会社概要|杣耕社

２００５年アメリカの建築大学卒後南米、ヨーロッパ、日本を巡る。アメリカの建築事務所で設計を一年経験するが、職人の手仕事に興味を持ちノルウェーの伝統的な木船を造る親方に師事しニューハンプシャーで一年半を過ごす。その後日本に渡り京都の中村外二工務店で茶室の仕事に三年間従事する。

２０１３年杣耕社代表と当時施行中の福山の現場にて接触。日本古来の構法にこだわり家を建てるやり方に感銘を受け自分の大工としての方向性が定まる。

２０１３年１１月杣耕社入社。

当初数寄屋、堂宮といった空間や装飾の美しさに惹かれ日本の大工を志したが、日本の風土や気候に適した構法の上に成り立つ建物に携わりたいと願う。

From 2003-2004 Jonathan worked in 2 separate architectural offices through a cooperative study program. Graduating the University of Cincinnati DAAP architecture program in 2005, he immediately traveled to Japan to experience first hand some of the buildings that had moved him in his study at university. With a strong belief that first hand experience is the most important thing to understanding space he began his architectural career by trying to find an apprenticeship in woodworking in the United States. He found himself working at Traditional Boatworks in New Hampshire, learning a craft and building from start to finish a traditional Norwegian Snekke. This truly inspired him to want to understand crafts more. With the collapse of the economy in the US and the world abroad, he took some time to travel again and experience some of the great architects work in Mexico (Luis Barragan) and Switzerland (Peter Zumthor) among others. Coming back to the states he worked freelance in architecture doing large-scale apartments/condominiums in downtown Cincinnati, and wrote a short book about his travels for design friends. In 2007 he moved to a Zen monastery in the woods of Kentucky. For more than a year he spent his days in zazen meditation and working for that community. In late 2008 he left the monastery to travel and see architecture again, this time going to Scandinavia followed by renting space in Argentina for several months. Working odd jobs after returning back to the states he realized that he wanted to be working with his hands and not in an architectural office. In the fall of 2009 he makes his way back to Japan to take a course in Japanese and pursue the dream of working with Japanese carpenters in their trade. Through the mentorship and introduction of his tea-ceremony teacher he begins work with Nakamura Sotoji Komuten in the fall of the following year. This company of carpenters is doing projects within Japan and abroad in the ‘Sukiya’ or teahouse style. In 2013, despite his love for the work that Nakamura is doing, he gets the opportunity to see Kohei Yamamoto’s work in Okayama Prefecture and the building’s Ishibatate carpentry style astounds him (see Structure). At the end of his contract with Nakamura he gets approval from the firm to leave and study elsewhere. In November of 2013 he begins work at Soma.ko.sha learning the Ishibatate framing style under the tutelage of Mr. Yamamoto.

私たちの丁寧で美しい仕事ぶりは、伝統建築で磨かれた数々の技法を活かしたもの。高い技術と豊富な知識はもちろん、その技術に裏打ちされた研ぎ澄まされた感性が多くの信頼をいただいています。その結果、施主や建築家の間で評判を呼び、業界でも名を知られる存在へと成長しました。

丁寧に仕上げられた材や接ぎ目は、一見控えめながらも確実に建物の品格を高めます。傷んだ柱に施した金輪根接ぎの美しさが際立ち、隠すには惜しいと、キッチンの配置を変えてまで接ぎ目を見せる設計にした――そんなお褒めの言葉をいただくことも少なくありません。それはまるで、建物が物語る美しさを、住む人々と分かち合うような瞬間です。

Our meticulous and elegant craftsmanship is built upon the refined techniques honed through traditional architecture. Beyond possessing advanced skills and extensive knowledge, our work is distinguished by a keen, polished sensibility that has earned the trust of many. This reputation has spread among homeowners and architects alike, establishing us as a recognized name within the industry.

The carefully finished materials and precise joints, though understated, undeniably elevate the quality and dignity of the structures we create. The striking beauty of a Kinwanegi repair on a damaged pillar has even led to instances where clients reconfigured their kitchen layout to showcase the joint rather than conceal it. Such compliments are not uncommon and serve as a testament to the artistry we bring to our work. It is as though the building itself tells a story of beauty, shared with those who dwell within its spaces.