500 Tables

In "500 Tables" by Lark Books esteemed juror Andrew Glasgow selected a wide array of table styles and forms, from pieces that showcase masterful artwork to ones that feature alternative materials and aesthetic sensibilities. Published in 2009 this book features more than 300 artists.

We had the good fortune of having three tables selected for this publication.



This Cuff Link Table measures 12" dia and 18-1/2" high and is made of a wood called Madero Acero. The wood on the top was cut into a sunburst pattern, with the grain allowed to cascade as a waterfall down the tapered cone sides. A polished stainless steel collar separates the split cone segments.



"Solomon's Desk" measures 50-7/8" long by 18-7/8" wide by 29" high. It was crafted from a rare sampling of Narra timber that came from of the very first batch of wood to be sustainably harvested on the Solomon Islands in the early to mid-1990s. This Narra made its way into North American by way of Eco-Timber in California.



A pencil drawer with bevelled edge was discretely inset into the edge of the top.

Inside the drawer is a lidded tray made of Hawthorn and Sassafras woods. Both of these woods were used in traditional medicine for their aromatherapeutic and Ayurvedic properties. These scents accumulate naturally inside the drawer while it is closed, before being released when it is opened.



The drawer box is literally a puzzle that is fitted together by means of sliding dovetail construction. The back mitres are joined by a solid walnut dovetailed key, while the Narra bottom is set into dadoes on all 4 sides.



The finger pull inlay on the underside of the top is crafted from a special sampling of Black Walnut (Juglans nigra). It is relevant that this is located in a place that is frequently touched because Native American medicine women discovered through many generations of trial, error and observation that this wood has medicinal properties said to be conducive to healing. It was believed that simply touching this wood would release the active molecules to the surface of one's skin, where they could be naturally absorbed into the pores.

Although such claims were initially dismissed as little more than old wives' tales, these active molecules (known scientifically as ellagitannins) are currently at the leading edge of research into finding a cure for cancer.



The Whale Tail Desk was crafted from a reclaimed flitch of Macassar Ebony veneer, with the high gloss finish helping create the illusion of a Right Whale breeching in preparation for a deep dive.



An anthracite grommet in the top allows wiring to access the floor by means of a vertebrae wire management system hidden inside the lower torso of the desk. Stability is achieved by securing the desk to the floor by means of hidden fasteners.

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Diego and Inamorata Casegoods

A few years ago we received a special commission to make a custom Irenic Bed out of East Indian Laurel. In addition to the bed the clients were keen on having complementary casegoods made - namely a pair of dressers and a pair of night stands.

Inspired by the sweeping arc of the bed design we conceptualized a casegood profile that would emulate the door sweep of the Diego Humidor.

The resulting casegoods are shown below. To counterbalance the warmth of the wood we introduced the coolness of steel through the use of large polished steel pulls. Given the vibrant presence of the wood grain it was necessary to make the size of the custom pulls substantial, with the grips and detailing crafted out of black rubber.



The back of the main dresser was fully finished, which is a standard feature incorporated into all of our custom furniture designs.



The tall chest shown below was initially conceived of as a shorter dresser until a problem was discovered with how the builder proportioned the master bedroom. This unexpected glitch was quickly resolved with the suggestion that we transform the dresser into a vertical chest of drawers, thereby allowing it to fit a niche in the room.



Once again the back is fully finished.



Each of the night stands has a single drawer, with storage below for books.





In tandem with this we crafted another version of the Irenic Bed as shown below - this time out of natural Cherry. Because of the subtlety of the Cherry grain it was decided to cut the wood at slight angles to create a radiating pattern to symbolize a rising Sun.



For this commission the client requested large center drawers on the dresser, and smaller cubbie drawers on each side. Since the wood grain of the Cherry was not as intense as the East Indian Laurel, a more subdued satin nickel pull was selected.





This 7 drawer cabinet is called a semainaire, which is derived from a French word used to describe a lady's lingerie chest having one drawer for each day of the week.





One key feature of this custom piece is the discrete locking compartment that was integrated into the underside of the top. The compartment was lined in black Tuscany leather. Both the lock and hinges were plated in 18K gold.



The night stands each feature 3 large drawers...



and a fully finished back.



This corner detail shows the cascading grain pattern on the pilasters.



Inlaid into the back of each of the cabinets was a small convex inlay of a wood known as Narra. This particular selection of Narra carries a special provenance in the world of sustainable forest management because it comes from the last remaining board known to exist of the very first wood to be sustainably harvested on the Solomon Islands in the early to mid-1990s. This Narra made its way into North American by way of Eco-Timber in California.



All drawers are dovetailed solid maple, running on concealed linear ball bearing self-closing glides.



For management of various electronic devices some custom charging stations were built into each of the night stands, so that cell phones, Bluetooths, Blackberrys and digital cameras could be simultaneously stored and charged.

