Legacy of a Woodworking Master

Chris Zettel, a master carver at Naples’ Thomas Riley Artisans’ Guild, exemplifies the preservation of traditional woodworking in a world increasingly dominated by mass production and digital design. With 25 years at the guild by 2025, Zettel specializes in adding intricate, hand-carved flourishes to fine wooden interior accents, using tools inherited from his ancestors. His workspace at the guild is a blend of history and artistry, filled with antique tools, personal mementos, and design sketches, reflecting a deeply personal connection to his craft. Zettel, 71, differentiates his work from standard carpentry and cabinetry, focusing on architectural and decorative millwork. His creations range from modern scallops on cabinet fronts to elaborate koi fish bases for mahogany tables, and structural elements like steam-bent archways and intricate corbels. He meticulously transforms raw wood surfaces into eloquent visual narratives, often spending hours to refine just a few inches of carving. This detailed work, he notes, represents the “frosting on the cake” of woodworking, requiring significantly more time than the underlying cabinetry. His process typically involves affixing a paper pattern, often self-sketched, onto the wood and precisely chiseling around it. The guild, serving discerning clients nationwide, values Zettel’s unique skill. He recently embarked on a “once-in-a-lifetime” project in Nokomis, Florida, involving an entire room designed to replicate a 1700s British men’s club, featuring extensive hand-carved moldings, corbels, and four mermaids. In this endeavor, he collaborates with his former apprentice, Sepeideh Azin, ensuring the continuation of the craft. Zettel’s approach to his work is grounded in a practical, hands-on philosophy, influenced by his upbringing in Jamaica where traditional methods were prevalent. He expresses admiration for French Gothic cathedrals and the artisans who built them using only human power. He appreciates the independence that hand tools offer, allowing him to work anywhere without relying on machinery. He acknowledges the scarcity of his particular skill set in contemporary society, emphasizing the guild's role in maintaining these time-tested techniques. While the guild integrates technology, using computer-powered milling machines for initial stages, Zettel highlights that machine-made cuts lack the authenticity and perfection achievable by hand. Even if machines could match the precision, his decades of muscle memory ensure his hands would complete the work much faster. A third-generation craftsman, Zettel's journey into woodworking began at 13, building boats in Jamaica. After moving to Naples in 1976, he transitioned from boatbuilding to fine woodworking, joining the Thomas Riley Artisans’ Guild in 2000 under master carver Jim Boot. His early projects included decorative open books for lecterns, which inspired his creation of 'memory boxes'—carved wooden boxes designed to hold cherished mementos, often personalized with motifs reflecting the recipients' stories. Zettel views these memory boxes as small tokens of artistry and love, demonstrating his profound connection to both his craft and the stories it can tell. He is now passing down his specialized tools, including a prized set from Japanese blacksmith Takahashi Norikazu, to the next generation, ensuring the enduring legacy of this ancient art form. #MasterCarver #WoodworkingGuild #OldWorldCraft #ChrisZettel #ThomasRileyArtisansGuild #TraditionalCraftsmanship #ArchitecturalMillwork #DecorativeCarving #NaplesFlorida #ArtisanSkills

Erik Wyckoff, a professional woodcarver operating out of Minneapolis for 28 years, specializes in creating bespoke wooden elements that add unique character and timelessness to homes. His interest in wood carving began in childhood, inspired by the intricate details of historic homes like the James J. Hill House. Wyckoff's parents encouraged his passion for traditional craftsmanship, leading him to pursue formal training. He honed his skills under the tutelage of master carver Konstantinos Papadakis, who passed down artistic, historical, and practical knowledge, including tool handling, carving efficiency, and the fundamental decorative styles. Papadakis's instruction covered various motifs such as birds, flowers, grapes, and the scrolling acanthus leaf, which forms the basis for numerous historical carving styles. This comprehensive training has enabled Wyckoff to undertake a diverse range of projects, from Italian-style wine cellar doors and French mantels to Black Forest-style mantels for rustic cabins. Wyckoff's portfolio includes notable projects such as a Renaissance-Revival-style carved paneled study featuring hidden loons, deer, and beavers, inspired by the Minnesota State Capitol. He also replicated missing wood carvings for the restoration of the Donaldson Mansion in Minneapolis and created a French-style relief carving over a door in Medina, incorporating the owner’s industrial symbols. Wyckoff places significant emphasis on research, drawing inspiration from historic decorative arts ranging from medieval churches to French tapestries, ensuring historical accuracy and a sense of permanence in his creations. Among his favorite projects are the doors and panels for a Maplewood home's wine cellar, which were inspired by France's Château de Chambord, designed to immerse the owner in a French aesthetic. This project also included a unique bar top under glass, carved with mythical beasts and foliage, conceived as a conversation-starting "cabinet of curiosities." Another deeply sentimental piece involved a carved panel with vines and a pair of cardinals for an older couple, symbolizing their lifelong partnership. Wyckoff collaborates frequently with design professionals, integrating his custom carvings, which often feature Old World decorative art motifs like animals, flowers, and scrollwork, seamlessly into the overall architecture and interior design. He ensures historical accuracy and tasteful integration, often being part of a larger design team to achieve the client's vision. Clients like Steve and Susan Rudolph of Orono attest to Wyckoff's ability to create custom pieces that perfectly match existing architectural details, as demonstrated by the eight unique willow corbels he carved for their Spanish Revival home's entry gallery. These corbels not only highlighted the groin vault ceiling but also subtly incorporated the initials of each family member, adding a personal touch while maintaining historical consistency. Wyckoff expresses profound satisfaction in knowing his work brings joy and lasting beauty to clients' homes. #Woodcarving #BespokeDesign #InteriorDesign #CustomCraftsmanship #HomeDecor #ArtisticWoodwork #HistoricalAccuracy #Renovation #ArchitecturalDetails

