Hundreds of layers of beech wood are aligned, combined and gently sculpted

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

The provided content offers a comprehensive overview of various wood treatment products designed for both interior and exterior applications. It highlights how these treatments can be utilized for furniture upcycling, garden protection, and general home refreshment. The selection includes essential categories such as wood preservatives, shed and fence paint, decking paint, varnishes, and wood stains. For interior projects, the article details options like undercoat and primer paints, furniture paint, cupboard paint, and specific interior wood paints. These products cater to diverse needs, from preparing surfaces for a new finish to adding a decorative touch or enhancing durability. The range of interior wood treatments ensures that homeowners can find suitable solutions for different types of wooden furniture and fixtures within their living spaces. Conversely, exterior wood treatments are showcased to protect and beautify outdoor wooden structures. Products like wood preservatives and shed and fence paint are crucial for safeguarding against environmental elements, extending the lifespan of garden sheds, fences, and other outdoor timber. Decking paint and garden furniture paint and stain provide specialized solutions for maintaining and revitalizing wooden decks and outdoor furniture, offering both protection and aesthetic appeal. The article also mentions specialized products such as wood dye, which allows for altering the color of wood while preserving its natural grain. To assist customers in making informed choices, exterior paint tester pots are available, enabling users to sample colors and finishes before committing to a larger purchase. Additionally, a wide array of decorating and painting supplies is listed, ensuring that all necessary tools and accessories are accessible for any wood treatment project. The content is organized to guide users through different product types, emphasizing their specific applications and benefits. It implicitly suggests that proper wood treatment is vital for both the longevity and appearance of wooden items, whether indoors or outdoors. The variety of products available indicates a focus on providing solutions for various wood types and desired outcomes, from basic preservation to decorative enhancements. This structured approach helps users easily navigate the extensive product offerings to meet their specific project requirements. #WoodTreatments #InteriorWoodPaint #ExteriorWoodCare #FurnitureUpcycling #GardenMaintenance #DeckingPaint #WoodStain #Varnishes #HomeImprovement

The ancient Japanese woodworking technique known as kumiko, which originated in the Asuka period (538 to 710 C.E.), involves precisely cutting thin wood slats to interlock into repeating geometric patterns. Initially used for screens and inlaid furniture panels, kumiko has evolved into a celebrated art form with its own distinct designs. This art will be featured at the 43rd annual Smithsonian Craft Show in Washington, D.C., held from April 24 to 27. The show will present the work of 120 American artists across various disciplines, with selections based on originality, artistic conception, beauty, and quality. Among the featured artists is David Gootnick, a D.C.-based kumiko craftsman. Gootnick utilizes Alaskan yellow cedar, transforming a five-foot-long plank into intricate, often less than two-millimeter-thick pieces. He emphasizes the importance of consistent wood thickness and precise angle cuts for the lattice-like designs. Gootnick, a lifelong woodworker, discovered kumiko ten years ago through online practitioners, including Australian expert Des King. He began by incorporating kumiko into cabinetry panels before creating self-contained wall art. While adhering to traditional Japanese motifs like hexagons and equilateral triangles, Gootnick adds contemporary elements such as darker redheart or Osage woods for color contrast and incorporates colorful cloth backings. He also introduces his own variations, including rosettes and lanterns, reminiscent of mission furniture. Although traditional kumiko relies solely on pressure from precisely cut angles, Gootnick uses a small dot of glue for enhanced longevity, ensuring his pieces endure for centuries. Another artisan showcasing kumiko at the Craft Show is Michael Jury from Springfield, Virginia. Jury, primarily known for his handmade Shaker- and Danish-inspired furniture, integrates traditional kumiko patterns into his cabinets and tables. He crafts basswood into small components to form the 'asa-no-ha' (hemp leaf) pattern. Jury has also used kumiko panels as sliding doors for a sideboard, backed with black momigami (kneaded paper), a piece that has received critical acclaim, including “best in show” awards at several exhibits. Gootnick notes his continuous improvement in the kumiko process, observing that a piece that once took him a month to complete can now be finished in two weeks, with a cleaner and more precise result. This evolution reflects a dedication to achieving closer to perfection in his craft. #Kumiko #JapaneseWoodworking #GeometricPatterns #SmithsonianCraftShow #DavidGootnick #WoodArt #Craftsmanship #Artisan #HomeDecor

