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How to Make and Operate The Iwate and The Y oshimura Black Charcoal Kiln
ARE COP
Asia Regional Cookstove Program
The Iwate Black Charcoal Kiln
How to Make and Operate Black Charcoal Kilns
The iwate
ARECOP - Asia Regional Cookstove Program
Acknowledgements
In the publication of this manual we are indebted to many individuals and organizations for their efforts to bring the contents of this manual together. We would like to acknowledge and thank Donatus Rantan and Rudijanta Utama of Yayasan Dian Tama, Indonesia, for their time and attention on the compilation of information and technical editing, as well as Tsuyoshi Hirowaka of JANIC for checking the accuracy of the technical translation from Japanese to English We are especially thankful to Professor Sadakichi Kishimoto and Mr. Akira Yamada of Sumiyaki No Kai (The Charcoal Association of Japan) for their generous untiring efforts to disseminate their valuable technology to an international audience during the Training on High-Quality Charcoal Production (held in 1991 in Kalimantan, Indonesia) on which the kiln technology included in this manual is based. ARECOP would also like to extend its appreciation to the organizers and supporters of the Training on High-Quality Charcoal Production in providing the opportunity for this technology to be introduced to a wider international community.
Asia Regional Cookstove Program Yogyakarta, Indonesia 1994
Table of Contents
I. Foreword
A. Charcoal and Charcoal Making: Background B. Improving Traditional Charcoal Making
6 6 7 8
II. Preparing for Production III. The Iwate Black Charcoal Kiln
Background: The Iwate Kiln: A Typical Black Charcoal Kiln of Japan
10 10 14 15 18 19 22 22 26 26 27 28 29 31 34 35 35
IV. Construction of the Iwate Kiln

A. Ground Preparation B. Drainage Box Construction C. Preparing and Making the Chimney D. Marking and Shaping the Kiln Floor and Chimney Mouth E. Kiln Wall Construction E.1. Redrawing the dimensions following stamping and smoothing E.2. Shaving and Shaping the walls E.3. Drying the walls F. Making the Ceiling F.1. Loading the wood F.2. Soil mixture preparation and testing for kiln ceiling F.3. Stamping G. Mouth of Kiln H. Maintenance

36 37 41 42 42
V. Kiln Operation
A. Firing and Control B. Opening the Kiln and Unloading the Charcoal C. Yield Calculations D. Reloading the Next Cycle
Foreword
The ideas and materials for this manual sprang "om a cooperative training eort held in Pontianak, West Kalimantan in 1991. It was the rst time that an organized, hands-on training concentrated on the construction of traditional Japanese black charcoal kilns of various shapes and sizes. The large Iwate kilns proved the most basic and popular, sparking the idea that a practical manual could further disseminate the knowledge gained by the participants. Much of the material appears here for the rst time in English, courtesy of Dr. Kishimoto, head trainer and president of Sumiyaki No Kai (Japanese Charcoal Association).
A. Charcoal and Charcoal Making: Background

Charcoal is a major fuel in developing countries. Especially in urban areas, charcoal serves the needs of millions of people everyday for cooking, ironing clothes, blacksmithing, processing of dried food items, and everyday work. Its advantages include its light weight, high caloric content, smokeless burning, ease of transport, and low cost. In addition, charcoal has often held a unique role as an art form and cannot easily be substituted with other energy sources. Traditional charcoal making varies across countries, countries, and ecosystems. Some of the most basic methods use earth mound and pit kilns. These are low investments, small-scale methods that produce low quality charcoal mainly for local consumption. Charcoal is also produced with the use of large brick, metal, or even cement kilns, with production capacities anywhere from 1 to 100 tons per ring. These methods produce high quality charcoal for local, export and industrial markets but at a high price and investment.

Yet another alternative is red clay kilns. These kilns have developed out of the traditional earth mound kiln. Instead of loose soil, the kiln is constructed of tightly packed special clay which, when red, becomes a strong and durable structure. The red clay has all the advantages of a brick kiln without the high investment costs. The traditional Iwate black charcoal kiln is of this type.
B. Improving Traditional Charcoal Making

The traditional process of charcoal making can often be very inefcient, requiring almost as much wood to re the process as kiln converts into charcoal. Thus, the rst challenge is to improve the charcoal production method by decreasing the amount of wood energy needed to produce charcoal. The second challenge is to increase the value of charcoal to improve the livelihood of charcoal producers. By improving the traditional charcoal making process, the quality of charcoal is increased and many local producers can tap higher markets for their products The crux of the problem is developing a comprehensive program that takes into account the environmental shocks of improved charcoal making as well as the need to increase energy supplies and incomes. In general, local level charcoal makers can rarely take into account environmental impacts if they do not directly gure into their production costs. Few charcoal makers incorporate tree planting or other components of sustainable forestry into their work simply because they see no immediate benets; they have an abundance of raw materials (wood) and cannot afford such long term investments. Consequently, any effort to improve charcoal products and methods of charcoal-making sit on a precarious development fence. On one side, planners look for better, more efcient means of charcoal production to increase incomes. Yet higher production of charcoal, if not managed properly, can damage the local environment and undermine other development efforts in the area. Improving traditional charcoal making methods attempts to address both of these issues. More efcient production, when managed properly, can help to slow down deforestation. When charcoal producers are trained in simple, sustainable forestry management, they can employ techniques of selective cutting and replanting to ensure a long term supply of their production. At the same time, improved production and better yields can directly raise their incomes. With higher incomes, the charcoal producers can afford to consider long-term investments and further improvement in their craft. Sustainable charcoal making can also be locally controlled and managed. Providing forest communities with these skills puts control of local resources in their hands. If properly trained and given the assurance of ownership and responsibility, local producers can spearhead communityrun forest conservation practices, which allow them to live off their own resources without exploiting them.
Preparing for Production
Before beginning, one must rst determine if an area is appropriate for charcoal production and if charcoal making wi( be protable. A detailed business plan, area analysis, and an environmental impact study must be carried out in order to understand the local carrying capacity of the environment. Consider carefu(y the cost of building, running, and maintaining a charcoal kiln. Consider also the impact of such a program on the local people and environment. Field and site surveys should include studies on:
Wood and natural resource potential of an area. This must include types or species of wood, and the average age and population density of each species in the area. Land and natural resource ownership patterns. Overlap in land ownership is common in many places due to local systems of border determination. A forested area could be claimed as part of the communitys property and may cause problems in utilizing its resources. Environmental impact assessment of potential production. The study must take into consideration the wood volume that can be cut within a certain time span, the time required for replanting and the growing rate of cut branches. The system applied must be one of selective cutting and rotation among blocks allocated for cutting purposes. Market research and analysis. In charcoal production, marketing must be taken into consideration before production begins. There are several types of charcoal
demanded by the market. To make sure the production level is sustainable a market study should be conducted beforehand. Socio-economic prole of local charcoal producers. If local charcoal producers are already operating in the area, it is necessary to understand and pay attention to their existing system and regulations. Many areas have their own production and selling systems. Socio-economic prole of the community at large. Existing social and economic factors should be taken in to consideration. People of a certain area may resist the adoption of new technology as introduced by a person foreign to the area.
Although this manual cannot provide details about these surveys, their importance cannot be underestimated. Improved charcoal production can lead to an ecient program of reduced environmental damage and other far-reaching benets.
Iwate Kiln, Typical Black Charcoal Kiln of Japan