Chris Yates, through his East Wood Trading Company, specializes in creating unique wood products for luxury interiors, including homes, yachts, and private jets. His work is characterized by an intricate understanding of wood and an artistic yet pragmatic approach. The company is renowned for its preservation of unique wood products, attracting a clientele seeking exceptional craftsmanship. Yates's workshop, described as a Harry Potter-esque apothecary, houses thousands of natural liquids, powders, and emulsified pigments he has developed to create custom wood finishes. He has spent nearly a decade perfecting these techniques, drawing inspiration from European artisans who have guarded such methods for centuries. Unlike conventional wood refinishing processes that often involve harsh chemicals, East Wood Trading focuses on sustainably sourced, meticulously hand-finished wood that tells a story and is free from harmful off-gassing. His expertise extends to personally selecting source materials, often taking architects, designers, and homeowners on trips to retrieve wood from old structures. Notable projects include using sunken cypress logs from the Industrial Revolution era and a 10,000-year-old bog oak. Yates’s commitment to quality ensures that each piece of wood is treated with the utmost care, designed to last for generations. Yates’s connection to wood art and craftsmanship traces back to his grandfather’s footsteps in Germany’s Black Forest. He explores nature for colors and materials, emphasizing the importance of the source and environment in achieving specific finishes. Born in Maryland, Yates grew up on a farm, splitting wood and driving tractors. His family's Nantucket roots are strong, with his uncle founding Yates Gas in 1973. Chris Yates, alongside Linda, later founded East Wood, initially focusing on reclaiming high-quality antique materials from old factory buildings and barns in states like Pennsylvania, Virginia, and Maryland. His global network and fascination with Old World techniques and sustainable practices have further shaped his approach. Yates traveled to Europe to study advanced finishing techniques, which he found lacking in the United States. His research delves into the molecular and cellular structure of trees, particularly oak, and how environmental stressors, like cold conditions, influence the wood’s defense mechanisms and tannin production, which are crucial for natural finishes. Despite the high demands of perfectionist clients, Yates adopts a Zen philosophy, embracing the wabi-sabi concept—finding beauty in imperfection. He acknowledges that every tree and board is unique, possessing natural scars and fractures that designers often wish to conceal. However, Yates believes these imperfections are integral to the wood’s history and character, reflecting a deeper aesthetic value where "the cracks are where the light shines in." #WoodArtistry #LuxuryInteriors #SustainableWood #HandcraftedFinishes #ChrisYates #EastWoodTrading #WabiSabi #NantucketCraftsmanship #ArchitecturalWoodwork

This article highlights the enduring appeal of hardwood furniture amidst the emergence of new materials in design. While acknowledging innovations like bioplastics and vegan leathers, the piece emphasizes that skilled and creative woodworkers can transform traditional materials like teak, walnut, and oak into long-lasting, heirloom-quality pieces using only their tools and workshops. The focus then shifts to showcase several custom wood furniture makers in Toronto and the Greater Toronto Area (GTA) who excel in crafting these enduring designs. Five distinct pieces of furniture are presented, each demonstrating different styles, materials, and price points. The first featured item is Daniel Gruetter’s bar stool, crafted from red oak. When treated with iron oxide, the red oak develops a unique ruddy, patinated complexion. Gruetter combines this material with mortise, tenon, and an upholstered seat to create a bar stool designed to be an heirloom, priced at $2500. Next is Nicholas Hamilton Holmes’ Captain’s dining table, which features a rounded design and pin and tenon joints that playfully extend through a marble tabletop. Made from white oak, this table, starting from $3700, offers a commanding presence while maintaining a lighthearted aesthetic. Heidi Earnshaw’s Half Hathaway is the third item, a made-to-order piece distinguished by its minimalist appearance, bevelled legs, turned knobs, and straight-lined design. Despite its seemingly simple form, the piece incorporates complex joinery, showcasing the hidden craftsmanship. It is priced from $5400. Atelier Arking’s Lami dining chair is highlighted for its contrast between a rigid white ash frame and soft, pillowy leather upholstery. This chair, starting from $620, is designed to serve both as a functional everyday seating option and a striking statement piece. Finally, the article features Kate Duncan’s Ribbed Bed. Inspired by brutalist architecture, this bed, however, uses textured hardwood instead of cold concrete. It can also include optional details such as brass pulls and leather-veneered fronts, and is available from $18,000. Each piece underscores the timelessness and quality achievable through traditional woodworking techniques. #CustomFurniture #Woodworking #TorontoDesign #HeirloomQuality #ProductDesign #HardwoodFurniture #LocalMakers