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

The "Bolete" table series, a collaboration between Hong Kong-based architect and sculptor Henry D’Ath and design-art duo Batten and Kamp, introduces a family of limited-edition coffee and side tables. These pieces are distinguished by their mushroom-like forms, crafted from hand-carved solid wood and natural stone. The design integrates the sculptural weight typical of permanent furniture with a flexible, modular approach that features configurable, overlapping surfaces. The genesis of the Bolete series traces back to a custom commission where Batten and Kamp recognized a natural synergy between D’Ath’s carved wood creations and their signature raw stone bases. This initial insight led to the formal collaboration and the development of the Bolete collection, emphasizing a harmonious blend of two distinct material elements. Each table in the Bolete series is meticulously carved by Henry D’Ath, who allows the intrinsic patterns of the wood grain and the natural contours of the stone to guide the creation of subtly organic shapes. The wooden tops are available in two finishes: a natural, sealed varnish that highlights the wood's inherent beauty, or a glossy black finish achieved through layers of calligraphy ink. The choice of wood for the tops is Camphor, a variety prevalent in China and Japan, known for its aromatic properties and natural insect-repellent qualities. For the bases, raw Taishan Granite stones are used. These stones are culturally significant, often featured in Zen gardens, and are admired for their grey-white hues, reminiscent of the dramatic Karst Mountains. Each granite base is individually sourced and intentionally left untreated, ensuring that every table possesses a unique character. The collaboration is deeply rooted in the shared heritage and mutual admiration among Alexandra Batten, Daniel Kamp, and Henry D’Ath, all originally from New Zealand but now working together in a Hong Kong studio. This shared background is reflected in the design philosophy, which embraces natural materials, robust forms, and simplicity—elements integral to New Zealand aesthetics—while also incorporating local materials and subtle Zen influences. Alexandra Batten describes the collaboration as effortless, stemming from a lifelong connection and shared artistic vision. Initially launched as a side table in 2023, the Bolete series has expanded to include coffee tables. The modular nature of the design is key, allowing for diverse configurations and sizes through the arrangement of overlapping surfaces, which enhances the collection's adaptability and aesthetic appeal. The tables are produced in limited editions, with eight pieces plus four artist proofs available per configuration, highlighting their exclusivity. Plans are underway to exhibit the series in major art and design hubs, such as New York or Paris, in 2025, further solidifying its presence in the global design landscape. The project was submitted through a DIY submission feature, reflecting a direct engagement with the creative community. #FurnitureDesign #Woodwork #StoneCraft #TableDesign #ModularDesign #LimitedEdition #DesignCollaboration #NaturalMaterials #HandCarved

Bolefloor is a company specializing in natural wood floorboards designed to offer a more organic and distinctive appearance compared to conventional straight-cut flooring. The company asserts an environmental benefit, claiming their manufacturing process utilizes more wood per plank than traditional methods, while still offering competitive pricing. These unique floorboards are engineered to fit together seamlessly using a tongue-and-groove system, ensuring a secure and tight connection. The manufacturing process involves advanced Homag woodworking machinery and natural-edge visual identification technology, which scans the wood to meticulously avoid imperfections such as knots and sap. This precision cutting technique is central to Bolefloor's ability to produce their signature non-straight planks. The available wood species for Bolefloor products include oak, maple, ash, walnut, and cherry. The floorboards are consistently produced in specific dimensions: 3,000 mm in length, with widths ranging from 150 to 300 mm, and a uniform thickness of 21 mm. This standardization ensures compatibility and consistency across their product lines. Currently, Bolefloor products are distributed exclusively in European countries. However, the company has announced plans to expand its market reach to North America in the near future, indicating an intent for broader international presence. The unique aesthetic of Bolefloor, which deviates from typical linear flooring, is intended to replicate the natural flow and contours found in wood, offering an alternative design choice for interior spaces. The environmental claim of higher wood utilization suggests an approach focused on minimizing waste and maximizing the use of raw materials in their production cycle. #Bolefloor #NaturalWoodFlooring #Floorboards #SustainableBuilding #WoodDesign #HomeImprovement #InteriorDesign #GreenBuildingMaterials

