Building A Kamiza - Shodokan

By Peter McDade, John Kodzis & Robert Whelan (Shodokan Dojo - Salem, MA)

As is often the case with a dojo, SHODOKAN is housed in a former factory building which had rough uneven cinderblock walls. Consequently aesthetics have to accommodate several factors. The designated wall was very rough and mottled with cement but far too tall broad and expansive to sheet-rock. Ultimately, it was decided to wallboard a section of the wall. It would be smoothly finished, painted flat white and serve as the back surface of the kamiza. Behind this wallboard was a frame constructed out of 2x4's that were vertically mounted directly onto the wall every 16" via 3/8" lag bolts (3 in each 2x4) into lead sleeves or 'mollies' drilled into the concrete.

This provided a secure base, which helps brace the heavier components of the structure. It is more than adequate to support the weight of the sheet-rock. However, a fourteen foot long 18"x 2" shelf, an equally long 'valance' that houses three spot lights, and two 5 foot long tree limb 'columns' at each end of the kamiza represent a significant burden.

The end 'columns' were installed next. Serendipity had provided the opportunity to use willow limbs. The willow branches are quite heavy but have a gentle curve and the spirit of responding to force by yielding.

The mounting strategy has proved successful, at least so far! The backside of the branch was sawed flush with a chain saw, leaving approximately 270 degrees of the circumference intact. This cut was to be in direct contact with the concrete wall. A notch of sufficient width and depth was then cut into the appropriate side of the limb to overlap onto the wallboard.

Heavy angle irons (4) were hand forged to serve as top and bottom brackets for each 'column'. These were expensive but necessary. They were mounted onto the cinderblock and counter-sunk into the limb. The top brackets were placed onto the wall first, whereas the lower brackets were first put into the branch. The 'columns' were then lifted into place. A lag bolt mounted the lower bracket to the wall and then another bolt was placed from above through the top bracket into the limb. Again, lead molly sleeves were pre-drilled into the wall to accommodate long lag bolts. The limb had pre-drilled; undersized pilot holes so that the bolts could 'bite' into a surface and these holes were filled with epoxy.

To further distribute weight bearing, each 'column' had two (2) additional lag bolts inserted at approximately one-third and two-thirds of their respective length. These bolts were first ratcheted into the wall using the same lead sleeve molly system, but about 4'' of their length was left protruding from the wall's surface. The heads of these bolts were then sawed off while coordinated holes of the same circumference as the bolts were drilled into the branch. These holes were also filled with epoxy and then the branch was 'jammed' onto these protruding "headless" bolts as the 'columns' were mounted onto the wall in the process described above.

The bottom shelf is one uninterrupted length of spruce. It was planed, sanded, routed to round the top edge, given a clear stain and a polyurethane gloss finish. In keeping with the use of raw tree limbs all wood used retains its natural color. The finish was required to protect the surface from the water used for flower arrangements. The shelf ends were 'sculpted' into curves that conformed to the slightly different circumference of the limbs. Finally, the shelf was mounted from the underside by ratcheting lag bolts into the ends of the tree limbs and the 2x4's that were behind the wallboard. Again, undersized pilot holes were drilled and the bolts were counter-sunk so that the heads wouldn't be exposed.

Along the top of the kamiza a 'valance' was designed to accommodate a lighting system, which consists of three spotlights, connected to two dimmer switches. One switch controls the central spot that illuminates the scroll whereas the other switch controls the sidelights, which shine respectively on the ikebana and picture of O Sensei. The electrical wiring was fed down through a conduit from a source in the ceiling. All work and wiring is concealed.

The valance extends from the wall to the same width as the bottom shelf. It is constructed of furniture grade birch plywood that was cut into three equivalent panels. The central panel has the dojo symbol cut into it. The rear of this stencil is covered with shoji screen rice paper so that it is backlit when the lights are on. All exposed seams and edges were finished with matching birch veneer (so that plywood edges won't show) and then trimmed with plain squared molding. The entire assembly covers the top ends of the tree 'columns' and is mounted to them from the side. Additional struts brace it from above to the 2x4's behind the wallboard. All nails and screws are either covered by molding or countersunk and filled. The job was completed with a finish sanding and the application of a clear flat varnish.

The final product extends a mere 18 inches onto the mat surface. It is a steady and secure structure of significant mass that seems to be effortlessly 'floating' on the wall.

The Tori Gate symbol reminds us that when we step into the dojo we are entering a different world where external pressures and accomplishments are left behind. It is a place to sincerely engage in joyful and earnest training.

But the willow brought us another and unexpected message. As the limb was newly pruned, (not for our purposes but out of a different necessity), it continued to sprout long after it was made part of the kamiza. In life it lived the importance of yielding to force. In death it demonstrated the spirit of continuing even through hopelessness. It waged the battle of life until the last.