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Winter 2012
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I TRAVELED TO THE VILLAGE OF SANOK, POLAND in the
spring of 2011 to help rebuild a partial replica of a 17th
century handcrafted log and timber framed Polish Synagogue.
The Gwozdziec Synagogue was one of hundreds of Jewish
wooden synagogues burned by the Germans prior to World
War 2.
It was a partial replica because webuilt the top four feet
of the log walls (originally 20-feet, 6-meter, tall) and the entire
timber roof structure which formed the multi-faceted dome
shaped cupola above the worship space.
Meanwhile, in Warsaw, the Museum for the History of Polish
Jews is under construction, and it will house the synagogue
replica that we built. It will be suspended above a central area
in the museum where visitors will be able to see it from below.
Students will re-create the detailed and elaborate polychrome
paintings directly on the wood ceiling that we built.
Thirty four members of the Timber Framers Guild (TFG) from
around the globe were selected from at least twice as many who
submitted applications. Four paid project leaders worked with
the 30 timber framers who were volunteers. Everyones travel
and living expenses were covered. This high-caliber crew was
selected for their experience in hand-hewing timbers from round
logs, and for their knowledge, willingness and enthusiasm to
perform and teach the skills of log and timber joinery using only
hand tools.
The root organizers of this project, Rick & Laura Brown of
Handshouse Studios, provided crews of students from the US
and Poland (totaling close to 70) at intervals during the project
to do the hands-on work. The teaching added to the work load
of the TFG members, but proved rewarding and successful
because one goal was to raise awareness about the skills and
heritage of the Polish Jews.
My frst order of business was to get acquainted with the
skansen or outdoor museum where we did our work. This was
the largest skansen in Poland, and had a wonderful variety of
old wooden houses, as log houses have been referred to for
centuries in this part of the world. Many of the wall logs were
half logs, axe-hewn fat inside and out (the original builders got
two logs from each tree). Outside, the remaining round, live,
edge of the logs accentuated the lateral joint which was often
flled with a hemp type chinking.
The inside of the same wall however would be completely fat
hewn with nearly imperceptible lateral joints and no chinking.
We visited one old log church that had 20-foot tall log walls
which at a distance looked like one massive log even though it
was probably 15 or more individual logs ftted ever so tightly
together (Figure 1). Very inspiring!
Typically, log corners were either dovetailed or half-lapped.
We saw an impressive number of century-old Carpathian style
wooden houses as we traveled. Sometimes they were painted
a nice pastel color or sided-over with planking which wrapped
around the half-lap corner extensions (fyways) hinting at the
log wall construction beneath.Very few of these homes were
naturally stained and there were only a handful of new log
Replica of Synagogue
Built in Poland
By John Nininger
Figure 1
Log walls of an old
church ft so tightly that
they appear fat
Figure 2
All logs were hand
hewn, many of them by
students, like Jacob Bach
Hensen
s
s
continued on page 12
3D model of reconstruction by Ed Levin, Paradigm Builders.
Quicktime video of Levins SketchUp model.
All rights reserved. No commercial use.
LogBuildingNews
Number 74
11
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Winter 2012
12
homes in the area. I saw only one new large-log, full-scribe
building.
We arrived in Poland to fnd a pile of over 200 40-foot (12m)
silver fr logs, and we soon began sorting and organizing them,
and preparing to convert them into hewn timbers using only
axes and hand saws. It took a couple of weeks to get into full
production as hewers and pit-sawyers wrestled feverishly with
the tough wood fbers and hard knots (Figure 2).
The honing of tool edges, many from the forges of Gransfors
Bruks, was just one step in the process of the total psyche - and
attitude - transformation needed to pull off this task. Students
were then taught the methods by Guild members. They learned
the true meaning of blood, sweat & tears. But for young wood-
loving sculptors and creative artists who had come as students
to take part in making history in a form true to the period, the
experience was all consuming. The chips kept on fying and the
pile of hand-hewn timbers grew.
Fitting the hand-hewn timbers together as walls required
a new mind-set. Think axes, think old world craftsmanship,
think effciency, think goals and purpose: teaching and learning
simultaneously. The clock was ticking and skill levels varied
widely. There was little turning back.
Fabrication of each section progressed at a rapid rate. Modern
CAD drawings (Figure 3 by Ed Levin, and video) were developed
from early and accurate drawings, and black and white photos,
taken prior to the destruction of the synagogue.We used the
imperial system, for historical accuracy. Metric had not been
invented when the original synagogue was built!