The power bar and excess wiring were concealed under a removeable tray that was inlaid with slots and pockets for storage.



This resulting casegoods collection is called Inamorata.

Inamorata comes from the Latin words "in" and "amore", with the loose translation being "to inspire with love".




Sustainable, Environmental, Eco Lifestyles, Healthy, All Natural, Home and Garden, Interior Design, Eco Friendly, Green Furniture, Green Furnishings, Green Designs, FSC Certified, Reclaimed Materials. Organic, LEED compliant, NAUF. CARB2, Bamboo, Natural Fibers. Non-Toxic, low-VOC, Non VOC, Natural Finishes.

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Irenic Bed - The Story Behind its Creation

Shortly after relocating our shop in 2001 I began to consider some new furniture design ideas. I was particularly intrigued with the notion of making a custom bed that would be a synthesis of all the holistic and ecological principles I was dabbling with at the time. This loose amalgam of ideas became known as the Irenic Bed.

The word irenic is Greek and means: “fitted or designed to promote peace; pacific; conciliatory; peaceful.” This seemed highly appropriate considering my underlying intent to weave together many divergent elements into a holistically balanced and restful whole.

For most of us the bedroom is the most important room in the home, with the bed being the focal point of this sacred space. Our bed is the place we turn to for comfort and refuge, and it is also here that we can find the time to think and reflect.

Our bed is the place we can be vulnerable and share intimate moments with those we love. Our bed also offers protection, and is the place we go to when we need to heal.

Because we spend about 1/3 of our lives in bed (based on the assumption of 8 hours sleep per night) it can be argued that a bed is the most important piece of furniture in the home.

An initial prototype was made in 2002 out of a dark wood called Wenge, and upon completion it was sent to Chicago for display at the Lee Weitzman showroom.



Although much positive feedback resulted in the ensuing months, it languished in the showroom for a while before finally being sold. For the next few years I toyed with the idea of making a second version of the bed, but refrained from doing so largely because it was a difficult piece to display due of the large area of floor space it covers.

And, so, the idea stalled - but I never gave up on it entirely.

Then one day in 2005 I was discussing furniture concepts with an eco-designer by the name of Jill Salisbury, when she began telling me about this amazing bed she had seen in Chicago a few years earlier. It didn't take long to figure out it was the Irenic Bed she was talking about, even though at the time she had no idea who made the piece. I was fascinated by how much the finest details of the design ended up resonating so powerfully with her. Inspired by that discussion I decided to make another version of the bed.



The second incarnation of the bed was done in natural flat cut Cherry. Slight angles were added to create a radiating sunburst effect on the head and footboards, which was meant to emulate the image of a setting and rising Sun. Beaded corner details were also set into the edges to give a gentle softening effect to the design.



The head and footboards were each constructed as heavy monolithic slabs, with the bed sides being suspended between each by way of mortised steel bed hooks that were discretely inlaid at the intersections. As an added convenience: no tools are required for assembly, and once it's together it is absolutely rigid and thoroughly grounded in place.



All wood used in the making of the Irenic Bed is FSC certified for using wood that has been sustainably harvested from well managed sources. This is verified by independent third party audit under Smartwood certificate #SW-COC-000055. In addition to being FSC certified the plywood core material is also NAUF (no added urea formaldehyde) which, in turn, makes it CARB2 (California Air Resources Board) compliant.

The glue used in our own lamination process is a Titebond product that is non-UF (non-urea formaldehyde), while the water based finish is a low-VOC (low-volatile organic compound) water based urethane from AFM that is so ecologically sound that it is doctor recommended even for those with chemical sensitivities.

It is for these reasons that the Irenic Bed is Greenspec listed at http://www.buildinggreen.com/
The Irenic Bed is also consistent with the sustainability standards set out by the U.S. Green Building Council’s stringent LEED (Leadership in Energy and Environmental Design) program, namely the MR-7 Credit for certified wood use; the EQ Credit 4.1 for Low Emitting Solvents and Materials; and the EQ Credit 4.2 for Low Emitting Materials, Paints and Coatings.

The bed as shown in these photographs was displayed with Hastens boxspring, mattress and bedding. Many consider Hastens to make the finest beds on the planet, with the bonus being that their focus on green and ecologically sound principles is consistent with our own.



As a finishing touch the back of the headboard is also fully finished. Inlaid into the back of the headboard (just below the top) is a small convex detail of wood that carries a special provenance in the world of sustainable forest management. This wood is known as Narra and it comes from the last remaining board known to exist of the very first wood to be sustainably harvest on the Solomon islands in the early to mid 1990s. This wood made its way into North America by way of Eco-Timber in California.



