Thursday, April 30, 2015

This Just Sucks! (III)

Some two and a half years ago I wrote a couple of posts on my dust collection system, and experiences with a couple of companies supplying products in that arena. The first post in that series can be found here. Part II is linked at the bottom of that entry.


I decided last week that I should extend my dust collection system so as to add my small Hitachi bandsaw, having gotten tired of wrestling it out of the way to sweep up the dust which accumulated underneath. Wanting an ever-cleaner shop, I made a call to my trusted supplier, Air Handling Systems down in Woodbridge Connecticut. As I was ordering just two lengths of 6" pipe and a few fittings, there was a shipping difficulty. The shipping by common carrier would be a bit expensive for such a small amount, and Fedex won't accept 10' lengths of pipe. So I decided to drive down there in person - -well, I convinced my shop neighbor Joe to drive, as he has a truck and mine is off the road at the moment. Good thing is that he was just as interested as I was to check out the company and their manufacturing set up.

It was also a nice day for a drive and traffic was light, so we were down there in less than 2 hours:

The leaves seemed to be about a week ahead of where I live.

Once there we were greeted by Juan, a friendly shipping department employee who has been with the company for 23 years, and shortly thereafter the general manager came out to say hello. He ended up giving Joe and me a tour of the factory and even let me take pictures as I pleased. So, I thought it would be worth sharing this on the blog, as surely some readers out there have dust collection of their own, or interest in upgrading their system perhaps.

The piping is spiral wound, and I always wondered exactly how it was made. It starts with coiled sheets of 18 gauge:

The sheet is positioned on a carrier and then fed into a Swiss-made 'Spiro' machine:

In the background to the right you can see a second Spiro machine. Note the tall casting sticking up - that's that's the part of the machine which forms the pipe into an interlocked coil and cuts it to length.

The machine has a large knurled feed wheel in the intake side, and the initial pass is over dies which roll both edges of the pipe into a locking seam:

The have spiral formers of various sizes, as you can see:

The can make some pretty large ductwork:

Besides pipe, they make all sorts of different fittings. The fittings start out as sheet, which is cut into shape by a CNC plasma cutter:

An employee forms some edge details into a sheet as an initial step:

Another employee has rolled a section of a fitting and is spot welding it:

Other companies out there conclude the process after spot welding, however Air Handling supplies fully-welded fittings. This machine welds the seams in a water bath:

A completed fully-welded seam:

Here you can see a line up of fittings with some through the spot welded phase and others which have had their seams fully welded up:

I was again impressed with the company. Nice to meet people who care about their business and are on a path of continuous improvement to serve their customers better.

All for today-  thanks for dropping by the Carpentry Way.

Saturday, April 25, 2015

Gateway (86)

Post 86 in an ongoing series describing the design and construction of a kabukimon, a type of Japanese gate. This is a project for the Museum of Fine Arts in Boston. Post 1 in this series can be found here if you'd like to start at the beginning. Each post links to the next at the bottom of the page. Recent installments also to be found in the 'Blog archive' index to the right of the page.


My website is now live, and I hope you'll take a look:

This is the initial version, and I plan to be developing it over time, adding pictures and text, so please check back from time to time if it is of interest.


Final posting in this series.

Since last time, I have returned to the MFA a couple more times, taking care of loose ends. Helper Matt was along for one of those sessions.

The first kannuki (drawbar) I had fitted to the gate doors was a hair too tight and I had swapped in a temporary one which was a little slimmer to see how it would do. In the meantime, I took the original back to my shop and dimensioned it down some, then refitted the bronze caps.