This article outlines the extensive range of timber products offered by Wickes, catering to various home renovation and garden landscaping projects. It emphasizes Wickes' reputation for supplying high-quality timber, including softwood, sawn kiln-dried, sawn treated, and studwork timber, all designed to provide flexibility and strength for a lasting finish, whether used indoors or outdoors. The article categorizes the timber products into several key areas, making it easier for customers to find specific materials for their needs. The range includes various timber supplies such as wall panels, all-purpose timber, trade timber, and planed square edge (PSE) timber, which are essential for structural and finishing work. Mouldings are also highlighted, offering decorative options for interior spaces. For outdoor projects, the article features garden and outdoor fencing, garden and railway sleepers, and timber decking boards, providing materials for constructing fences, raised beds, and outdoor living areas. Additionally, specialized timber products like wooden floorboards, skirting boards, shiplap cladding, timber scaffold boards, and timber roof battens are available for specific construction and renovation tasks. Cladding options are detailed, including exterior timber cladding and interior timber wall cladding, catering to both external weather protection and internal aesthetic enhancements. The article also covers various timber-related accessories and fixings, such as window sills and boards, staircase parts, joist and truss hangers, brackets and straps, and different types of timber fixings like multipurpose screws, exterior timber screws, and joinery nails. These supplementary products ensure that customers have all the necessary components for secure and effective timber installations. The goal is to assist customers in selecting the appropriate timber and associated materials for building furniture, erecting sheds, or undertaking comprehensive home renovations, ensuring their visions are brought to life with durable and high-quality supplies. #TimberSupplies #BuildingMaterials #HomeRenovation #GardenLandscaping #Woodworking #DIYProjects #ConstructionTimber

Robert Greene, known as Bob and affectionately called Hugger by his Bonacker friends, is a renowned decoy carver residing in Springs. His exceptional skill elevates decoy carving to a museum-worthy art form, as recognized in Harvey J. Lewis's book, “Artistry of Louisiana Decoy Carvers: Old and Contemporary.” Greene's masterpiece, a life-size red-tailed hawk, demonstrates his meticulous attention to detail, having taken him 550 to 600 hours to carve. This piece, complete with a chipmunk emerging from a stump and intricately carved oak leaves and acorns, showcases his ability to transform a block of wood into a lifelike sculpture. His home is a testament to his artistic passion, featuring taxidermied animals, his own vibrant landscape and animal paintings, and display cases filled with carved ducks like red-breasted mergansers, green-winged teal hens, and mandarins. Greene's creative process begins in his shed, where he carves the wooden forms, and continues in his basement workshop, where he applies paint. Both spaces are filled with a mix of taxidermied birds he has hunted and his own carved creations, covering nearly every surface. His tools range from band saws for rough cuts to fine-pointed wood burners and Gesswein devices with tiny diamond drill bits for intricate feather detailing. He employs gesso for priming and an airbrush for blending colors, often adding bright dashes of color to secondary feathers, such as the green in a green-winged teal. Greene also crafts “smoothies,” decoys that achieve texture through painting rather than carving. His current project, a group of six lesser yellowlegs, exemplifies his progression toward photorealistic detail, a stark contrast to his earlier, blockier sanderling carvings. He studies books to accurately capture bird outlines, colors, and textures, creating practice pieces like individual duck heads. Decoy carving, an art form originating over 2,500 years ago with Native Americans, now encompasses two main categories: hunting decoys and decorative decoys. Greene specializes in decorative decoys, which demand lifelike detail. He emphasizes that being a successful decoy carver requires knowledge of wood, carving proficiency, painting skills, and an artistic eye. Greene's journey into carving began during his time as a heavy equipment operator, inspired by a fellow worker. Starting with basic tools like a jackknife and coping saw, he refined his craft over five decades, becoming one of the last carvers from his local group. He participated in national duck carving shows, earning ribbons and advancing through classes, and even competed in the prestigious Ward World Championship, though he eventually withdrew due to perceived political biases in judging. Despite his achievements and the museum-quality of his work, Greene views carving primarily as a hobby. He does accept commissions, with his reputation spread through word-of-mouth, as evidenced by a recent request for a $1,500 black duck. His passion for the outdoors extends beyond carving; he started duck-hunting with his father as a teenager and, at nearly 85, continues to fish and hunt with his son and grandson. His yard contains a fishing boat, lobster traps, and a camouflage duck blind trailer, highlighting his deep connection to nature and traditional outdoor pursuits. #DecoyCarving #WoodSculpture #WildlifeArt #RobertGreene #ArtisticProcess #TraditionalCraft #HomeDecor #NatureInspiredArt