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

The London design gallery Béton Brut is currently showcasing the 'Low Collection,' a series of sculptural, curved furniture pieces crafted from solid oak, conceived by Benni Allan, founder of EBBA Architects. This collection, comprising a low seat, a high seat, a two-person bench, and a low table, is on display at the gallery from May 25 to July 8. Allan's design philosophy for the Low Collection is rooted in exploring diverse global sitting practices, drawing inspiration from his personal experiences in China and Spain, and his travels in Japan. The collection aims to challenge conventional notions of seating by offering objects that encourage various modes of interaction, rather than dictating a singular use. Each piece is designed to prompt users to engage with them in a specific way, moving beyond the traditional functions of a chair or table. Crafted from high-quality, kiln-dried oak, the furniture pieces undergo a meticulous production process involving a specialist CNC machine to achieve precise geometric forms. The designs uniquely blend specific curvatures with rigid horizontal or vertical lines. A notable aesthetic feature is the distinct grid pattern created by the end grain of the wood where cross-cuts have been made, highlighting the material's natural beauty. Allan emphasized the transformative quality of the oak, noting how the material's appearance significantly alters based on its geometry. Despite their solid construction, the geometric precision imbues the pieces with a sense of softness and refinement. This approach aligns with Allan's reputation as a rising figure in architecture, known for his innovative use of materials and resourcefulness, as demonstrated in earlier EBBA projects like the Construction Skills School and an apartment refurbishment in Bow. The Low Collection was initially a personal endeavor for Allan, with no immediate plans for exhibition. However, Sophie Pearce, the founder of Béton Brut, recognized the unique appeal and potential of these designs. Béton Brut, typically focused on vintage pieces from the early to mid-20th century, made an exception for Allan's work, a testament to its perceived quality and distinctiveness. Pearce lauded the collection, drawing parallels to iconic works such as Axel Einar Hjorth’s Utö stool from 1932 and Lina Bo Bardi’s side chair for the SESC Pompéia from 1980, underscoring the contemporary relevance and timeless quality of Allan's oak furniture. #BenniAllan #LowCollection #BétonBrut #OakFurniture #SculpturalDesign #FurnitureDesign #ContemporaryDesign #EBBAArchitects #DesignExhibition

Wood surfaces add warmth and a welcoming feel to spaces without overwhelming other materials, making them a timeless and neutral choice in design. Madera, a US-based wood design studio founded in 2012, specializes in creating wood flooring, millwork, and furniture. Their products range from white oak stairs to sustainable exterior decking and facades. Madera offers a "Seamless Wood Design" system, ensuring that various wooden elements like stairs, architectural panels, grilles, vents, interior doors, cabinet fronts, and millwork complement each other and the flooring according to client preferences. The Peconic House in New York, designed by Mapos, integrates natural materials to blend with its Long Island bay setting. Inside, Madera's Northern White Oak Flooring and white walls create bright, airy spaces, while the brand's grey-toned Hurricane recovered Ipe Decking enhances the exterior's weathered look. Desai Chia Architecture's Ledge House in Connecticut features a charred cedar exterior, reflecting the rocky landscape. Inside, Wide Plank European Oak Flooring by Madera contrasts with the dark facade, providing a light interior. Recesses lined with panelling from Madera's Stockholm Collection match the flooring, maintaining a cohesive aesthetic. Twentieth in California, by Woods + Dangaran, centers around an old olive tree. The white brick, three-story home offers both indoor and outdoor living. Madera's Wide Plank European Oak Flooring from the Stockholm Collection creates a warm backdrop, allowing natural light to form patterns across its surface. For the Moore House in California, a 1965 Craig Ellwood design, Woods + Dangaran undertook a sensitive restoration. The interior features Madera's wooden teak flooring and panelling, with custom Reclaimed Teak Flooring created to match existing teak elements, bringing warmth to the space. NoMad Loft in New York, renovated by Worrell Yeung, highlights classical materials in a contemporary setting. Drawing from the building's 1871 history, the design emphasizes materiality with a simple color palette. Madera's European Oak Flooring from its TRA collection is used alongside curved, grey-plastered walls and black and white furnishings. Arnold Studio's Clinton Residence in New York combines old and new by adding a two-story apartment to a historic brick house. Pale European Oak Flooring by Madera lightens the space, contrasting with dark wood ceiling beams. White oak stairs, made from the same Madera product, brighten the stairwell. The Cedars in New York, restored by Office of Tangible Space, features crisp white interiors and cedar cladding. Madera's whitewashed European Oak Flooring and white walls create bright, light-filled spaces, with black furnishings and frames providing a contemporary contrast. Di An Di, a Brooklyn restaurant designed by Office of Tangible Space and Huy Bui, aims for a bright, community-focused environment. Madera's American Ash furniture and millwork, paired with distressed timber flooring and deep green walls, create a simple, timeless interior. The David Rubenstein Forum in Chicago, a university building by Diller Scofidio + Renfro, is recognized for its six cantilevering blocks and glazed facades. Wide Plank Northern White Oak Flooring by Madera reflects light from the windows, and wood-paneled walls and ceilings add warmth to the lecture hall. Industrious at Equinox in New York, a co-working space, features Madera's Wide Plank European Oak Flooring in private offices and social areas. Klippa and Yarrow stairs from Madera's Stockholm and Terra Collections, combined with black balustrades, create a dramatic material palette, aligning with Equinox's luxurious aesthetic. #WoodDesign #InteriorDesign #MaderaSurfaces #ArchitecturalWoodwork #LuxuryInteriors #SustainableMaterials #FlooringDesign #ResidentialArchitecture #CommercialDesign