When I returned to site, it had just let up from rain, so I was able to observe the situation with the parts swelled up from normal. The temporary kannuki, though quite wet, had clearance:

There a good amount of space there on top at least. Note that the bronze carriers have a square opening and that the kannuki is a square section. The double door's inner stiles had swelled slightly, however they were only touching on the top 1" and bottom 1" of the pieces. When they touched they pushed slightly against one another, and this tended to act to spring the doors open, and this was what could make the drawbar a little sticky - you can see in the above picture that the drawbar's front face is against the metal carriers. So, I tuned the top and bottom inch of the doors to ease the interface, and fitted the original drawbar back in place. I also showed one of the security guard who opens the gate in the morning that a little hand pressure in the middle against the stiles would immediately free up the drawbar for easy sliding if it were a little tight. So, I think that's going to be fine from here on out. I want the fit to be as tight as possible so there is minimal play in the assembly, and having the opportunity to inspect things right after rainfall was helpful in making some final adjustments.

On that day we also did another round of white paint on exposed end grain surfaces, and caulked the gaps between the wall posts, decorated wall end caps, and the concrete walls.

It's tough looking at things after the gate has been in place for more than a week. Both the effects of the weather on the wood, and the nicks and scratches the gate has already picked up from who-knows-what, are somewhat dismaying, however, of course, this is what the situation will be from here on out. It is shiny and fresh but once, at install, and after that it lives on in this world. I'll be around to fix things that happen, and keep the gate maintained, and that is the best that can be done, short of encasing it in a giant glass box.

Yesterday was the grand opening of the garden, with various dignitaries present. I decided to spring for some new duds:

Who is that guy? I was annoyed to discover later that the jacket's front pockets are all fake! Fashion -grr!

One last small step I took care of was to add a rubber bumper for the side door where it meets the stretcher:

I used a stainless wood screw to attach it.

Anyway, the Consul General of Japan was there, along with the director of the MFA, representatives of the various funders for the project, and a Japanese television crew. I guess there were 60~75 people in attendance.

The MFA director gave a speech, with a senior executive from Nippon Television, left, and the consul General of Japan, right, looking on:

The senior executive from Nippon Television then gave a speech:

That was followed by ribbon cutting:

Nippon Television executive to the left, MFA director to the right.

Doors opened...

Then another speech was given by Ann Nishimura-Morse, the William and Helen Pounds Senior Curator of Japanese Art at the MFA. With that, the garden was at long last open to the public and people streamed in:

Here I'm with Karen, the MFA facilities person who oversaw the project:

It was cool to be part of all that - definitely a bit outside the normal realm of events that make up my day-to-day existence.

The garden was looking beautifully revived, and some of the trees were already in bloom. Another week or so and the leaves will be out. Looking forward to seeing it when the garden has fully woken up. It was great to see so many people excited to check out the garden and gate - it's a popular spot! Most popular question I received: "What kind of wood is that?"

We were treated to a luncheon inside the museum afterwards, and that gave me a chance to have conversation with various folks.

Afterward, my wife snapped some pictures...

The signboard with the garden's name is now on the right side post. It was make in Japan, out of Hinoki:

Interior, looking out:

The kiosk has its original mahogany sign back in place, all cleaned up, re-mounted and re-lettered:

Well, that wraps up this long series of blog entries on this topic. I hope you've enjoyed the ride for whatever portion you chose to take in. 

I like to finish up a build thread with a series showing the original drawing of the project, and it's realization:


I'm working on some teak wheelbarrows these days, and designing a sideboard in bubinga for my west coast client, so hope to have to new posts to share in the near future. Thanks as always for visiting the Carpentry Way.

Saturday, April 18, 2015

Gatepost (85)

Post 85 in an ongoing series describing the design and construction of a kabukimon, a type of Japanese gate. This is a project for the Museum of Fine Arts in Boston. Post 1 in this series can be found here if you'd like to start at the beginning. Each post links to the next at the bottom of the page. Recent installments also to be found in the 'Blog archive' index to the right of the page.


I expect this will be the second-to-last posting in this series.

After a 5-day vacation down to North Carolina, I returned to the MFA to finish up some of the remaining items from the gate installation. During the interim all sorts of interesting things happened at site....

I wanted to get to site for 7:30am, and I needed to drop by my shop on the way to pick up a couple of items which I had thought to bring along while tossing and turning the night before. I got up at 5:00, and was out the door at 5:15. I thought this would enable me to slip into the city before rush hour got going too much. Wrong. Way wrong.