Designed & Made, a St. Paul, Minnesota-based custom woodworking shop founded by Brian Grabski, specializes in cabinetry, architectural woodwork, and original design pieces. The company's name, 'Designed & Made,' signifies its commitment to complete creative ownership, from initial concept to final construction. This philosophy is inspired by artisans who integrate design and making under one roof, ensuring meticulous attention to detail and alignment with the architectural vision of each project. The company maintains a small team of 10 highly skilled employees within its 8,000-square-foot facility. This intentional size allows for agility and exceptional quality control, while still being equipped to manage the demanding schedules of large-scale residential projects. This approach helps prevent overextension, guaranteeing that every project receives dedicated focus. Designed & Made's process emphasizes collaboration and precision, beginning with detailed discussions with architects, designers, or homeowners. The design phase involves development and 3D modeling, where proportions, details, and materials are refined collaboratively. Following approval, all engineering is performed in-house, generating precise shop drawings and CNC-ready files. Fabrication occurs on-site, integrating advanced machinery with traditional handcraftsmanship. Most projects are fully finished and assembled before delivery and installation. The majority of Designed & Made's work involves high-end residential cabinetry and millwork, often encompassing full-home packages. The company also undertakes select commercial projects that align with its values and methodology. Typically, two to three projects are active simultaneously, progressing through a linear workflow of design, engineering, fabrication, finishing, and installation. This structured approach maintains focus on quality and detail. Designed & Made offers end-to-end services, including design consulting, engineering, procurement, fabrication, logistics, and installation, enabling precise execution of complex, architecturally driven projects. The shop is equipped with two Holz-Her 3-axis CNC routers, digital modeling software (Rhino/Grasshopper/F360/Cabinet Vision), advanced spray finishing capabilities, an SCMI edgebander, a Timesavers 3-head widebelt sander, a Weinig moulder, and various other traditional woodworking tools. The company is recognized for its blend of digital fabrication and traditional woodworking, incorporating sculptural shaping, bookmatched veneers, custom joinery, and meticulous hand-finishing. Material selection is a collaborative process, involving the careful sourcing of hardwoods and veneers to ensure consistency in tone, grain, and figure, balancing performance with aesthetic requirements. Designed & Made operates as a sustainable company, utilizing FSC-certified hardwoods, optimizing material yields through digital nesting, and employing low-VOC finishing systems. The company's focus on longevity and quality inherently contributes to its sustainability strategy. Approximately 75 percent of the work involves kitchens, cabinetry, and architectural millwork, with the remaining 25 percent dedicated to specialty furniture and sculptural commissions. These unique pieces allow the team to explore innovative forms, materials, and processes, showcasing the company's capabilities at the intersection of architecture, design, and craftsmanship. A notable example of the company's capabilities is a custom pool table, displayed in their showroom. This "passion project" demonstrates Designed & Made's comprehensive skills in high-end design, digital modeling, machining, handcraftsmanship, and finishing. The pool table, inspired by a vintage Brunswick-Balke-Collender Co. table, involved extensive 3D modeling and engineering by Brian Grabski and Duncan MacLeslie. Intricate details, such as genuine ivory inlays and hand-selected mahogany veneer, highlight the team's precision and artistic skill. Adrian Bileydi-Lee executed the veneering and ivory inlay, while Paul Perrone applied a custom, hand-rubbed finish. Andy Fleischhacker, the production foreman, oversaw the entire project. This collaborative effort exemplifies the company's belief that the combined skills of multiple craftsmen can produce results greater than the sum of individual contributions. Brian Grabski's woodworking journey began in high school, influenced by a shop teacher and an inspiring experience at Classic Woodworks. His entrepreneurial father further shaped his path, leading him to establish Designed & Made in 2005. Grabski was recognized as a Wood Industry 40 Under 40 in 2016 and continues to contribute to the industry by serving on the Board of Directors for the Saint Paul College Woodworking Program, offering curriculum feedback and shop tours to students. #CustomWoodworking #Cabinetry #ArchitecturalMillwork #ResidentialDesign #Craftsmanship #CNCMachining #SustainablePractices #FurnitureDesign #DesignBuild #InteriorDesign

This blog post features an interview with England fast bowler Mark Wood, exploring his little-known passion for woodworking and timber. The article humorously highlights that 'Wood' is a nickname derived from his enthusiasm for wood, as his actual surname is Rudd. The interview delves into Wood's preferences for various types of timber and his experiences with joinery. Mark Wood identifies South American Ziricote, particularly Argentinian Ziricote, as his favorite wood, citing its beautiful variegated grain structure. He describes it as a serious hardwood, noting its modulus of rupture of 110-115 megapascals and crushing strength of around 60 megapascals. Ziricote is commonly used for furniture and musical instruments, such as guitars, but not for cricket stumps, which typically utilize European Ash. The conversation also touches upon cricket bats, where Wood expresses a clear preference for English Willow over Kashmir, acknowledging its suitability for bats despite not having a strong personal affinity for it beyond its functional purpose in his professional life. Beyond Ziricote, Wood reveals his enjoyment of working with other woods for making furniture, including Oak, Ash, Maple, and Cherrywood. He also lists Zebrano and Scots Pine in his top three, appreciating Zebrano for its alternating color pattern when quartersawn and Scots Pine for its widespread utility and aesthetic appeal as the UK's only native pine. Wood describes his woodworking activities as a hobby, mentioning that he makes items like end tables, wardrobes, and colonial-style chairs. He shares that he is currently in the process of setting up a new, larger workshop, as his old one has been converted into a gym for rehabilitation. During a tour of his unfinished workshop, Wood points out various tools, including chisels, coping saws, a Japanese Ryoba saw, and a plunge router, and mentions awaiting the delivery of a new turret lathe. The discussion also uncovers that woodworking is not an isolated hobby among cricketers. Wood mentions other players with similar interests, such as Josh Hazlewood, Travis Head (skilled with veneers), Shubman Gill (proficient in dovetail joints), and Tony de Zorzi. The interview concludes with a humorous exchange about the 'greatest Test-cricketer-cum-carpenter of them all,' identified as Xenophon Balaskas, a figure the interviewer initially fails to recognize. #MarkWood #Woodworking #CricketPlayers #Timber #Joinery #WoodTypes #CricketCulture #Hobby