Background
As stated above, the Iwate kiln falls into the category of red clay kilns. It can be constructed with local, low cost materials and produces exceptionally high quality charcoal. The original design comes from Japan, from the city of Iwate. Japanese charcoal making dates back to the 9th century, and the Iwate is one of the most basic traditional kiln designs. It provides a permanent kiln structure and the advantages of protection and greater control over carbonization processes. There is a minimal level of investment and the kiln is able to produce high quality charcoal.
Shape
As you can see from the illustration, the height of the ceiling is low and the length from the entrance to the chimney is long. This is because the temperature at the top of the kiln is 300C, and the temperature at the bottom is almost the same as the outside. If the ceiling is any higher, the difference in temperature will also be grater, which negatively affects the evenness and quality oAt the entrance, much of the wood burns away during ring, resulting in ash and low-quality charcoal. But in the middle and the back, good quality charcoal is produced. This is the reason for the long shape and larger back section (see illustration). The kiln oor is level, except a slight declination at the rear and front of the kiln. This facilitates the heat to go down and exit, passing through the entire kiln. Gas circulation is absolutely necessary because it raises the temperature at the bottom of the kiln. If the oor has an inclination, then circulation is suppressed. Thus, a at kiln bottom results in smooth gas circulation. Because water is prone to accumulate at the bottom of the kiln, it is important that water can be easily absorbed into the ground. Kiln oors are traditionally made of wood and soil, but if constructed on soft and wet soil, it is necessary to use stones and brick for better drainage.
10
Fig. 1. Technical drawing of Iwate Kiln
15
30
20
10 35 20
100 6
Chimney
15 15
Fig. 2. General drawing of chimney mold
The Iwate kiln has only one chimney. If the kiln is round, such as the beehive kiln, then there can be more than one chimney. But for good quality charcoal, the carbonization process should be slow. More chimneys = faster carbonization = lower quality charcoal. The shape of the chimney is one of the most important aspects of the kiln. Based on uid dynamics, the shape greatly affects the quality of charcoal produced. The chimney is narrow at the top and wider at the bottom so that if air enters from outside, it circulates within the chimney and does not enter the kiln. If the chimney is too high or the chimney mouth too big, more drafts will be created and more smoke will be released. If too much smoke escapes, gas is lost and the pressure in the kiln becomes lower than the outside pressure, allowing air to enter from the outside. For gas can circulate, air pressure inside the kiln must be slightly higher than air pressure outside the kiln. The stone at the bottom of the mouth of the chimney is the most important part of the kiln. It is the heart of the kiln. This section must be made of restone or rebrick and must be re-safe up to 800C.
36
11
Wood for Charcoal

To produce high quality charcoal, freshly cut wood must be used. If dry wood is used, carbonization is faster, but much the charcoal produced will break or crack. With fresh wood, the process is longer but the quality of charcoal that results is better. For best results use only wood that is relatively fresh with a water content of 35%. If the water content is less than 35%, then carbonization will happen too fast and produce lower quality charcoal. But if wood moisture content is too high, the process will require a larger quantity of wood and more time to process. Also, high-moisture wood is heavier and thus more difcult to load into the kiln. In tropical conditions, wood should dry for 1-3 months (in Japan it only takes 3 weeks).
Fig. 3. Wood for charcoal must be "eshly cutted
The carbonization process starts from the top of the kiln to the bottom. Wood is thus loaded with the larger end up so that pyrolysis will travel through the wood easier. There is a layer of wood at the bottom of the kiln to allow for complete carbonization of the main wood which is expected to produce the high quality charcoal.
Materials Needed
Most tools and materials needed to make the Iwate kiln can be found locally. For instance, the traditional tools for stamping, shaping, and molding can all be fashioned from waste wood. To make an Iwate kiln, the following materials are needed:
Constructionon Constructi Wood forood for Kiln W Kiln

Bambstakes Bamboo oo stakes Wood po Wood posts sts Planks for Planks for wallswalls
Materials for Kiln Construction Construction Clay soil: 48 m3

Clay soil: 48 m3
Materials for Kiln
Portland cement: 3 bags cement: 3 bags Portland San 8 8 Sand: d:m3 m