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

Expanded Eye, an artistic duo composed of Lisbon-based artists Jade Tomlinson and Kevin James, is exploring the divine feminine and the 'peaceful power of the Earthmother' through their recent sculptural works. Their art blurs the lines between abstraction and figuration, incorporating characteristic geometric and figurative elements. The duo is well-known for their unique approach to tattoos and assemblages, which often utilize wood and repurposed materials to create bold and textured compositions. They have temporarily paused their tattoo practice to dedicate their focus to developing these sculptural reliefs. Ceramic work has become a central part of their artistic process, drawing inspiration from Portugal's rich tradition of azulejo tiles, which symbolizes cross-cultural exchange. The artists aim to use this ancient, earthy material to depict serene guardians in earth-toned colors, seeking to evoke a sense of stillness and calm in contemporary society. Their compositions represent a convergence of past and present, exploring themes of timelessness and continuity through traditional techniques of working with clay, carving, and building. The graphic elements and fragmented features within their work also draw parallels to early 20th-century art historical Modernism, particularly the Cubist movement. Tomlinson and James highlight that the fusion of traditional materials with a modern artistic approach is a significant source of inspiration for them, serving as a connection between historical practices and the present day. Expanded Eye is currently undertaking their largest tile commission to date, and they intend to further integrate ceramics with other aspects of their diverse artistic practice. Their work continues to evolve, pushing the boundaries of material and form while maintaining a consistent thematic thread of earthy connection and timeless spiritual presence. #ExpandedEye #CeramicArt #WoodSculpture #Assemblage #FigurativeArt #AbstractArt #PortugueseArt #EarthMaterials #ContemporaryArt