The article showcases the work of Jared Abner, a 2021 Furniture Design graduate from RIT, focusing on his distinctive approach to creating furniture and sculptures. Abner's artistic philosophy is characterized by a unique combination of subtraction and addition, a process he describes as "creation through destruction." He begins by engaging in subtractive methods, such as turning, carving, and cutting raw materials, and then reassembles these modified pieces to form new creations. This methodology highlights a dynamic interplay between deconstruction and reconstruction in his design process. One prominent piece featured is a walnut and fiber rush bench from 2020. This work exemplifies his ability to blend traditional woodworking materials with contemporary design principles, resulting in a functional yet artistic piece of furniture. Another significant creation is an abstractly shaped chair crafted from stack-laminated cherry wood, also from 2020. This chair demonstrates his innovative use of lamination techniques to achieve complex forms and textures, transforming solid wood into a visually fluid structure. The intricate layering of cherry wood not only adds to the aesthetic appeal but also speaks to the meticulous craftsmanship involved in its construction. The article also presents a series of "Suspension Study" sculptures, which further illustrate Abner’s exploration of form, balance, and material interaction. "Suspension Study One" features a wood sculpture connected to a large blue ball, utilizing walnut, poplar, and milk paint from 2020. This piece suggests an investigation into equilibrium and the tension between different elements. "Suspension Study Two," from the same year, continues this theme with a wood sculpture incorporating a rope to hold a blue ball, again using walnut, poplar, and milk paint, alongside the addition of rope. The inclusion of rope introduces an element of flexibility and dynamic force, contrasting with the rigidity of wood. Finally, "Suspension Study Three," created in 2020, consists of a black sculpture where two large wood pieces sandwich a blue ball, made from ash, poplar, and milk paint. This piece explores containment and compression, with the blue ball acting as a focal point that is simultaneously supported and constrained by the wooden components. Collectively, these works underscore Abner’s versatility in transforming raw materials into pieces that challenge conventional notions of furniture and sculpture, emphasizing both aesthetic innovation and a thoughtful engagement with the physical properties of his chosen media. His portfolio reflects a deep understanding of material manipulation and an artistic vision that merges functionality with sculptural expression. #FurnitureDesign #Sculpture #JaredAbner #RITAlumni #Woodworking #MaterialManipulation #ArtisticProcess

Axos Designs, a New York-based millwork shop, has established itself as a leading provider of custom architectural woodwork, cabinetry, and interior detailing for high-end residential and commercial projects across New York City. The company, originally a small family business, has been transformed by Chris Yerolemou, a former investment banker and the son of the founder, into a thriving operation recognized for its commitment to quality and ability to meet the demands of a competitive market. Axos Designs is particularly known for manufacturing 100% of its products in the United States, a core value emphasized by Yerolemou. The firm's portfolio includes collaborations with luxury brands and establishments such as Aime Leon Dore, Kith Ivy, Giorgio Armani, Casa Cipriani, Avra Hudson Yards, and Marquee New York. These projects span a diverse range, from custom shelves and wall paneling for retail spaces to intricate interiors for upscale restaurants and residential kitchens, like an oak veneer wall for a Southampton, NY kitchen. This versatility highlights Axos Designs' capability to cater to various high-end design requirements. The company's success is attributed to its unique blend of traditional craftsmanship and modern technological integration. While skilled artisans apply finishing touches, Axos Designs also incorporates state-of-the-art machinery, such as Altendorf table saws, into its production process. This dual approach ensures both precision and the personalized care characteristic of bespoke woodwork. Yerolemou, leveraging his background in tech and finance, has made strategic investments in advanced equipment and project management systems, enabling the company to deliver projects on time and to exact specifications. Axos Designs has experienced significant growth under Yerolemou's leadership. The company is set to triple its current operational space, expanding to 40,000 square feet across two shops in Queens. This expansion includes integrating new machinery, increasing its workforce, and adopting the latest AI technology. The number of employees has grown from approximately 10 when Yerolemou took over to nearly 60, reflecting the increased demand for their services. Despite this rapid expansion, Yerolemou asserts that the company remains true to its foundational values of integrity, consistency, and excellence, ensuring that every project reflects the high standards set by his father. The firm's reputation for reliability and superior quality has garnered the trust of prominent design professionals throughout New York City. Axos Designs is currently in such high demand that it is acquiring an additional 30,000-square-foot factory to further accommodate its growth. The company's ongoing success demonstrates that in a fast-paced urban environment like New York City, there is still a significant appreciation for meticulous craftsmanship and a dedication to quality. #Millwork #CustomWoodwork #ArchitecturalMillwork #Cabinetry #InteriorDesign #NewYorkCity #LuxuryDesign #Craftsmanship #Manufacturing

