux Weathershield Naked Wood. EXTERNALLY- Glulam edge beams (white & clear): As these beams receive more UV/weathering, The Architect specified a stain (the same finish as the external KLH external soffit shown above).

Sustainability
A sustainable, low-energy, minimum-waste approach to the buildings design was part of the message the Garden wished to convey to its visitors. The Gateway has many demonstrable environmental solutions including the extensive use of timber; they include a biomass boiler, a green roof, rainwater harvesting, a wind turbine, photovoltaics (include 11m2 photovoltaic array,), solar collectors for hot water(15m2 solar thermal panels), natural ventilation and passive night-time cooling. The sedum roof reduces heat gain to the building in summer, slows down rainwater run-off and provides an extra blanket of insulation. The design of all these elements is explained in the permanent exhibition on the ground floor of the Gateway and this engagement with the public is an important contribution to the project. The building is kitted out with all the standard eco-devices and features. But more importantly it uses materials that are appropriate to its location, especially timber in various forms, for both structure and finishes. Above all it feels like a building that belongs to its site and purpose. Some may feel that the device of the glass box is made to work too hard, with the expectation set up by the eye not being borne out by experience, but this is countered by the sheer delight of the architectural promenade thereby established. By careful attention to site, topography and materials Edward Cullinan Architects has created a building that will adorn the city. Exterior lighting Outdoors, the rough slate walls are uplit to reveal their stony texture with deep shadows and highlights. The exterior lighting was carefully focussed to minimise light pollution important in an area of unspoiled natural beauty. Energy-saving controls and sensors are also used throughout the project. The main entrance lobby is an unheated buffer space with abundant daylight for the plants. Services for heating, hot water and power are hidden underneath the slab with more service routes integrated at high level.

Royal Botanic Garden, is the world renowned centre for understanding, protecting and preserving plants for a sustainable future. (Figure.31) This building has extended its 70 acres of spectacular greenery with 1400m of plants expertly installed at roof level - the crowning glory for a new visitor centre. The project was completed using the versatile Diadem green roofing system and Alwitra single ply waterproofing membranes supplied by ICB (International Construction Bureau) Ltd, the UKs leading supplier of sustainable roofing. Completed in June 2009, it offers a long lasting and eco-friendly cover for the 15.7 million development.(Figure.32) The Gateways roof will aid the environment in a variety of ways, stimulating local biodiversity and oxygenating the air. It will also help to combat climate change by providing natural air conditioning - the earth roof cools the building in summer and provides high grade insulation in winter. This also lessens the impact of thermal shock on the structure and other forms of stress on the roof.

Figure.31 The sedum roof provides natural insulation for the building. Image: paul Rftery

As well as controlling temperature, the soil Figure.32 Green roof Image: Buro Happold reduces the need for drainage by absorbing rainwater, minimising harmful runoff and limiting the risk of water damage to the building. Turbine the wind turbine can produce, at peak, 6 kw of energy, and contribute to the power supplying the building. That will contribute the intermittent power supply of about twelve 100 watt lightbulbs.(Figure.33)
Figure.33 Turbine Image: Buro Happold

Conclusions
A clear concept remained a consistent driver of design from the competition through to the completion of the building. However it was hard to maintain this clarity. Many of the details appear to be simple, but the variations in a building of this shape, which is moulded to fit the contours of the landscape of the site, lead to many permutations of the standard details. The final building maintains clarity in the expression of the structure, particularly in the use of timber. Success in projects of this type can only be achieved by close integrated working of the design team with the Client, contractor and specialist sub-contractors. Given the botanical nature of the buiding, it was natural that the structure should use timber extensively. It uses an innovative combination of gluedlaminated timber and cross-laminated timber for its walls, floors and roof. Although timber was considered for the columns, they are made from slender fabricated steel elements. visitors can pass through the building into the garden but also to be drawn into the interior. Moreover, visitor movement was not simply in one direction: the westerly John Hope Gateway is not the only entrance to the gardens (the east entrance) and within the garden the serpentine arrangement of pathways means that visitors exiting through the new gateway could approach it from north and south as well as east. The Gateway has many demonstrable environmental solutions including the extensive use of timber; they include a biomass boiler, a green roof, rainwater harvesting, a wind turbine, photovoltaics (include 11m2 photovoltaic array,), solar collectors for hot water(15m2 solar thermal panels), natural ventilation and passive night-time cooling. The sedum roof reduces heat gain to the building in summer, slows down rainwater run-off and provides an extra blanket of insulation. The Gateway is predicted to achieve Rating A on its Energy Performance Certificate.