I got in at 8:15. Leaving 45 minutes earlier than I might otherwise got me in at about the same time.

Anyway, the welders were coming to site at about 9:30 so the first order of business was to set up the kiosk, connecting lower framing to upper, and then to fit the shachi sen pins to the crossbeam joints and then the wedges to lock up the scarf joints: 

That went smoothly and the the joints drew up tightly. The shoes are stainless steel and are to be connected to some mild steel foundation elements in the ground. Between the two metals was a 3/8" mild steel plate which was affixed to the stainless shoes by way of six 1/2" fine thread stainless allen head bolts:

The mild steel plate was in turn to be welded to the mild steel in the ground.

The welders were also delayed in getting to site because of Boston traffic, however once there they got to work fairly quickly. The mild steel in the ground was cleaned off with a grinder, then we all lifted the kiosk up and placed it onto position. A few tack welds were made and the structure checked for level and plumb, and adjusted slightly. Then the welds were burned in:

While this process was going on a representative from the fire department was on hand to supervise the process. Apparently there was a major fire in boston a few years back caused by welding, so now they are very strict about the permitting, supervision and inspection.

The welding done, the welder told me that the joins were good for 60,000 lbs., which I reckon should be enough for this structure:

The hardware has also been refitted, in preparation for the wooden sign board which I will be rehanging next week. I think the design of metal shoes, which looks close to the original metal plates but keeps the post bottom well out of the ground instead of in the ground, and allows for the structure to be readily removed simply by unbolting, was a success.

I'm pleased with the way the kiosk rebuilding came out, and glad to have it at last standing again and its roof's delicate copper work out of harm's way.

I had worked with Port Orford Cedar many years back in Northern California, where it is sunny for 10 months of the year it seems, and it appeared to tolerate outdoor exposure fairly well. On the Ellison project, I recall some cedar-clad exterior posts developing problems with shrinkage after exposure to the sun, however it otherwise seemed well behaved. This project gave me a chance to work much more thoroughly with the material over the past year or so, and yet I wasn't entirely sure what to expect when it was put out in the weather.

In the early days of this project I argued strenuously - and ultimately unsuccessfully - for making the new gate a roofed gate, having seen the seriously bad degrade to wooden elements in the old gate. Having lost that battle, at least the new gate would have an improved foundation system which kept the post lowers and the panel sill out of the soil, along with changing the old side door's wooden sill for a granite one. Also the copper cladding would be far more extensive on the new gate, extending to post lowers, the top of the sill, the tops of the rear support posts, and, most critically, was to be properly attached with clips instead of being face-nailed on like the old copper.

I also took a lot of time and care to dry the wood slowly and carefully down to a suitable moisture content averaging 12%. The wood came down to 12% and had minimal degrade. That moisture content was thought to be about right for the installed location, however the environmental conditions in the gate's location are fairly varied. Also, being a large flat wall of material, one side of the gate would tend to get more sun than the other, and that was invariably going to affect what the wood was going to do....

All that careful preparation and design notwithstanding, I could not be certain at all with what actually would happen to the wood once in place and exposed to the weather.

Wood is a varied material, to say the least. If a wood is going to be exposed to the outdoors, then the best choice is to use species with good rot resistance and stability. That's the starting point. I have been learning about various woods in this regard through some the pieces I have installed outdoors around my house. In the front yard, for example, there is a shrine lantern made entirely of Honduran mahogany. It's on the sun-exposed side of the yard and has been beaten by the sun for two full summers, and also therefore withstood two winters as well. That piece is holding up exceptionally well. Other than the inevitable wood bleaching from the sun, and a little shrinkage in the roof panels, there is not a crack or a check to be seen anywhere. I find that wood to be very impressive in that regard.