The 'Connected' project, a collaboration between British furniture brand Benchmark and the American Hardwood Export Council (AHEC), emerged from the unique challenges posed by a global pandemic. This initiative brought together nine designers to create furniture pieces aimed at enhancing the working-from-home experience. A significant aspect of this project was the designers' inability to physically visit the workshop or interact directly with their creations, necessitating reliance on remote communication tools like Zoom and WhatsApp, and a considerable degree of trust in the craftspeople at Benchmark. Sean Sutcliffe, co-founder of Benchmark, highlighted the increased leap of faith required from designers in trusting the technical, visual, and sensory aspects of the craftsmanship without in-person observation. An example of the innovative problem-solving employed by Benchmark is demonstrated in Studio Swine’s chair, which required its red oak and cherry wood components to be submerged in the River Kennet for a week to facilitate steam-bending. This resourcefulness is characteristic of Benchmark's workshop, which boasts 58 skilled craftspeople. Sabine Marcelis, a Wallpaper* Designer of the Year, praised Benchmark's willingness to push creative and technical boundaries, a stark contrast to the limitations often encountered with other manufacturers. Marcelis's contribution to 'Connected' is the 'Candy Cubicle,' a maple-veneer box designed to conceal home-working tools, including her partner’s monitor, with a surprising acid-yellow interior. Sustainability is a core principle of 'Connected,' mirroring previous collaborations between AHEC and Benchmark. Designers selected from red oak, maple, and cherry—woods that represent 40 percent of American hardwood forests but are often underutilized. David Venables, European director at AHEC, explained the council's mission to reintroduce these 'unfashionable' woods to designers and consumers, thereby promoting the sustainable use of all natural resources. The project underscores how consumer choices influence forest composition, advocating for a broader appreciation of timber species beyond the obvious choices. The pandemic and the chosen materials appear to have fostered a renewed appreciation for nature among the designers. Works range from Thomas Heatherwick’s biomimicry-inspired maple planters to Studiopepe’s 'Pink Moon' chair, reflecting a collective desire to connect with the natural world. Despite a common theme of natural inspiration, each designer's individuality is evident. Maria Bruun created a Scandinavian-style table from rippled maple, while Jaime Hayon’s 'Mesamachine' showcases complex, humorous, and movable cherry wood components. Ini Archibong's 'The Gate,' an outdoor collection, draws inspiration from the Giant’s Causeway, featuring a hexagonal plinth of red oak and cherry and a green-lacquered red oak top with brass inlays. Maria Jeglinska-Adamczewska's seat utilizes barrel-making techniques for its curved form, and Sebastian Herkner designed 'Stammtisch,' a modern Lazy Susan with sliding trays made from various woods and finishes. The designers will see their completed pieces in person for the first time at London's Design Museum, where 'Connected' will be exhibited from September 11 to October 11. This exhibition marks the culmination of a project that navigated unprecedented challenges through remote collaboration, trust, and a shared commitment to design and sustainability. #FurnitureDesign #Woodworking #RemoteCollaboration #SustainableDesign #HomeOffice #Craftsmanship #DesignMuseum #HardwoodExports #InteriorInnovation

John Webster, a former commercial oil and gas diver, has transitioned into a timber craftsman specializing in Yakisugi, an ancient Japanese method of charring timber. This technique, also known as 'burnt cedar,' offers a durable, low-maintenance, and aesthetically pleasing alternative to traditional stained timber, particularly for achieving the popular black timber house look. Unlike staining, which can be harsh on wood, Yakisugi enhances the timber's natural properties, making it more resistant to insects, UV radiation, and water due to its hydrophobic qualities. Webster's journey into Yakisugi was born out of extensive experimentation. He spent approximately two and a half years in his garage developing the precise method for charring wood, a process that initially led to a serious incident involving smoke inhalation and a stay in Intensive Care. Following this, he implemented a smoke extractor system to safely continue his work. His dedication allowed him to master the technique, enabling him to produce charred timber in commercial volumes. Traditionally, Yakisugi utilizes Japanese cedar. However, Webster has found that thermally modified radiata pine from the New Zealand company Abodo Wood serves as an effective and sustainable local alternative. This adaptation makes the ancient Japanese technique more accessible and environmentally conscious in his region. Prior to his career as a timber craftsman, John Webster spent 12 years working as a commercial oil and gas diver. His work involved extended periods in confined spaces with limited human interaction, leading to unique psychological challenges. An accident that occurred at a depth of 220 meters resulted in PTSD symptoms, which he later recognized when a seemingly innocuous act like putting on his motorcycle helmet triggered a panic attack. Through resilience and recovery, Webster has overcome these challenges and can now comfortably engage in activities like scuba diving and riding his motorbike. This article highlights John Webster's remarkable career change from a high-pressure, hazardous profession to a specialized craft, emphasizing his innovative approach to traditional timber treatment and his ability to overcome personal adversity. His work with Yakisugi not only provides a sustainable and durable building material but also introduces an ancient, effective technique to a modern context. #Yakisugi #TimberCraftsmanship #JapaneseTechnique #SustainableBuilding #CareerChange #WoodTreatment #Entrepreneurship #PTSDRecovery