The roof truss system was ft atop the box frame (30-foot, 9.1m,
square) which was supported indirectly by the box frame sills
which were positioned 2-feet inside the log walls (32-foot, 9.7m,
square). The box frame sills consisted of 2 layers of logs (hewn
timbers) extended through the log walls and hung midway from
connected hammer beams that also protruded through the log
walls to join to the 36-foot (11m) fying plates on the outside of
the frame which doubled as an eave molding.
This in turn supported the hipped shed-roof that wrapped
around the whole building. An engineering feat of its time and a
head-scratcher for the engineers on this project today. To build
this part of the frame quickly and correctly, leaving ample wood
at mid-span locations for structure and achieving critical heights
of tops of timbers, I offered the upside-down option as the
simplest solution [Editors note, see Niningers article about building
upside down in LBN 65].
Building the log walls upside down meant we could scribe
the tapered, hand-hewn wall logs, with all their inconsistencies,
after the perfectly level tops of walls and beams
was achieved. Any overage at the bottom of the
walls (top of the log stack as built in the upside-
down position) could be hewn off to achieve a
level bottom surface or starting point for when the
log stack is fipped over and re-stacked. The project
manager, Alicia Spence, was greatly relieved when
the log walls re-erected in the upright position.
The corner and lateral notches we used for the log
walls turned out to be the greatest bit of new (old)
knowledge and inspiration for me. The fnal choice
of design, methods and techniques for the log
joinery was inspired by close inspection and analysis
of the old wooden churches and old wooden houses
in the skansen and in the surrounding villages We
also got advice from Arek Kryda, the Polish historical
log expert/architect/craftsman at the skansen who made so
much of this project a success (Figure 4).
We built the log walls as follows:
After each round log was hewn to a 6-inch (15cm) thick
plank with one edge hewn square and parallel to the
original log edge, the fnal edge (or fourth side) was laid out
to maximize the wood available and keep the overall taper
between 2 and 4-inches (5 to 10cm) over the 32-foot (9.7m)
length. As each log was chosen from the inventory for the
next course, the top surface of the log was then hollowed and
hand-planed to make the hewn surface more uniform, and
achieve reasonably straight edges. These fat edges with the
hollow in between provided the perfect surface for scribing
the next log.
Figure 3
3D model of
reconstruction by
Ed Levin, Paradigm
Builders. Quicktime
video of Levins
SketchUp model.
All rights reserved.
No commercial use.
CLICK ON PHOTO
TO WATCH VIDEO.
Video requires QuickTime Player, if you dont have QuickTime installed you
will be directed to the Apple website to download the software.
continued on page 14
Figure 4
Arek Kryda
explains
the old
construction
method of
walls built
of half-logs
each tree
was riven
and hewn to
produce two
wall logs
LogBuildingNews
Number 74
13
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Winter 2012
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The scribe lines on the next log were fairly straight, and the
hewers had to work accurately to this line using axes, slicks
and the non-antique hewing knife (a drawknife with an adze
blade attached to it) to again achieve a hollowed surface. The
resulting lateral seam between the wall logs was tight and an
accurate facsimile of its historical counterparts. Then we drove
in two or three 1-inch (25mm) hand-riven wooden pegs along
the logs to help keep the logs aligned.
The dovetail corner notch was a full Norwegian (compound)
dovetail with about 1 of rise in 6 (slope of 2.5cm in 15cm).
Attempting to keep the dovetails pin heights consistent and
centered was the main goal. Variations in slope angles and pin
heights were acceptable, and also historically accurate.
Our most exciting discovery was the use of a cog or stub-
tenon on the inside corner of every dovetail joint (Figure 5).
I had seen this detail illustrated in books about log building
in Eastern Europe. The cog served two purposes. First it
positioned the next log and held it in place tightly up against
the shoulder of the mating log. Second, it is said that in the
old days it served as an air block, and reduced seeing daylight
in the joint as logs shrunk. We modifed this cog by giving it a
tapered shape to make it easier to assemble and disassemble.
Although it did require additional time to layout and cut, it
was worth it, and added to the Handshouse goal of
making history.
The timber-frame joinery above the log walls was mostly in
the traditional local Carpathian style with some modifcations
to satisfy engineering concerns. We were able to get inside
some of the local church steeples and towers to witness the
intricate and massive examples of heavily cross-braced, over-
built timber structures. The most commonly used timber-
frame joint was a half-lapped, half-dovetail. We used this
simple joint throughout the frame and this had the beneft of
being easy to cut with only an axe. We learned the axe
technique for joinery from master hewerPetr Ruzicka,who spent
two days working with us (Figure 6).
The sound of axes chopping, handsaws singing, and mallets
popping flled the air with a resonance from a historical time that
until now we could only imagine. It was truly a magical time.
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