Inlaid into the face of the headboard (and located discretely behind the pillows) is a small ovoid shaped stone known as a Narmadeshvara Shiva Lingam. This is a Hindu sacred stone that has been ceremoniously gathered once a year from the muddy banks of the Narmada River, one of the 7 sacred holy places of pilgrimage in India.

It is an Indian belief that millions of years ago a meteorite collided with the earth at what is now the source of the Narmada River in Madhya Pradesh, a mountainous province some 300 miles northeast of Bombay, India.

The tremendous heat of the collision caused a fusion of the ambient rock and the meteoric material. Over the ages a river began to flow through this area and the combination of these factors produced the unique condition in which pieces of the fused matter, revolving in the river bed over thousands of years, take on a distinct ovoid form. The oval form is markedly different from the flatter, thinner rocks normally appearing in the riverbed.

Once a year, after the long dry season and just before the monsoon, when the river is at its lowest, the villagers, working with oxen and rope, go out into the riverbed and pull the stones from the water. The stones are then hand-polished, a large one taking several months to complete. About twenty to thirty large pieces are taken from the river each year.

Down through the ages these stones have been carefully selected from this energy centre during the dry season by a few families, trained in the art of collecting, shaping and polishing the stones to bring out the natural markings called the "yoni". The lingams are handled in accordance with ancient Vedic tradition, and are thus highly blessed.

They have been allowed to come out of India at this time because of the desperate state of the planet. The Lingams are energy generators of balance, of Soul consciousness, and healing. It is believed they are impregnated with spiritual light resonating with the fifth Chakra, or Heart Chakra; thus their particular job in healing the planet is through opening the heart, healing the pain in the heart that obscures the harmony and knowingness of the soul residing within.

It is said according to the Vedic knowledge that the Lingam represents the inner being, the energy shape of the soul, or the essence of a human being. The upright egg shape represents the divine masculine energy, the power of Shiva. The marking, called the yoni, represent the divine female energy. Here is a balance of male/female, Yin/Yang, dark/light, knowledge/wisdom, the positive/negative energies unified - the wholeness of the soul, which is neither male nor female.

It is also said that by destiny everyone has their own Lingam. It is as if the signature of one's soul has been alchemically embedded in the stone down from the millenia of its making in the embrace of Mother Earth, and finally in the hands of an esoteric craftsperson. The Lingam draws out our soul qualities. As a result, it is a potent force for healing and meditation.

Typically the Irenic Bed is available in either King or Queen size, but it can be easily customized to accomodate various thicknesses and styles of boxsprings and/or mattresses. In addition we are always more than pleased to custom tailor our design to suit the needs of each individual client. The photo below shows a recently made custom version of this design which was made from a combination of stainless steel and a rare sampling of wood known as East Indian Laurel.



For this project the clients were also interested in having a matching dresser, chest of drawers and pair of night stands made to complement the Irenic Bed design. This invariably led to the creation of the Diego series of bedroom casegoods - which will be featured in the next post.





Sustainable, Environmental, Eco Lifestyles, Healthy, All Natural, Home and Garden, Interior Design, Eco Friendly, Green Furniture, Green Furnishings, Green Designs, FSC Certified, Reclaimed Materials. Organic, LEED compliant, NAUF. CARB2, Bamboo, Natural Fibers. Non-Toxic, low-VOC, Non VOC, Natural Finishes.

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The Core Stash

My wife Teresa enjoys reading a blog called Yarn Harlot, which is written by Stephanie Pearl-McPhee.

There seems to be three reasons why Teresa follows this blog:

1. Stephanie loves knitting (as does Teresa);
2. Stephanie will enjoy a beer or wine with her knitting (ditto, Teresa);
3. Stephanie writes a good blog (while Teresa enjoys reading good blogs);

At various points in the Yarn Harlot Stephanie talks about having a "core stash" of yarn. A core stash is basically a collection of yarn that is is never going to be knit - either because it is too expensive or special, or because it is so beautiful that it is not worthy of knitting.

"Core stash is the foundation of every good stash" says Stephanie. "It is inspiration. It is beautiful. It is the reason that I knit, but it is not for knitting."

How beautiful is that?

I am well aware that Teresa has her own core stash of yarn, with most of it having extreme sentimental value since it originally belonging to her Mom, before her Mom passed away.
Not one fibre of this material will ever be thrown away (not by Teresa anyway), but then again it's also unlikely that Teresa will ever knit anything with it either.

Recently Teresa asked if I too had a core stash of material.
Of course, in my case she was referring to wood.

"Um, yeah" was my reply; but it was only when I really thought about my answer that I began to realize how much wood I actually have squirrelled away.