Reference, Traditional joints 1.Klaus Zwerger, wood and wood joints-building traditions of European and Japanese, Birkhause publishers for architecture .Basel. Berlin. Boston.ISBN 3-7643-6333-9 2.William Fairham, The Wood workers Series- Wood works joint, Philadelphia and London J. B. Lippincott Company, 1921

3.William Fairham, The Wood workers Series- Wood turning, Philadelphia and London J. B. Lippincott Company, 1921
4.Gary Rogouski, The complete illustrated guide to joinery, Distributed by publishers group West. 2002 5.Terrie Noll, The joint book-The complete guide to wood joinery, Chart well book, 2006

6. Terrie Noll ,The Encyclopedia of Joints & Jointmaking, RD Press publication, 1997
7.Richard Harris, Discovering Timber-framed building, Shire publications LID. ISBN 0 74780215 1 8.Kiyos Seiko, The art of Japanese Joinery, Weatherhill publication, 198 4 9.Yasuo nakahara ,Paul Nii & Hi deo Sato, Traditional Japanese Furniture, Published by Hartley & marks publishers Inc.1967 10.S.Azby Brown, The genius of Japanese carpentry-The secrets of a craft,Distributed in United Stated by Kodansha America Inc, publication by a Grant from a Japan foundation.1998 11.David & michiko Young, The art of Japanese Architecture, Periplus publication.2004 12.http://www.sawdustalley.co.uk/ 13.http://woodworkbasic.com 14. http://www.aisf.or.jp/~jaanus/

Figure Eastern joints Figure 1.1 -1.3,1.3.1,1.3.2 Kiyos Seiko, The art of Japanese Joinery, Weatherhill publication, 1984 Figure 2.1-2.5 Yasuo nakahara ,Paul Nii & Hi deo Sato, Traditional Japanese Furniture, Published by Hartley & marks publishers Inc.1967 Figure 3,3.1-3.3 S.Azby Brown, The genius of Japanese carpentry-The secrets of a craft,Distributed in United Stated by Kodansha America Inc, publication by a Grant from a Japan foundation.1998 Western joints Figure 1 ,1.3 Terrie Noll, The joint book-The complete guide to wood joinery, Chart well book, 2006 Figure 1.1-1.2.4,2,2.1-2.3 , 3-3.2.14.1 William Fairham, The Wood workers Series- Wood works joint, Philadelphia and London J. B. Lippincott Company, 1921 Figure 2.4-2.6 Jim rogers, rafter feet birds mouth joint these

Different between Eastern and Western joint Figure 1,14 Bunkazai,1986,p.348/1) Figure 2Graubner,1986,p.132 Figure 3-11,13,17-22 Klaus Zwerger, wood and wood jointsbuilding traditions of European and Japanese, Birkhause publishers for architecture .Basel. Berlin. Boston Figure 12 Hewett,1985,Figure.113 Fig.15 Zairai koho no kenkyu,1993 Fig.16 Tsigu shiguchi kenchiku no kakusareta chie,1984, p.51) Fig.23 ibid,p.255/1)

Reference, Royal Botanic Garden - John Hope Gateway 1.Swenarton, Mark, Flourishing ideas: Edward Cullinan Architects in Edinburgh- John Hope Gateway Architecture, March 2011. 2.The Scotsman Magazine ,Royal Botanic Garden - Steps to SustainabilityJohn Hope Gateway, October 2009 . 3.Edwards, Gareth, Edinburgh Botanics staff move in as 16m Visitor Centre blooms - John Hope Gateway Edinburgh, Evening News August 2009. 4.Richard Harris, Paul Roberts & Ian Hargreaves conference, The John Hope Gateway Biodiversity Centre ,The Future of Quality Control for Wood & Wood Products, May 2010.

5.The Botanics magazine, Issues 38, Autumn 2009 6.The Botanics magazine, Issues 37, Summer 2009 7.Professor Stephen Blackmore, Gardening the Earth - Gateways to a Sustainable Future, Regius Keeper, RBGE. 8.http://www.edwardcullinanarchitects.com/projects/rbge.html

9.http://www.rbge.org.uk/ 10.www.burohappold.com/ 11.http://www.rafphoto.com/ 12. http://www.icb.uk.com/news/517/

Figure Figure 1-7,24,25,29,31 : Paul Raftry, architectural photography ,source : http://www.rafphoto.com/ Figure 8,17,18,20-23,26,30 : Edward Cullinan Architects, Source : http://www.edwardcullinanarchitects.com/projects/rbge.html Figure 9-16,19,27,28,32,33 : Buro Happold, source :www.burohappold.com/