My school is specifically about craftmanship, without any machinery, only handicrafts and the revivification of traditional techniques using surface-planing, milling, and jointing by hand. My school is completely alternative. We aim to follow historic methods – like those of the 15th century, and replicate these in our school. and that’s why we are making this throne for the Vatican for
Pope Francis, because this is a piece of handicraft and a message for future generations to show that you can make a living from the carpentry trade. It is possible to learn it, and this is what I want to share with the children and with those who will be travelling with me to Rome. Explaining to them that a restorer has to be somewhat like a magician – he has to be able to hide any defects, and so a cabinetmaker has to be able to figure out how this can be
achieved whether you’re talking about a chair, a throne, a piece of marquetry or a carving. So that is the precise purpose of our journey. In 2014, I was selected to carry out the restoration of a castle in Somogyvar involving children raised in foster homes. One of our tasks was to disassemble some cladding that was cracked, because the restorers could not repair it, as they had no idea how it had been originally assembled. So that’s the real purpose of my school,
to offer accurate solutions for restorers and for carpenters, as there are many different techniques, which are normally not known by restorers, whilst a carpenter will know exactly how these were carried out in the past. And that’s why I am able to solve these tasks, being both a carpenter and a restorer, and that is why we have received an award of excellence for it. This also reveals another important problem –
that the coursebook for carpenters is unusable. There is a need for the methods to be rewritten
because without these changes, masters of the trade will die out very soon and there won’t be anyone left who is able to restore such artworks.
Likewise, a lot of artwork and castles have already been damaged. because the restorers handled the problems without a good understanding of traditional carpentry.