The bulk of my "core stash" came as a result of a wood auction that took place in the early 1990s. There was a veneer company called William L. Marshall that went out of business in New York around 1991, and the bulk of its assets were picked up by a firm called General Woods and Veneers. General allowed a large volume of inventory to be auctioned off, with the proceeds going to support W.A.R.P. (Woodworkers' Alliance for Rainforest Protection). W.A.R.P. at the time was one of the fledgling initiatives playing a key role in developing what would later become the Forest Stewardship Council (FSC) in 1993.

I ended up buying over 100,000 sq. ft. of veneer as a result of this auction, with the bulk of it being East Indian Laurel, Kila-Kila, Madagascar Rosewood, Mozambique, Afrormosia, and English Oak. There was also a crate of a golden coloured, aromatic species I had never seen or heard of before. We ended up calling this wood Sabarona, but only because that was the name scrawled onto the side of the crate. Samples of this material were sent to labs and experts around the world, but no one was ever able to identify what it was.

Based on the heavy thickness of the material and the size of the flitches (up to 16' in length, and 36" wide in some cases) it was clear that the bulk of this wood was harvested sometime around the 1920s. I ended up becoming so attached to this old inventory that I soon found myself reluctant to use it on anything but the most special of pieces.

I guess this is where my definition of core stash differs from Stephanie's - namely, I will dip into my stash, but only under the most special of circumstances.

One of those circumstances came up a couple of years ago when we were commissioned by a couple in Michigan to build some custom bedroom furniture. Given their desire to have something unique and special I suggested using some of the East Indian Laurel I had tucked away in. One of the resulting dressers is shown below, and you can see how the polished chrome pulls helps to accentuate the figure of the grain.

As the FSC began to develop their sustainable forestry standards in the mid 1990s, some field testing began to take place in locations such as the Solomon Islands. Some of the very first sustainably harvested wood to come out of these beta tests was a species known as Narra. This original sampling of Narra ended up making its way into North America by way of a company called Eco-Timber in California who, in turn, shipped to us via A&M Wood Specialty.

This Narra was quickly sold out, and one of the last pieces we managed to make from this rare inventory was the Solomon's Desk shown above.

As of today there is only one board of this original Narra inventory known to exist, and it is a heavy piece of 10/4 stock that happens to reside at the very heart of my core stash. I consider this board to be particularly sacred, because for me it represents the proverbial "ground zero" of the sustainable forestry movement. It is the last of the originals.

I cut into this board very sparingly, and usually it is only to make some small inlays on very special pieces. For example, the turtle glyph inlay shown in the top of the Gentleman's Valet (below) was made out of this last remaining stock.

This Narra is used symbolically in much the same way that some engineers in Canada will wear an Iron Ring. An Iron Ring is often worn as a symbol and reminder of the obligations and ethics associated with the profession. In much the same way I will periodically use these small inlays of Narra as a symbolic reminder of the relevance of sustainability in what I do.

The Curly Birds Eye Maple used on this cabinet also comes from my core stash of wood.

(Geez, the more I write the more I realize how much wood I have squirrelled away...maybe I've got a problem. Is there an AA equivalent for wood?)

Several years ago I was visiting one of my veneer suppliers and he happened to show me an anomalous log of maple. This "freak of Nature", as he described it, was too Curly to be sold as Birds Eye, and too Birds Eye to be Curly. It was an orphan he wanted to unload, and I was only too happy to take it off his hands as the newest addition to my stash.


Finally we come to the photo below, which is of my own personal humidor. This humidor is very special to me, mostly because it is made of materials that came from my father's core stash.

(Hm, maybe I inherited the gene from him...)

The main body is of some kind of pommelle mahogany which is absolutely stunning because of its heavily quilted appearance. My father hung onto this wood because he always intended to make something nice out of it, but he never got around to doing it. Although the wood looks like some kind of pommelle sapele, the lightness of the grain seems to suggest a species other than sapele - although I have yet to figure out what it might be.

But the aspect of the humidor that is most special to me is the purfling banding that is inlaid into the faces. This banding was tucked away in my father's shop for years, because I remember seeing it around since I was a boy - so its been around forever. Over time it has developed an almost luminescent patina with age.

There has always been something special and familiar about this purfling, but I could never figure out what it was until a couple of years ago when I purchased a book called "A Marquetry Odyssey", by Silas Kopf. In the early part of the book Silas writes about travelling to Toronto in the 1970s to visit the shop of an old German marquetry master by the name of Ernest Oppenheim. Reading that triggered a boyhood memory of me making similar trips with my father to the same shop - and I'd forgotten about the place until Silas wrote about it in his book.

Therefore, it's quite likely the purfling was purchased from Mr. Oppenheim by my father, way back when.

That being said, every time I open my humidor to select a cigar I am reminded of my father and a boyhood spent around his workshop. And considering that both my grandfathers were cigar smokers, I should also point out that the ritual of smoking a stogie reminds me of them as well.

In the grand scheme of things there is much good to come out of having a core stash, and for me it is a tether to memories of the past.

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