Out in the back yard we have a garden with Black Locust planting beds directly in the soil. That wood was green when put together with joinery (since you cannot find anyone willing to dry that wood around here), and has suffered some degrade from shrinkage. The joints are holding together fine however the end grain has checked extensively. The soil has not bothered the wood at all from what I can see.

Also in that garden are some Jatoba trellises, and these have been through a summer and two winters so far. These are holding up quite well, with some bleaching and a bit of distortion. Interestingly the white paint I put on the end grain of the Jatoba has not adhered well at all.

I've been learning a lot from these small projects out in the weather.

While I was away on vacation, it rained in Boston. We don't get the monsoon-like conditions you will see in the Pacific Northwest around here. It'll rain for a day or two at most and that's about it.

The rain caused the door drawbar to swell and get stuck so they could not open the main doors of the gate. Upon return, I was anticipating having to cut out of the kannuki to remove it, and had fabricated a spare (slimmer) one in preparation for the visit to site. However when we got there we found we could pull the kannuki out without too much effort. However, it wasn't raining and had presumably shrunk back down. The new one I had made was 1mm skinnier in thickness and section height, however I held off on transferring the bronze end caps over, and simply fitted the spare in 'as is'. It's going to rain this weekend and I want to see if it swells sufficiently to bind. If so, I know to go skinnier yet with the dimensions. I want to keep the bar as fat as possible so the gate doors do not have a lot of play when they are held together with the drawbar. So I make my best guess and then wait and see.

The fence end wall caps, though dry vertical grain material and epoxied together, had developed quite a bit more checking than I had expected. These 'sins' we covered with three coats of paint, which should mitigate that issue:

The concrete fixing screw counterbores on those panels are not yet plugged. That'll happen next week.

A look at the right side end cap from the inside after paint:

Also visible in the above picture is the copper cap not fitted to the top of the kasagi beam overhead. I also fitted the two-piece copper cap to the main crossbeam, kabuki, and to the paneled section's mud sill. It was nice to have all that in place.

Ah the lock....

The side door lock was operating fine when I had left site last, however in the interim the cylinder had come a bit loose and had made the door a problem to unlock, so MFA staff had to jump the fence to open the side door's deadbolt. Then something else went on which led to the striker of the lock getting broken. By the time I arrived the entire lock box had been removed:

The locksmith, also delayed by bad traffic, showed up later that morning. His opinion was that the lock wasn't going to last well, and had a proposal for installing the deadbolt back temporarily and then seeing about getting a custom lock box made in Connecticut.

The lock had come without any mounting instructions, and I could see that I should have tightened the set screw which fixed the lock cylinder. I had not known about this, and the spinning cylinder had led to a cascade of events which rendered the lock box broken. I was dismayed at this outcome but it is what it is. I have ordered a new box lock from Japan. Once that is installed the old broken one can come out and be sent to that place in CT to see if they can make a more robust duplicate.

Another issue: when I had showed up with the new gate about 10 days ago, I learned that the MFA had wanted the gate's lock keyed alike to other locks, and this was a new piece of information for me.

I wish I had known that particular matter before ordering the lock in the first place. Water under the bridge now.

I had no idea whether the new Japanese lock could be have its cylinder recored to suit the required key, but was hopeful. According to the locksmith however, the old lock cannot be refitted with the desired cylinder core, so the only recourse is to have a custom lock box made which will fit the lock's door plate mountings. And that's not a 'for sure' thing, just a possibility to explore. At least in the short term the door is going to be lockable, which will allow the chain-link fencing to come down at the front of the gate.

A lot more hassle there with the lock than I had ever dreamed possible! About the last thing I would have imagined to be an issue.

With the kiosk set up, and the door lock issue resolved, we could attend to the remaining minor tasks on the gate itself. One of those was to trim the kusabi (wedges) on the stretchers and paint their exposed end grain:

A look at the upper stretcher connection to the rear support post with the kusabi trimmed:

The kusabi were flat to the upper edge of the stretchers when I left, and are fine-grained vertical grain material, however exposure to the weather had caused them to curl very slightly. I find this annoying, but I gotta live with it.