Wood veneers are often misunderstood and sometimes associated with cheap furniture. However, interior designers, such as Cate Caruso of Studio C, explain that wood veneers have a rich history in furniture-making and millwork, spanning over 200 years. They are not merely a cost-cutting measure but a structurally significant aspect of design, crucial for sealing and stabilizing a strong core surface like furniture-grade MDF. This process addresses the natural expansion and contraction of solid wood with temperature changes, which can compromise the integrity of furniture, especially pieces with moving parts like kitchen cabinetry or drawers. The common misconception that veneers are inherently cheap stems from confusion with laminate materials. Laminates are typically made from plastic, paper, or foil, printed with a wood grain pattern, and are prone to wear at the edges, revealing their artificial nature. In contrast, genuine wood veneers are thin cuts of real wood. The quality of veneered furniture, like any woodworking, depends on the craftsmanship. Expert millworkers ensure seamless application with perfect corners, dispelling the notion that veneers are inferior. Beyond structural stability, veneers offer several advantages. They are considered an environmentally conscious option because they maximize the use of a single log by producing multiple thin sheets, with the core often made from furniture-grade MDF or other substrate materials. In certain cases, veneers can also significantly reduce costs, particularly when working with rare and expensive woods like Brazilian rosewood. Achieving a paneled room in solid rosewood, for example, would be exorbitantly expensive, making veneers a more accessible alternative. Veneers are also indispensable for specialized woodworking techniques. Book-matching, where wood grains are mirrored to create symmetrical patterns, relies on veneers cut from the same log, as finding naturally matching solid wood planks is virtually impossible. Similarly, intricate inlay arts such as marquetry and parquetry, which involve fitting precisely cut wood pieces into a surface, necessitate the use of veneers. These sophisticated applications highlight the versatility and artistic potential of veneers, demonstrating their distinction from less durable laminate surfaces. #WoodVeneers #FurnitureMaking #InteriorDesign #Millwork #SustainableDesign #Craftsmanship #HomeDecor #WoodworkingTechniques #MaterialScience

Adrian Molitor, founder of Molitor Traditional Flooring in Madison, has dedicated his career to restoring historic hardwood floors in southern Wisconsin. His work is currently focused on preserving the red oak floor at the Lothlórien Cooperative House on Lake Mendota. Molitor expresses a strong preference for older constructions, stating his aversion to new builds and a profound appreciation for the 'patina' of aged materials. He views his work as a continuation of the craftsmanship of those who came before him, referencing the intricate parquet flooring created by early Swedish woodworkers in Wisconsin. Business for Molitor Traditional Flooring thrives primarily through referrals, underscoring the quality and reputation of his work. Molitor's journey to becoming a renowned floor restorer was unconventional. As a teenager, he dropped out of high school and traveled west, inspired by the lifestyle associated with the Grateful Dead. He gained initial experience in hardwood flooring through demanding labor at a business in Tucson, Arizona, finding satisfaction in the physical work. Upon returning to Madison, he explored a career as a tattoo artist, where he developed an appreciation for traditional American designs, an aesthetic he now sees reflected in his woodworking. His approach to traditional woodworking emphasizes staying true to established forms and traditions. A significant turning point in Molitor's life occurred in 2012 when he faced legal issues related to OWI and drug charges. This period forced him to rebuild his life from scratch, leading him to sobriety. He eschewed driving for several years, cycling around Madison, paying off debts, and actively maintaining his sobriety. Subsequently, he pursued higher education, enrolling in the University of Wisconsin to study poetry and English literature at the age of 40. Despite his academic achievement, he felt disconnected from his younger peers and ultimately returned to woodworking, a field where his extensive experience could be applied. Molitor launched his company with limited resources, operating out of a Hyundai Sonata and utilizing rental equipment, but he brought 15 years of experience and a commitment to perfection. His initial clientele comprised community members who recognized his work ethic, irrespective of his past struggles or numerous tattoos. He finds profound satisfaction in his craft, particularly in the knowledge that the hardwood floors he installs or restores will outlast the individuals who commission the work. Molitor reflects on his life's trajectory with a sense of acceptance, highlighting his contributions to the community and his role as a father. He continues to encounter countless historic floors awaiting restoration, each presenting an opportunity for renewal. #HardwoodFlooring #HistoricPreservation #Woodworking #Craftsmanship #MadisonWisconsin #MolitorTraditionalFlooring #Restoration #Artisan