3
Bricks: 100 pie Bricks: 100 pieces ces
Fig. 4. Tools needed
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Tools Needed Tools Needed Tools Needed
St mpler Staampler Stampler Leve Level l Level Mea ring g tape Measusurintape Measuring tape
Strin String g String Spad Spade e Spade
AxeAxe Axe
Hammer Hammer Hammer Blade 3 mm plywood Blad 3 mm ply ywood Blade e 3 mm plwood Hack saw Hack sa Hack saw w Trowels Trow Trowelsels Nail (several sizes) Nail (se al siz sizes) Nail (seververal es) Bamboo basket Bamboo basket
Fig. 5. General drawing of kiln, non technical
13
Construction of the Iwate Kiln
ral Du ing con truction, Durringconsstruction various activities can be conducted by seve During construction,vario , variou time. Genera#yconducted per onss ornstru at once to saveacivities can be , the construc several perssongor teamsction, varioussacttivitiesccanbbecconductedby tion activities a n e o co temaasaatonce pe rin by Dursons or telogical once o susprocess: s t building evera to save imee.Genera#y, nd cons by ssevera ave tim. G n must fo#ow a m at oncetto savettime.Geenera#y,theuctedtruction l l must fo#or temas era#y, thee construction th con m rso fo ow a logical buil peust ns #ow a logical bu din struction ilding process: g process: ess: A. Ground Preparation ical building ow a log must fo#
A. Ground Preparation ruction B. Drainage Preparation A. Ground Box Const B. Drainage Box Cons truction C. Markingge Box Construction Floor and Chimney Mouth ina and Shaping the Kiln B. Dra C. Marking and Shaping the Kiln Floor and Chim neey Moth mny Mouuth Wall rking ruction E.C. MaConstand Shaping the Kiln Floor and Chi E. E1. Redrawing the dimensions and shaping the mouth Wall Construction E1. Redrawingction E2. Shavin stru the dimen the walls E. Wall Cong and Shapingsions and shaping the mouth mo E2. Shaving and Shap ensions and shaping the uth E3. Drying the walls dim the walls E1. Redrawing the ing E3E2. yingving wallsShaping the walls . DrSha the and F. Wall Construction ls E3. Drying the wal F1. Loadin the wood F1. Loadinggthe wood ceiling and soil mixture testing F2. Soil mixtur F. Soil mixture ction F2.Wall Construe for kiln for kiln ceiling and soil mixture testing F3. Stamping F3. F1. Loading the wood Stamping testing ture for kiln ceiling and soil mixture F2. Soil mix G. Making the Mouth of the Kiln F3. Stamping
Maintanance H.G. Making the Mouth of the Kiln
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A. Ground Preparation
Once an appropriate site has been chosen (make sure the site is far enough above the local water table to avoid sudden water intrusion during rain), level the area around the kiln site. The ground preparation is important because water intrusion and poor drainage can cause several serious problems later. A. Dig 20 cm in depth and level the bottom in a space as large as the dimensions of the kiln B. The kiln bottom consists of two layers and can be made as follows: Redrawing the dimensions and shaping the mouth This is to create a stable base for the kiln construction and prevent water intrusion from the ground Second layer, 10 cm of well-stamped, rmly packed earth.The second layer should be stamped very well to make a water-tight layer C. In case bricks and rocks are not available, wood can be used to substitute The rst layer of wood (10 cm in diameter) is installed lengthwise and the second layer (10 cm in diameter) installed perpendicular across the rst layer D. Make a centerline using string and measure the inside diameter of the kiln to be constructed E. Draw a large circle over the diameter of the kiln (A) Use a string 100 cm long (radius of the main section), attached to the center pole Draw out circle A with a nail attached to the other end F. Draw a smaller circle (B) with a radius of 63 cm. Its center is at the perimeter of circle A, on the center line at the front of the kiln G. Draw out the mouth of the kiln Start at the perimeter of circle B, in front of the center line The mouth should measure 60 cm at the back, have a 60 cm length, and measure 48 cm at the front or mouth H. Stake out the entire perimeter with stakes, equidistant around 25 cm, and around 30 cm high. Tie each of the stakes with a string for use in the next step (wall construction)
Fig. 6. Ground foundation preparation
15
The Iwate Black Charcoal Kiln Fig. 7. Marking the ground
16
17
B. Drainage Box Construction

To allow water accumulation in the kiln to escape, a drainage box and water outlet is constructed at the back of the kiln, underneath the chimney. Water is produced because the kiln walls and wood are not completely dry. Without a good water outlet, the bottom of the chimney could break and slow down or stop the carbonization process. A. Dig a hole and a channel at the back of the kiln to accommodate a drainage box and drain pipe. The drainage box can be made from bricks and cement. B. Dig a hole and a channel at the back of the kiln to accommodate a drainage box and drain pipe. The drainage box can be made from bricks and cement. C. Dig a channel from the back of the kiln to accommodate the drainage box and drain pipe. The channel should slope down so water can drain out and away from the kiln. D. The drain pipe can be made of bamboo, or any type of pipe with some holes on the pipes wall. Alternatively, the drainage pipe can just be lined with small stones. E. The drainage pipe should extend from the bottom of the drainage box. The entrance of the pipe, inside the drainage box, should be covered with medium sized rocks. Then, ll the entire box with small stones or gravel.
Fig. 8. Drainage box construction
18
C. Preparing and making the chimney

The chimney is the most important part of the kiln. The outlet at the top is 15 X 15 cm2. It is shaped like a bottle so that wind that enters from the outside will circulate in the bottle and not enter the kiln itself. If air enters, then the temperature inside will drop and the change may cause the charcoal to crack. The angle of the chimney is also crucial. If the chimney leans too much towards the front of the kiln, the smoke cannot escape easily and it is difcult for the wood to burn. But, if the chimney leans too far away from the kiln, the carbonization will go too fast and the wood will turn to ash. The angle of the chimney is always the same no matter what size the kiln. The chimney mouth (inside the kiln) should be exactly level with the oor. The opening of the kiln is on a declination, lower than the oor (see gure 12).
A. Materials
Apply a little cement plaster to secure the chimney mold as a foundation. Chimneys usually crack because of high temperatures and are eroded by the high acid content of condensed smoke. Traditional kilns only use clay mixed with ash and small stones. To prevent cracking, it is better to construct the chimney using a mixture of clay and ash or some burned clay, with sufcient thickness (7-30 cm). If the chimney walls are too thin, they will certainly crack. A small amount of the cement mixture can be added as a hardening agent. For the chimney mouth, rebricks are the best modern material available, but can be expensive. An alternative is red brick, if it is available. Make sure it is re-proof and has a quality between rebrick and regular brick. This may be the best and lowest cost choice. Bricks should be joined using cement. Quartz stone can also be used. To test the stone, bake it at a high temperature and while it is hot, pour water over it. If it doesnt break, it is good. For the chimney walls instead of using plywood, you can use a brick mixture. When the kiln is test red, the bricks will bake. This is a good traditional way to ensure a good surface of the inner chimney. If you are working on a hill, cut the chimney into dirt. There is no need to use a plywood form.
Fig. 9. Chimney molds
19
B. Chimney form
Draw out forms according to the dimensions and construct a model out of 3 mm plywood (see gure 10 and 11). Cut out the shape using a blade. Use small pieces of wood, 2 X 2 X 3 cm, for the bottom and inside supports. Staple or nail them to the inside of the mold. Make sure to calculate the size of the rebrick (which may vary) so that with the rebrick in place, the chimney mouth is exactly 6 cm in height. The width can be 36 cm, or 12% of the inside length of the kiln.The angle of the back of the chimney is important. The top portion of the chimney back should be between a 90 and 96 angle with level ground. For the top section of the chimney, you can use a clay/earth pipe about 12-14 cm in diameter.
Back
15 15 15 15 15 15 15 15 15
Front
57 57 57
57 57 57
57 57 57
39 39 39
39 39
42.5 42.5 42.5
17 17 17
3939 39 9 99 6 66 36 36 36
42.5 42.5 42.5