It was astonishing to see the degrade in some areas of the gate after just a week outdoors. The main door tops had checked quite a bit, the front panels, despite being 10% MC when installed, had shrunk. I could see that the main door stiles had sufficiently expanded after they had been rained upon so as to push tight against one another. So, we took the main doors off, I planed the stiles about 1/16" each to give a 1/8"+ gap when the doors are closed up, and painted the stile's end grain with epoxy to seal them.

I had made copper caps for the door stiles, however I later decided not to install them after worrying about swelling/movement causing them to rub on adjacent pieces and rub off their black powder coating. Also, the adjustment to the door stiles in fitting them has meant the original copper caps I had fabricated are now too large. I think I will see how the epoxy coating holds up first, and if it seems necessary down the line, and the door stile dimensions are proven to be interference-free in all conditions, I'll have new copper caps made.

I'll be back to site next week for a few final minor tasks. There is a invitation-only opening gala at the end of next week (guess who has to buy a new suit?), and after that the garden will be open to the public.

The Japanese gardener who is responsible for the Tenshin-en's garden maintenance came by and shook my hand, saying he thought the gate was terrific and that it would be "great if we could work together on projects together in the future". That was nice.

Once this job is buttoned up, I'll be turning my attentions to finishing two more Chinese wheelbarrows in teak for Jeff Koons, and then there will be some repair work to do on the Machi-ya at the Boston Children's Museum. After that, I'll be getting started on the sideboard in bubinga for my west coast client, and I'm currently engaged in the design process for that. So, lots of thrills and spills to come this year.

All for now - thanks for visiting the Carpentry Way.

Monday, April 6, 2015

Gateway (84)

Post 84 in an ongoing series describing the design and construction of a kabukimon, a type of Japanese gate. This is a project for the Museum of Fine Arts in Boston. Post 1 in this series can be found here if you'd like to start at the beginning. Each post links to the next at the bottom of the page. Recent installments also to be found in the 'Blog archive' index to the right of the page.


The third of three installments describing the gate's installation at site. 1st installment.


I received some additional photos and video from Mike G. so I have a bit more to share about the conclusion of the install process than I would have had otherwise. We left off the previous post at the stage of having put up the main frame assembly on April 2nd:

Uh, 'high drama' with the crane over with, the crowd, along with the photographers, dispersed, leaving us to continue with the process. Matt was available until just after 1:30, as he had a meeting to attend, so Mike was my helper for the remainder of the afternoon, along with my ever-supportive wife.

With the notches for the main doors cut on the granite plinths, but the wind precluding the installation of the doors, I decided that the left side paneled section, or waki, should go on next. This section had been pre-built in my shop and was brought to site as a sub-assembly unit. All that remained was to fit it on. The connection of this sub-assembly to the main post was by way of a series of double dovetail sliding keys:

In the above pic I'm fitting the last of the wooden plugs which restrict the ability of the dovetail keys to slide out of their mortises.

There were some unknowns with this process of fitting the waki, however these things I had known about ahead of time. These unknowns concerned the end of the concrete fence and how the wall post would fit against it, and whether my granite component heights were on the mark or not. In the old gate, the wall post was about an inch away from the concrete, and there had been a wooden filler strip jammed in the space. In the new gate, I had made the wall post a larger section and had placed it closer to the concrete. There were some blobs of mortar and roof tile overlaps at the top of the wall however, and these constricted the room available for the post. I had made the wall post's threaded rod hole elongated so as to allow the post to slide as close to the wall as possible, my plan therefore being to hopefully squeak the flanking post by in front of all those dovetail keys on the main post.

A reader, in a private mail to me, wondered why I was using hammerhead keys in some locations, and dovetail keys in others. Well, the reason I went with dovetail keys in the above context is that they can sit in a shallower mortise and do not project as far out from the post surface as would a hammerhead key. I needed all the room I could get as I anticipated a tight squeeze to get things together. The dovetail keys are weaker locking devices than the hammerhead type, however in this case the issue is less important as the flanking post is vertical and bears upon the granite plinth and sill below. Also, to compensate for the weakness, I had made this connection with 5 pairs of dovetail keys, which was plenty since their task was mostly to hold the flanking post tightly to the main post.

