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Cracks and incisions which could occur on the woodensurface are prevented by leaving blank areas betweenpoints of attachments so that the air can pass through.Wallnut, fig, pear, cherry, and mohagony are used forinterior environments, and these trees are decoratedwith abanoz, yilan agaci, venge, peleseng, mohagony,gild, baga, silver, pearl, ivory, ruby and emrald. In exteriorenvironments, however, trees such as oak, mohagony,ireko, tik and disbudak, which are more resistant todifferent weather conditions.Kundekâri Is Kept Alive with InnovationsNowadays, the masters who craft this art are as fewas the hands of 2 fingers, one of them being MehmetAli Tufekci, who is a master who remold the woodwith his skillful hands. He inherited this art from hisfather who also inherited it from his own father, andtries to keep alive this art which is about to disappearby producing wooden doors, windows, furnitureand ledders. The grandfather began to craft this artby producing mosque doors in Rize in the 1920s. Hisfather followed him as well, and then the flag washanded over to Mr. Tufekci.We visit Master Mehmet Ali Tufekci in his workshop inMaltepe to interview with him on the art of Kundekâri.We begin our interview in the office section of theworkshop. Firstly, he states that the yeast of Kundekâriis patience. “Whatever you are doing, first of all youmust like it. Same is the case for this art as well. If youdon’t like wood, you can never engage yourself in thisart. I would have given it up already if I didn’t like workingwith wood.” He says sincerely. He tells that he sethis heart on wood carving when he was a little primaryschool child. Stating that he ran to his father’s workshopas soon as the last school bell rang, he tells usthat he began to attach his first pieces of kundekâriwhen he was just 8 or 9. Not being so willing to study,he became an apprentice in his father’s workshop afterfinishing primary school. Due to the great patience andpassion he felt for this art, he first became an assistant?And then a master. Crafting this art as a third generation,Mr. Tufekci added lots of innovations to this art.Informing us that his father and grandfather would usea saw to cut the pieces one by one, he emphasizes thathe does use the facilities that technology offers.Mr. Tufekci says that the boats of kundekâri used to beattached directly to frames in the past. Since the frameand the center of a door are worked on separately, theintegrity between the frame and the center is damagedover the time due to the expansion of the frame.Mr. Tufekci found a solution for this problem, though,and the patent of this solution belongs to him. He nowmakes the frame and the center of a door producedwith the art of Kundekâri separately.The master tells the advantages of producing the bothparts separately as follows: “This way, the center andthe frame Work independently, which makes the doorlast longer, and be left undamaged for years. Also,another advantage is the following: Let’s say that thecenter produced with kundekâri was damaged due todecay or an attack. Then you can disassemble that partvery easily and assemble another one without touchingthe frame.” Mr. Tufekci then shows us a door fromthe Seljuki period displayed in the catalogue, and saysthe following: “See, no glue was used while producingthis door. The patent belongs only to us. We have25