36 36 36
40 4040
Fig. 10. Chimney molds, detail
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C. Insta(ing the chimney mold

Line up the center of the chimney mold precisely with the center line and on top of the drainage box. The back, top portion of the chimney should be between a 90 96 angle to the ground. If necessary secure the mold by placing 2 strong posts at the back and a small support board between them. This will support the top, back part of the chimney. Secure the mold with string/rope. The mouth of the kiln should measure EXACTLY 6 cm from the ground to the rebrick, and 36 cm wide or 12% of the inside kiln length. The re bricks, when in place, should be level with the base of the kiln (the back of the kiln slopes down a little to provide the 6 cm opening for the chimney mouth). Use rebricks to construct the mouth. Use a clay mixture to install an L prole iron rod to support the bricks and to secure between the bricks and on the face of the mouth (see illustration). The strongest and most level mouth would use a single, long re brick to bridge the 36 cm gap for the mouth. Secure the base of the mold using regular bricks and secure them using a clay mixture.
Important
When making the brick foundation at the back slope (inner surface of the chimney), make sure that you put a generous amount of cement between the mold and the bricks so that the inside wa( wi( be smooth. When the mold burns away, you must have a smooth surface to help the smoke escape easily (see i(ustration). Fig. 11. Chimney mold insta(ation
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D. Marking and Shaping the Kiln Floor and Chimney Mouth

To install the chimney, rst the kiln oor must be well prepared and the chimney mouth must be precisely in place. Make sure the oor is level with the top level of the chimney mouth. From the center of the chimney mouth, draw a half circle (A) with a diameter of 36 cm. Draw another circle (B) with a diameter of 56 cm. From the perimeter of circle B, slope gradually up to the perimeter of circle A. The perimeter of circle B should be at oor level or level with the top of the chimney mouth. At the front of the kiln, the oor should slope down through and out of the door. The slope should be 60 cm in length, with a 10 cm drop in the slope. (see gure 13).
Fig. 12. Chimney mouth position to kiln oor
E. Kiln W Construction all

The kiln walls are very important and much care must be taken in their construction. Good stamping is the key to solid walls. There are two types of wall construction; traditional and modern. The traditional method only uses wood forms for walls, while the more modern method uses plywood wall forms. Both methods can be used, but the traditional method is stronger, and so this manual will concentrate on the traditional form. a. Materials for the walls If possible, construct the walls with a mixture of fresh clay and burned clay. If you dont have enough clay, just the inside section of the walls should be made from the mixture (30 cm thick). The inside wall will be exposed to the most heat and abuse, and therefore must be the strongest. The outside part of the wall is mainly for insulation and support. It can be made of soil 1 meter thick (see gure 14). If no good clay is available, you can use bricks to line the inner walls of the kiln. But you must use the same mixture as used for the chimney construction to join the bricks. Back the bricks with a wall made from normal soil, at least 70 cm thick. In mountainous areas, dig the walls into the side of a hill and line the inside with brick. Then construct a wall made of soil, properly stamped, at least 70 cm thick. It is important to prevent air intrusion in the kiln, which may cause difculties in the cooling process. Make sure there is proper drainage to prevent rain water run-off from entering the kiln. The walls should have a thickness of 100 cm and should be at least 5-10 cm higher than the length of the wood (normally wood is cut at a 100 cm length).
22
Fig. 13. Kiln wa(s
Important
We have to pay attention to the mixture of the material for the entire wa( construction. The mixture should be homogenous and have adequate moisture content. If the mixture is too wet, it may cause high shrinkage and cracks. If it is too dry, it may require more eort to solidify.
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b. Preparation of wall construction The perimeter of the walls should already be measured out with bamboo stakes when preparing the kiln oor. Tie a piece of string about 10 cm long at the base of each stake and lay it down facing inwards toward the kiln. This is done because later, when the clay walls are nished and the forms removed, we can scrape the walls smooth. The string will help us to nd the bamboo stakes that mark the nal perimeter. Plant a wood post with a 6-10 cm diameter and 150 cm in length, equidistant and exactly 5 cm inside of the bamboo stakes (see gure 15). Plant them 50 cm into the ground so that 100 cm remains above the ground. Distance between posts should be 40 cm, and it is important that this distance be maintained. Stamp the ground around the posts. The posts are planted 5 cm inside of the bamboo stakes because later, the walls must be smoothed (see Shaving and Shaping the Walls). The 5 cm distance allows for errors and smoothing. After smoothing, the inside wall surfaces will be exactly at the bamboo stakes. To stake out the perimeter of the outside section, pound another set of posts (6-10 cm wide and 120 cm long) 110 cm back from the bamboo stakes. These posts should be around 40-45 cm apart. This distance should be well maintained. To maintain the wood post standing exactly 90 to the ground, support them with other posts (see gure 15). c. Material preparation for wall forming Between the posts (45 cm apart), stack rounded wood (branches) 6-8 cm in diameter and 45 cm long. If using plank wood, use 10 X 45 X 1-2 cm. Each section will require around 15-18 pieces (branches) or 10-12 pieces of plank wood. For the three posts on both sides of the kiln mouth, cut wood at 6 cm X 90 cm to ll behind the posts. This is for esthetics only. For the three posts on both sides of the kiln mouth, cut wood at 6 cm X 90 cm to ll behind the posts. This is for esthetics only. Cutting both ends diagonally will make the wood t better with the adjoining wood. Leave the section designed for the mouth and chimney open
Fig. 14. Post insta(ation to construct kiln wa( in traditional way
Important
Make sure the required materials listed above have been prepared before continuing with the next step
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d. Wall construction Add 2 logs at a time, then add 5 cm of clay mixture (see a. Materials for wall) between the forms and stamp very well. This is a crucial point. Stamping must be slow; add only 5 cm of clay mixture at a time. Level the unstamped clay mixture. This must be done regularly and follow along the kiln pattern, so as to control the compactness of the wall. The quality and quantity of charcoal will be reduced if the walls arent constructed well and are not well stamped. If stamping is too difcult you can mix the clay with a little water. However, this will make the drying time longer and could cause cracking. IMPORTANT: The rst 30 cm of the clay from the inside wall of the kiln (from the plankwood or wood form) must be stamped very well. This portion of the inside wall of the kiln, if not stamped properly, will collapse inward. The other 70 cm until the outside of the wall should also be stamped well, but not as well as the rst 30 cm. Level unstamped clay rst before stamping, especially near the plywood.
Fig. 15. Adding clay/soil for wa(
Fig. 16. The nal traditional wa( formed
Important
To conduct this work requires at least 6-8 people and norma(y it wi( take between 4-7 days. This work is one of the most dicult in constructing the Iwate Kiln
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E1. Redrawing the dimensions after the wa(s are stamped and smoothed
When the wall is completely nished, the following steps can be done: a. Lay a board across the top and mark the exact center of the 115 cm circle. b. Mark the circumference of the circle again on the top of the wall. c. Measure the second, smaller, front circle again and mark its perimeter on the top. d. Remove the forms inside and all the wood. e. Draw the center line again from back to front on the ground with a string. Measure from the exact center of the chimney mouth entrance, over the center post and through the mouth. Measure exactly 300 cm from the chimney mouth to the front of the kiln and place a stake at this point. Take the measurements of the kiln mouth again, drawing it out on top of the clay walls The length of the kiln mouth corridor should be 60 cm, measured from the inside wall. The width at the back or inside of the mouth should be 60 cm and the front side should be 48 cm. From the 48 cm measure in front, the mouth can slowly widen from the walls to the outside.
E2. Shaving and shaping the wa(s