Muhammad Ayesh, a Milwaukee-based builder, has channeled his passion for craftsmanship into Wood Flow, a venture that creates bespoke wooden objects. Balancing his full-time commercial construction business, Firebird Construction, with his artistic pursuit, Ayesh finds therapeutic value in working with wood. He specializes in furnishing a variety of pieces, including coffee tables, charcuterie boards, and lazy Susans, often incorporating custom designs or unique elements like wood "cookies" or coffee beans embedded in epoxy. His work extends to desks, cabinets, doors, closets, coaster sets, and even a coffee cart for Nood Coffee in Chicago. The creation of a table is a multi-stage process, typically spanning two to three weeks or about 20 hours of work. It begins with cutting and flattening the wood, followed by pouring epoxy into a mold. After a five-day curing period for the epoxy, the piece undergoes further flattening and extensive sanding. The final step involves applying a non-toxic, food-safe finish. Ayesh describes the enjoyment he derives from crafting tables, considering them central talking points for a living room, and appreciates the collaborative process of bringing specific client visions to life. His journey into woodworking began after graduating from Marquette University in 2014 with an engineering degree. While working as an engineer, Ayesh took woodshop classes at Milwaukee Area Technical College as a hobby, developing his innate ability to work with his hands. He frequently assisted family members with various home improvement and artistic projects, which fostered his connection to the artistic side of handiwork and eventually inspired him to create his own pieces. Starting with smaller items like serving trays and charcuterie boards to hone his skills, his ultimate goal was always to craft tables. The COVID-19 quarantine provided an opportunity for Ayesh to dedicate more time to his woodworking, experimenting with different types of wood and epoxy. This increased practice led him to move his equipment from his home garage and basement to the Milwaukee Makerspace, where Wood Flow currently operates. Although the demands of his growing family and the establishment of his own commercial construction business initially reduced his time for woodworking, a partnership in Firebird Construction has since allowed him to reinvest more time into Wood Flow. Ayesh primarily uses cherry and black walnut wood, sourcing from local suppliers in the Milwaukee area and a mill in West Bend. A significant and sentimental source of wood for Ayesh is an olive tree from his family’s home in Palestine, planted by his great-great-grandfather. He repurposed the wood after the tree was removed, preserving its memory and giving it new life through his creations. He has also sourced olive wood from a church in California, where trees gifted from Bethlehem had been affected by a wildfire, resulting in pieces with unique, naturally charred borders that add character. In addition to custom projects, Ayesh sells his Wood Flow creations through an Etsy store. #WoodFlow #MuhammadAyesh #Woodworking #CustomFurniture #EpoxyArt #MilwaukeeMakerspace #CommercialConstruction #HomeDecor #ArtisticCraftsmanship

The traditional Japanese woodworking technique of using *kanna* (handplanes and spokeshaves) offers an alternative to sandpaper for achieving incredibly smooth, glass-like finishes on wooden furniture. Unlike Western planes made with cast-iron or bronze bodies, *kanna* are constructed with wooden bodies that support an iron cutter. This method is employed by craftspeople like Toshio Tokunaga and his apprentices, who deliberately avoid sandpaper in their furniture production. They contend that sandpaper abrades the natural grain of wood, creating an artificial smoothness that diminishes the wood's inherent characteristics. In contrast, the *kanna* precisely shaves off successive layers of wood, thereby preserving its natural appearance. A key distinction lies in the action of the tools: *kanna* blades cut, while sandpaper tears. This fundamental difference results in a superior finish from *kanna*, perceptible both microscopically and to the touch. Tokunaga, a master craftsman, not only utilizes *kanna* but also designs and fabricates his own tools, ranging from those for initial roughing work to specialized planes for fine, final shavings. His extensive collection of *kanna* encompasses a wide array of shapes, enabling him to expertly handle various contours—flat, concave, and convex—required in his furniture designs. The *kanna* technique produces a distinct finish that many consider to be more authentic and natural than finishes achieved with sandpaper. While the final appearance can be incredibly smooth, the discussion within the woodworking community often revolves around whether a true 'glass-like' gleam is achieved solely through planing or if it requires additional elements like natural oils from handling or even a minimal finish. Some experts suggest that while *kanna* provides an exceptionally smooth surface, a highly reflective, glossy finish might also be influenced by factors such as burnishing or the presence of oils, similar to how western woodworking scrapers, when properly sharpened, can achieve comparable results by shaving thin layers. The efficacy of the *kanna* finish relies heavily on the meticulous maintenance of the blades, which are regularly sharpened on waterstones by apprentices. The irons themselves are not mass-produced but are custom-made locally, highlighting the specialized nature of these tools. This commitment to traditional methods and bespoke tooling underscores a philosophy that prioritizes the natural beauty and integrity of the wood, offering an enduring finish that respects the material's innate qualities. #woodworking #JapaneseCraftsmanship #Kanna #woodFinish #furnitureDesign #handTools #traditionalTechniques #artisan