Anyway, we lifted the waki assembly up and put the wall post down atop its threaded rod hold-down, and then swung the flanking post over to the row of dovetail keys on the main post. It didn't quite clear. However, it only took a little fiddling to rectify the situation. Essentially I loosened the hold-down on the main posts, used a sledgehammer to move the main posts a bit laterally, and then with a little persuasion, the flanking post could be coaxed by the dovetails keys and into place. Then it was lifted up a couple of inches, the dovetail keys engaged in their mortises and 'clunk' it started to go together. Then a little further sledge persuasion was needed to drive the connection home:

I was pretty psyched that it was coming together well.

A view of the front of the waki after installation:

(Photo: Mike G.)

I had good fits at the meeting of the flanking post, middle of sill and wall post, though all were meeting different granite elevations.

Once the waki was in place, the main posts could be shifted back over again and cinched down:

That left a space between the wall post and the concrete of around 1/2".

The other side of the gate had similar framing elements but a side door instead of a fixed paneled section. As before, the dovetail keys and plugs were installed on the main post:

This time the main posts could not be scooted sideways at all, so,with limited space to push the wall post back against the concrete wall, I trimmed back the stub tenons slightly on the header to get it to fit to the wall post and yatoi sen:

The flanking post needed a little adjustment on the bottom to obtain a good fit as the granite was not perfectly flat:

After that was down with a good fit the wall post's threaded rod tie down was tightened up.

Then it was time to fit the side door, which had previously been fitted to the framing in the shop. It went on with modest coaxing:

The door was then taken off, the hinge pins removed from the frame and some PL300 put into the mortises. Then back together and the hinges aligned more closely:

Then the process of tweaking the fit began:

Just about there:

A fit was achieved and the door lock engaged:

This is pretty much how things ended on April 2nd, framing-wise:

Then we brought the main doors inside the gate and wrapped them with moving blankets and plastic sheeting:

I was pretty beat by the end of the day. I think the cumulative effect of the time crunch on the bubinga tables project from last year, which ran a month later than expected, then the nearly daily work schedule of fabricating the gate over the past 4 months, and the stress of the deadline and the install scene, was starting to affect me. I was so tired that evening that I was okay with going to a 'fake' Japanese restaurant (most 'Japanese' restaurants in North America are run by Chinese or Korean people, and the food, in my opinion, is almost never as good as a real Japanese restaurant). Sure enough, the "sushi" at Haru on Huntington Avenue was truly bad, among the worst I have had, and I was too tired to really care. We only picked that place as it was the shortest walk from the hotel. I was so fatigued I could barely operate chopsticks - not exaggerating. Got home at 9:00 pm, and promptly fell asleep, only to wake up at 2:00 am. and could not return to sleep. Only in the last couple of days has my sleep pattern begun to return to any semblance of normality....

April 3rd.

While April 2nd had been quite windy, April 3rd featured showers. This put a slight damper on proceedings, and added a bit to my worry as to whether we could complete all the work on schedule, however we were fortunate in not having any significant or extended downpours.

The next task in framing was to put the kasagi beams on - these are the ones with the upswept ends and beveled upper surface that meet the main post and cap all the flanking and wall posts. Before these could be fitted however, there were some covering boards which needed to be fitted in behind the wall posts to conceal the ends of the tiled roof concrete wall. I had the dimensions of the wall on my CAD drawing, however there were unknowns and irregularities in the tile work which I knew ahead of time would have to be dealt with in the field. Though I had the original cover boards from the old gate, these seemed way out in their sizing and shape so I couldn't trust them as a template. I had glued up some blanks for these cover boards out of some VG 8/4 stock, however I discovered on April 2nd that the tiles extended a bit higher than my glue up. So, first order of business was to slice up a bit more material and glue another board onto the cover pieces to widen them adequately.