a. Lay any kind of sheet or plywood on the ground inside the kiln before shaving off the excess dirt to maintain a level base.
Fig. 17. Marking the completed wa(
b. Begin cutting away the extra soil/clay from the inside of the wall. Take the measurements of the kiln mouth again, drawing it out on top of the clay walls c. Remove the now exposed bamboo stakes, all dirt and the center post. d. Some of the wall may fall off when the forms are removed (note that the traditional kiln using all wood forms has stronger walls and fewer pores because the strength of the wood allows for harder stamping).
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e. If some parts of the wall fall off leaving holes in the wall: Make a plaster mixture of 60% clay, 35% sand, and 5% cement or ash and water. This mixture should be adhesive and has very low water content. Mix well and form small balls in your hands and throw them straight against the holes to ll them. Throwing them is important because they will stay. If you apply them directly with a trowel, the patch will fall off. Fill all holes and use a trowel to nish the surface until smooth. f. Re-stamp the kiln oor to level it off and smooth the surface from the holes left by posts.
Fig. 18. Patch the holes with clay, sand and cement
E3. Drying the wa(s

When the wall has already been shaped and all holes are lled, it must be dried to release water content in the wall. If the walls have high water content, they will crack or break. a. Stack a small pile of wood mixed with and surrounded by 2 large sacks of charcoal dust/ powder, sawdust, rice husk, or any burning material inside the kiln. b. Keep burning continuously for 2 days (3 days is even better), adding the burning material when needed. c. On the last day of drying the wall, the chimney mold should be burned out by making a re in front of the chimney mouth. Then clean up the inside of the chimney from charcoal and ask. d. After 2 or 3 days of continuous burning, put it out and remove all the ash. e. Patch all the holes and cracks with plaster mixture (60% clay, 35% sand, 5 % cement or ash, and some water).
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Fig. 19. Drying the wa(
F. Making the Ceiling

The ceiling must be made with a special soil mixture because it must stand up to intense heating during the charcoal making process. The ceiling must be of good materials and it must be mixed well so that the ceiling wont break. (see Soil Mixture). The ceiling should be smooth. To construct a good ceiling, one must take into consideration the following criteria. Material mixture must be homogenous Good stamping is necessary to get even compactness in the entire ceiling It should have proper thickness and follow the parabolic law The ceiling should have a smooth surface both inside and outside Some large kilns have holes in their ceiling to control carbonization. But since a kiln of the size presented in this manual will only produce 500 kg of charcoal, there is no real need to make the holes. Ceiling construction will only be done once when making a new kiln. If this is done properly, it will last for 2 10 years of operation. However, if the ceiling is broken, simply reconstruct a new ceiling. Ceiling construction can only be done after loading the wood. Loading the wood has two purposes: as a working step before constructing the ceiling (to act as a support to the ceiling that will be constructed) and as raw material for charcoal making. The rst wood loading into the new kiln is aimed more at creating supporting material for ceiling construction than as raw material to make good charcoal.
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F1. Loading the wood

Wood must be loaded evenly and regularly. Wood character (diameter, length, quality, and species) and heat distribution must be taken into consideration. To be able to construct a good ceiling, wood loading must be arranged as follows: a. Line the oor of the kiln with small diameter (3 cm) waste wood or branches (see gure 2.1). It is important to line a few pieces horizontally in front of the chimney mouth, longer than 56 cm. Arrange all the rest lengthwise. This layer of wood allows air to circulate better and allows for more even carbonization by helping the heat move down and around.
Fig. 20. Line sma( diameter of wood at the kiln oor

b. Choose straight wood c. Wood should stand vertically, with the larger end up. d. Stand the rst pieces of wood in the back of the kiln at a slight angle, leaning away from the chimney mouth (see gure 24). e. The best wood should go in the back of the kiln. f. Load the thickest pieces of wood in the middle. g. The wood loaded in the front can be a 50-50 mix of good and trash wood (wood that is not straight, etc.) because it becomes ash.
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Put at the center
Load best wood in this middle
Fig. 21. Wood loading, put upside-down, best wood placed closed to chimney
h. Choose 2 pieces of average size wood to be control pieces to test the carbonization rate. Mark them both with saw cuts, measure their weight, length, and circumference in the middle. Place these two in the center of the kiln. i. Once the standing wood is in, begin laying long pieces of larger diameter wood across the top (see gure 23). Then cover them with smaller diameter pieces while maintaining the dome shape, since this will be the inner surface of the kiln ceiling. The top of the dome must be exactly 136 cm from the kiln oor. j. Cover with grass (about 3 cm thickness) then jute bags or any kind of sheet material. k. Then ll in to shape the ceiling with 2-3 cm diameter of wood, 10, 20, and 30 cm long. l. Shape the ceiling carefully so it is smooth and no large pieces are sticking out.
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Fig. 22. Fi( to dome shape ceiling with sma(er woods, twigs, etc.
Fig. 23. make the ceiling into a dome shape and cover with grass and jute bags
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F2. Soil mixture preparation and testing for kiln ceiling

a. Soil mixture Choosing the correct soil and mixture for the ceiling is very important. The inside ceiling surface temperature reaches 750 - 800C. If the mixture is not heat resistant, the ceiling will crack. The best mixture is re-proof, sticky (cohesive because it doesnt decompose during heating and doesnt fall apart), hard, and economical. If good clay is not available locally, it can be substituted by the mixture of 50% baked soil and 50% fresh soil. A small amount of cement can be put into the mixture (maximum 6%). Sand and ash can also be added in adequate volume. b. Soil mixture testing The mixture must rst be tested. The mixture test is conducted at around 850C or by testing on an open bed of burning charcoal. The test should be done as follows: Use a tennis ball size sample (around 5-6 cm diameter) and bar shape (1 X 2X 12 cm) and mark it with a 10 cm grove line. The sample must be fairly dry. Burn at a temperature above 500C for at least 60 minutes. Drop it from a standing height to a normal hard soil surface. If it doesnt break, its OK. Measure the shrinkage of the bar shape sample. If the shrinkage is less than 3% it will be ne.
Fig. 24. Drop & shrinkage test
c. If cracks occur. Cracking is often occurred by soil shrinkage. There are two types of kiln soil shrinkage: Dry shrinkage Water evaporates at 100C, which causes shrinkage. Heating shrinkage (dissolving) This happens during charcoal making above 500C, when some chemical compounds are lost.
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d. Types of cracking Cracking after rst shrinkage, at 100C, is due to a loss of water, and can be patched by stamping Cracking after the second shrinkage, at 500-600C, can be repaired by adding new material (mud mixture). If cracking is very bad after the second shrinkage, the ceiling may need to be hung, and the cracks lled with a mixture of clay and ash
Fig. 25. Types of kiln ceiling cracks possibly occured
If cracking is vertical, then the ceiling is still OK (see illustration). If rings or horizontal cracks occur, this is very dangerous. The ceiling may fall, so it must be hung. These severe cracks may be caused by a poor clay mixture, poor stamping, and/or a temperature rise that is too rapid. Soil or sand with lots of calcium or lime should be mixed with baked bricks and baked at 500-600C. Calcium should burn away but this soil should only be used on the outside walls of the kiln, away from the re/charcoal
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d. Hanging the ceiling. This is necessary only if the kiln is large and/or the ceiling is in danger of collapsing. Make an iron cross out of 30 cm pieces of iron rod 1.5 cm in diameter. From the cross section attach a hanger out of the same material, about 60 cm long. Install the cross 1 cm from the inside surface. At this point, the temperature can reach 350C and it is safe for iron bar. If installed on the inside surface of the ceiling, cover the cross with clay/soil to protect it.
Fig. 26. Ceiling hanger made of iron rod
Install a pair of posts (3m in height), one on each side of the kiln. Connect the tops of each post to a strong bar. Then connect the hangers to the bar with a piece of strong wire. If necessary, more than one post can be installed on each side of the kiln.
F3. Stamping
When all material for the ceiling is ready, the ceiling construction can begin. Make sure the work can be nished in one day. Stamping and maintaining the thickness on every section of the ceiling, as well as the shape, requires careful attention. Add the mixture on top of the wall, about 6 cm thick. Stamp well until it is 3 cm thick. This must be done layer by layer, moving around and following the kiln pattern. The next layer can be started when the rst layer is nished, well stamped, and compact. To control the thickness of the ceiling, use a small iron stick to measure the thickness periodically and frequently. (see gure 29). Stamping direction should be done as shown in gure 29 to achieve a strong ceiling. To nish this work in one day usually requires 8-10 people. The day after the ceiling is build, stamping needs to have a more compact surface, using a smaller stamper. To mark the top of the ceiling, hang a stone on a small wire just above the top (highest point) of the ceiling.
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Fig. 27. Kiln ceiling is completed
F4. Another technique to insta( the dome

To make the dome of the Iwate kiln, there are several different techniques used in Thailand and the Philippines: 1. For attaching the bricks This technique has been used successful in Pakchong, Thailand. This technique uses raw, unred bricks. The size of the bricks should be around 25 x 18 cm and about 5 cm thick. The raw bricks can easily be shaped as necessary using a large knife blade. It may be necessary for some bricks to have a pointed shape so that they can be stacked in a circle. Arrange the wood and twigs on top of the kiln to form a dome shape. It will become the mold for the dome shape. The glue used to attach the bricks together should be clay; the same substance the bricks are made from. This is to make sure that the shrinkage factor will be uniform throughout the structure. However, the section above the kiln mouth should be made with refractory bricks supported by an iron elbow.
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Re"actory bricks are used for the upper part of the kiln mouth. An iron elbow is used to support the bricks
Raw bricks are stacked along the desired contour. The bricks are glued together with clay the same clay used to make the bricks. Some bricks wi( need to be cut with a knife to form the curved shape of the dome.
Stack the bricks until they reach the top of the dome.
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2. For iron reinforcement: This technique has been used with satisfactory results in Pontianak, Indonesia as well as Davao, Philipines. Materials used include 10 mm diameter reinforced steel and wire mesh. Basically, the reinforced steel is arranged to form a frame in the shape of an arch. Then the wire mesh is attached to the frame. To provide a smooth shape for the dome, use the following steps. Arrange a pile of wood and twigs on top of the kiln and cover it with a sheet of plastic or jute sacks that have been sprinkled with water to make them more exible. Then spread ne sand on top of the plastic sheet or jute sacks. Using a trowel or thin board, shape the layer of sand in an arch. It will later become the mold for the Iwate kiln dome. After that, place the iron frame with wire mesh on top of the pile, so that it is ready for wet cement to be poured on top. Use castable cement with specications appropriate for the temperature that will be reached inside the kiln.
Iron Reinforcement
Arrange a pile of wood and twigs in a circular shape
Cover the pile with a plastic sheet and then cover the sheet with damp paper. After that spread nd sand on top. Smooth and shape the sand to form the desired dome shape. This pile wi( function as the dome mold.
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A metal "ame that has been reinforced with wire mesh is attached above the dome.
Castable cement is then spread on top of the metal "ame.
Shape and smooth the surface of the dome
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G. Mouth of the Kiln