After making a cardboard template of the actual wall end and tracing a suitable pattern onto the glued-up panels, I was given access to the wood shop in the MFA where I was able to trim the parts to size. Then I had to cut a large dado on the panel so it would fit around the wall posts. For this task, I had brought along my groover:

(Photo: Mike G.)

It took about half the day to get those squared away, but in the end I thought they came out decently enough:

These cover boards still need a little clean up, and the edges will be painted white. That can wait. They are fastened to the concrete wall with Tap-Con screws, which greatly stiffens up the entire wall post and its associated connections.

While I had been dealing with this matter, Mike and Matt had been fitting the kiosk shoes with stainless rods and domed caps, and securing fasteners. There were some complications with that process, however they were worked it out in the end. The kiosk is ready for install, however we are waiting on the welder and this work is now slated for the week of April 13th.

With the wall cover boards in, the kasagi could at last be fitted. With a little careful trimming of some of the mating surfaces, these went on easily enough, and were a snug fit joinery-wise:

(Photo: Mike G.)

Above, we have the double hammerhead tenons atop the flanking post, along with the yatoi sen, engaging the end of the kasagi with its three stub tenons.

Another view:

(Photo: Mike G.)

Simultaneously, the other end of the kasagi was engaging with two sliding hammerhead tenons atop the wall post. A sledge was required to drive the parts together, and they went together well.

Next was the hanging of the main doors. Fortunately the wind had taken a break, along with the rain. A friend of Matt's had shown up, Corky, who also works for Byggmeister, and he also pitched in to help. With four of us, it wasn't so bad wrangling the 200lb. gate doors around.

Here we have one door hung and the door hook also installed on the back:

(Photo: Mike G.)

The old gate had the rear posts too close to the front, and when the doors were swung open they banged into the rear posts. Something they appear to have overlooked in design. In my design, I pushed the rear posts back a bit, had the foundation granite paving extended as well, and now the doors tuck inside of the rear posts, which widens the view of the garden.

The second door was soon on, and I see that the hanging stiles are a bit tight to one another:

(Photo: Mike G.)

More interference than I was expecting, but all very fixable.

Off came the door and some planing ensued:

(Video: Mike G.)

It took a few rounds of 'on and off' with the doors, and a little planing of one of a hinge-side stiles, some minor adjustment at the granite plinth, but it came together eventually.

Last task was to fit the door drawbar, kannuki, which required mounting 4 bronze carriers:

Below the middle carriers you can see the two receivers for the door hooks.

Almost there - checking the sliding action of the drawbar:


The remaining time was spent cleaning up and putting the tools, etc., back in the box truck.

At the end of day 3, the install was 99% complete. Here are some photos - as usual, click to enlarge:

The temporary chain-link fencing at the front makes a full-width view a bit difficult at this time.

Here's one front side:

And the other:

Rear (garden side) views:

Bidding goodbye to my two helpers, I drove back to Western MA, 2 hours or so, went to the shop where my wife met me and helped me unload the truck and then crawled off home, thoroughly spent. I'm still recovering today, three days later, and will be going to be taking some time off for a bit more rest.

It came out well I thought. Really there were no significant issues to deal with, which was a bit surprising. The MFA was delighted with the gate, my helpers seemed to have had a good time. No one got hurt.

The last few tasks involve mounting the kiosk and fitting the remaining bit of sheet copper to the gate, along with the odd tweak and adjustment here and there. I'm scheduling this work for the week of April 13th. The grand opening party will be on April 24th. It is an invitation-only sort of thing, however after that the garden will be open to the public during business hours, and free to visit. If you're in the area, I hope you'll take a look and let me know your impressions.

I'll take a break from blogging for at least a week. If you're new here, there are plenty of old posts to check out, and I hope you'll do so. Until next time then, be safe and enjoy yourself. Thanks for visiting the Carpentry Way. Post 85 to follow.