Construct the mouth of the kiln with bricks or stones, and carefully adhere to the dimensions given above (see illustration). The mouth has two holes Wood fuel is added through the top hole, which must be kept closed. The size of the hole depends on the size of the wood used. The bottom hole allows air to enter. Airow should be controlled at this hole.
Fig. 28. Front view of kiln mouth
H. Maintenance
Construct the mouth of the kiln with bricks or stones, and carefully adhere to the dimensions After the kiln has been completely built, it will need continual maintenance. Building a kiln may consume a certain amount of investment and labor. For some areas, the traditional kiln introduced in this manual may not be affordable. Proper maintenance will ensure that the kiln can be operated for a long period of time. To maintain the kiln, follow the guidelines listed below. Always build a shelter to cover the kiln to protect it from rain and direct sun. Always prepare good drainage around the kiln to protect it from oods caused by rain water. Choose a location for the kiln away from heavy trafc to prevent people from walking around it. Keep the working area around the kiln tidy. All the equipment and tools to support the operation should be placed properly. Patch all cracks and holes that appear. Never wait until the cracks become wider as it will be very difcult to repair.
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Kiln Operation
Good kiln operation is another key to high quality charcoal. A good charcoal producer can te( "om the smoke what level the carbonization process is at, and how to adjust the chimney and feeding mouth accordingly. The temperature in the chimney also helps a charcoal producer control the kiln temperature accordingly. Knowing how much the chimney or mouth should be opened or closed is the art of the charcoal maker and requires a lot of experience. If the holes are too open, carbonization wi( happen too fast and the charcoal produced wi( have lower quality and lesser quantity. On the fo(owing page is a chart with the kiln temperatures and corresponding su2ested opening for both the chimney and the feeding mouth.
A. Taking the temperature 10 cm below the chimney outlet, measure the chimney temperature with a normal thermometer Place a recording note book and a writing pad close to the chimney to note the temperature of the chimney every hour. B. Smoke. The smoke will change in character during different stages of the carbonization process. Early on the smoke is white and billowing, and will disappear 1-2 cm above the chimney hole. As carbonization starts, the smoke becomes thinner, more continuous, and long. It will drift 1530 meters from the chimney before it disappears. As carbonization continues towards completion, the smoke becomes thinner, dark blue, and transparent.
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A. Firing and Control

A. Ignition begins in the lower hole of the kiln mouth, with the chimney totally open (refer to the chart). Cover the chimney hole with bamboo or rattan basket to protect it from wind for around 7 hours. Simply add starter wood and a little kerosene to get the re going, especially in the rst 30 minutes. During the rst days, because there is still a lot of water, the smoke will be billowing and white. The smoke temperature is around 60C. B. The most important temperature is when the chimney temperature reaches 78C. At this point, temperature should be controlled and gradually raised to 82C by slowly opening the chimney over a period of 6 hours. This is when carbonization starts and should occur around 30-48 hours after the ignition. At this stage, the taste of smoke should be bitter and drift 15-30 meters away from the chimney before it disappears. C. After the carbonization has started, gradually close the chimney again. Add some fuel wood for the last time and slowly adjust the kiln mouth. Let the opening of the kiln mouth be as high as a four nger gap.
Since wood is already burning on its own, there is no need to feed fuel wood any longer. Keep this process up to the next morning. When closing the chimney, always close from the front section backwards so as not to disturb the ow of the exiting smoke. Close the chimney three quarters or less but make sure the temperature is not higher than 82C.
Fig. 29. Temperature taking and ceiling monitor stone
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The Iwate Black Charcoal Kiln D. When the ceiling is completely dry, around 150C, some cracks may appear. If this happens, immediately mend with mud and a trowel, but do not stamp the ceiling too hard. At this stage observe the shrinkage of the kiln ceiling by measuring the distance between the hanging stone. If the shrinkage is more than 10 cm, just stop ring by closing the chimney and kiln mouth totally. After is has cooled down, reconstruct the kiln ceiling. E. By the next morning, if the temperature has dropped below 80C, simply add more fuel wood to raise the temperature. If necessary, widen the chimney opening little by little. However, if the temperature rises above 82C, close the chimney hole again gradually. After the temperature becomes stable on 82C for 12 hours, then the air hole on the kiln mouth should be adjusted to a three nger gap opening, and remain that way until the next morning. If the temperature reaches 120C, reduce the chimney opening slightly to prevent over-burning on the inside of the kiln. At this stage the kiln mouth opening must have a one nger gap opening (around 19 X 2 cm). F. During the rst ring, when the chimney temperature reaches 150C, closing the kilns should be anticipated.
The smoke will become blue and thin. After several hours, when smoke that is 15-20 cm above the chimney becomes transparent, it is time to close the kiln. When closing the kiln, the chimney and mouth are opened completely, causing a lot of smoke at rst, then slowly clearing and becoming transparent. After 1 hour, close the mouth again causing thin smoke to appear. After another hour, close the chimney. At this point, the kiln is totally sealed and carbonization is complete
G. If the temperature reaches 150C on the second and following operations, anticipate closing the kiln. The temperature will increase every hour up to 300C, then the rening process can begin. First, start by opening the chimney to 6 X 12 cm and leave it for 1 2 hours. Repeat these steps until the chimney and kiln mouth are totally opened. Some charcoal producers wait for more than 1 hour after full opening before closing the mouth, and up to 4 hours before closing the chimney. This is because when the mouth is closed, the temperature inside becomes more balanced. This is the process of rening.
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To do this, open all holes just before closing them completely. This causes Oxygen to enter and the temperature to rise very high. Because of the increased combustion, the front wood becomes ash and supplies heat for the middle and back of the kiln. Because gas is produced by opening all the holes, the front is closed. The gas circulates on its way out of the chimney, helping the carbonization process of the wood on the ground which has not carbonized yet. The temperature at the top of the kiln drops from 800 to 600C and the temperature at the bottom rises from 400 to 500C. This balance means that more complete, even, and thorough carbonization is taking place. The longer this balance is maintained, the better the quality of charcoal produced. For the rst ring of the kiln, the temperatures and smoke description given in the table might not hold true. This is because the kiln is still wet. For example, during the rst ring, at 150C, the smoke may already be thin and blue. But during normal operation, after 4 to 5 rings, the temperature should be around 250C.
Fig. 30. Maintaining kiln operation
43
Fig. 31. Opened and closed kiln
Important
In the newly constructed kiln, the rening process wi( usua(y cause cracks in the ceiling. If a crack is wider than 1 cm, stop the process. A crack should be mended. Sometimes, rening can be made we( after 4-5 ring operations.
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45
B. Opening the Kiln and Unloading the Charcoal

A. After cooling the kiln for a sufcient time, check inside the door to make sure the burning has completely stopped.
Open the door slightly to check if there are any live coals If there are many live coals, recluse and wait a few days while repairing all the cracks. If there are only a few, extinguish them with a little water, but do not use too much.
B. If and when the coals are dead, leave the mouth open for a few hours to release the poisonous gases.
Prepare some water Listen for the cracking sound of the charcoal inside the kiln and feel the heat inside the kiln with your hand.
Fig. 32. Unloading the charcoal
C. The burnt clay from the mouth of the kiln should always be collected in a box for use in the next ring. This clay should be mixed well with water and a little ash and put back. Burnt clay should also be used to repair cracks. D. After taking out the charcoal, it should not be stacked higher than 15 cm
It is always better to spread it out, but keep it away from ammable materials Always check the charcoal to make sure its not burning Sort the different types of charcoal, i.e. broken, whole, dust, etc.
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C. Yield Calculations
A. Recover the standard wood from the kiln carefully. B. Measure the standard wood weight diameter, length after ring, and compare it to the pre-ring gures. C. Calculate the shrinkage as a percentage of the original. In Japan, the average is: shrinkage in length 10-15%; shrinkage is diameter 35-40%.
Fig. 33. Yield calculation and packaging for further storaging or marketing
D. Reloading for the Next Cycle

After the rst cycle of charcoal production, it can be continued with the next cycle. The second cycle does not need any complicated work, just loading the wood and ring control. The loading for the second cycle (and the following) are different from the rst ring in a newly constructed kiln. They are as follows: Clean the chimney holes and kiln oor from dust, ash, and other material Repair the inner surface of the kiln and patch them to get a smooth surface wall, oor, and ceiling. To stick the patch, moisturize the groove/crack with a little water When the kiln is ready for loading, lay a small diameter of wood (3-5 cm) lengthwise as the base for the other wood to stand on, and to facilitate air circulation Load the wood one by one, stand them in the kiln, and arrange as previously mentioned
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To ll the space between the top end of the wood and the ceiling, use bent or undersized wood, or whatever is available. This part will mostly become ash during carbonization After reloading is completely done, prepare the fuel wood in the front-most section of the kiln for ignition purposes Close the kiln mouth using bricks or stone When it is ready, the next cycle of charcoal production can be started by igniting the fuelwood.
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How to Make and Operate The Iwate and The Y oshimura Black Charcoal Kiln

The Iwate Black Charcoal Kiln

How to Make and Operate Black Charcoal Kilns

ARECOP - Asia Regional Cookstove Program

The Iwate Black Charcoal Kiln

Asia Regional Cookstove Program Yogyakarta, Indonesia 1994

ARECOP - Asia Regional Cookstove Program

The Iwate Black Charcoal Kiln

IV. Construction of the Iwate Kiln

ARECOP - Asia Regional Cookstove Program

The Iwate Black Charcoal Kiln

ARECOP - Asia Regional Cookstove Program

The Iwate Black Charcoal Kiln

A. Charcoal and Charcoal Making: Background

ARECOP - Asia Regional Cookstove Program

The Iwate Black Charcoal Kiln

B. Improving Traditional Charcoal Making

ARECOP - Asia Regional Cookstove Program

The Iwate Black Charcoal Kiln

Preparing for Production

ARECOP - Asia Regional Cookstove Program

The Iwate Black Charcoal Kiln

ARECOP - Asia Regional Cookstove Program

The Iwate Black Charcoal Kiln

The Iwate Black Charcoal Kiln

Iwate Kiln, Typical Black Charcoal Kiln of Japan

ARECOP - Asia Regional Cookstove Program

The Iwate Black Charcoal Kiln

Fig. 1. Technical drawing of Iwate Kiln

Fig. 2. General drawing of chimney mold

ARECOP - Asia Regional Cookstove Program

The Iwate Black Charcoal Kiln

Wood for Charcoal

Fig. 3. Wood for charcoal must be "eshly cutted

Constructionon Constructi Wood forood for Kiln W Kiln

Materials for Kiln Construction Construction Clay soil: 48 m3

Materials for Kiln

Portland cement: 3 bags cement: 3 bags Portland San 8 8 Sand: d:m3 m

Bricks: 100 pie Bricks: 100 pieces ces

Fig. 4. Tools needed

ARECOP - Asia Regional Cookstove Program

The Iwate Black Charcoal Kiln

Tools Needed Tools Needed Tools Needed

Strin String g String Spad Spade e Spade

Fig. 5. General drawing of kiln, non technical

ARECOP - Asia Regional Cookstove Program

The Iwate Black Charcoal Kiln

Construction of the Iwate Kiln

Maintanance H.G. Making the Mouth of the Kiln

ARECOP - Asia Regional Cookstove Program

The Iwate Black Charcoal Kiln

Fig. 6. Ground foundation preparation

ARECOP - Asia Regional Cookstove Program

The Iwate Black Charcoal Kiln Fig. 7. Marking the ground

ARECOP - Asia Regional Cookstove Program

The Iwate Black Charcoal Kiln

ARECOP - Asia Regional Cookstove Program

The Iwate Black Charcoal Kiln

B. Drainage Box Construction

Fig. 8. Drainage box construction

ARECOP - Asia Regional Cookstove Program

The Iwate Black Charcoal Kiln