The article explores the rising popularity of Alpi Sottsass wood veneer in interior design, a material created by acclaimed designer Ettore Sottsass in 1985 and manufactured by Italian company Alpi. This veneer, known for its distinctive grainy and groovy pattern, is gaining traction as an alternative to traditional plywood, particularly in kitchen designs and furniture. Designers are drawn to its unique aesthetic, which some describe as resembling a zebra pattern or sand waves. Eline De Bruyne, a Belgium-based teacher and interiors enthusiast, incorporated Alpi Sottsass into her kitchen, seeking a designer furniture-like appearance for her storage units. This choice reflects a broader appreciation for the material among those who admire the Memphis movement of the 1980s. While Alpi collaborates with several designers like Patricia Urquiola and Kengo Kuma, the Sottsass design, especially in its gray colorway, is becoming increasingly prevalent in contemporary projects. Magda Kwoczka of Finch Studio, based in Poland, has notably used the Sottsass product in multiple areas within a single apartment. The manufacturing process of Alpi veneers begins with FSC-certified wood, typically poplar, limewood, or ayous, sourced from forests in Cameroon. This wood is then transported to Alpi's plant in Modigliana, Italy, where it undergoes a detailed sequence of stripping, dyeing, compositing, gluing, pressing, squaring, shearing, and testing. For U.S. customers, Brookside Veneers acts as the primary distributor for the Ettore Sottsass Alpi wood, with orders requiring direct contact through a request form or sales agent rather than online purchasing. While the ordering process is manageable, interior designer Dawid Konieczny notes that it can take approximately four to five weeks for delivery. A significant factor to consider is the cost, which is provided upon request from Alpi. Konieczny highlights that Sottsass veneer is considerably more expensive, roughly five times the price of simple white oak. Despite the higher price point, designers like Konieczny and Kwoczka justify the investment due to the veneer's originality and the prestige associated with its designer. The material's versatility means it can be used in various interior applications, with the only limitation being its unsuitability for outdoor, non-weatherproof environments. Designers are finding innovative ways to integrate Alpi Sottsass veneer into their projects. Dawid Konieczny, for instance, used it to construct a bed frame in a Warsaw home, drawing inspiration from desert landscapes. Magda Kwoczka showcases its effectiveness when juxtaposed with materials like Calacatta Viola marble, creating a captivating interplay of patterns. Architect Matt Bowles of Tenbooks plans to use the veneer in kitchens to contrast with the solidity of stone countertops, appreciating its departure from conventional linear-grained hardwood products. Dustin Fritsche of Softer Studio discovered the material's potential in smaller furniture pieces, noting its significant visual impact even in limited applications, such as a sideboard in a living room. Its malleability, owing to its thin-sliced nature, also allows for the creation of curved surfaces, as demonstrated by Kwoczka's rounded cabinets in a home office and De Bruyne's kitchen doors, which effectively conceal various items while adding an element of wonder to the built environment. #AlpiSottsassVeneer #EttoreSottsassDesign #MemphisMovement #WoodVeneerTrends #InteriorDesignMaterials #KitchenRenovation #FurnitureDesign #DesignerWood #HomeDecor

This article highlights six woodworking studios located in the Hudson Valley, emphasizing their contributions to the contemporary furniture and home goods scene. The region is noted for its high-quality craftspeople, with craft fairs like Field + Supply, The Farmhouse Project, and Woodstock-New Paltz Art & Crafts Fair showcasing their work. The featured woodworkers are recognized for their distinct styles, commitment to sustainability, and use of locally sourced or reclaimed materials. Brian Persico, based in Windham, creates one-of-a-kind furniture and functional objects, drawing inspiration from natural materials and historical craft techniques. He prioritizes locally sourced wood, often from within 20 miles, and utilizes natural finishes and glues, some based on 16th-century recipes. His experience with unusual natural materials in archery bow making, such as horn, bone, and sinew, influences his designs, notably in his Windham series, which incorporates antler pins. Examples of his work include a pine and osage kindling box with hand-cut dovetail joinery and a bent Osage Orange handle, and a walnut cove mirror crafted with an antique architectural molding plane. New York Heartwoods, operating out of Kingston, was founded by Megan Offner in 2010. Her mission stems from her experience as an advertising set designer, where she observed excessive waste of wood materials. The studio reclaims discarded lumber and repurposes Hudson Valley trees felled by natural causes or development. This reclaimed wood is then used in their carpentry studio to create bespoke furniture and products, or sold to architects, designers, and other woodworkers. Noteworthy pieces include the Eclipse Coffee Tables, designed to be nested or used independently, and the Highland Coffee Table, characterized by its faceted corners, butterfly key inlays, and a hand-shaped Mid-Century inspired base. FN Furniture in Stone Ridge, established by Ken Landauer in 2017, focuses on creating well-designed, affordable, and zero-waste furniture. Landauer's designs for indoor and outdoor chairs, benches, and sofas are informed by yogic principles, ensuring comfort and proper alignment. Indoor pieces are made from multi-layered Baltic Birch Plywood using a CNC machine. Following requests for outdoor and office furniture, a line of outdoor pieces was launched in 2020, utilizing marine-grade, high-density plastic. The F2 Rocker, available in vibrant colors like red, yellow, and green, and the F2 Writing Desk with its thoughtful storage nooks, are highlighted examples. Samuel Moyer Furniture, with studios in Staatsburg and Los Angeles, is dedicated to crafting furniture and artwork intended to last for generations, thereby reducing waste. Moyer's handmade, made-to-order cabinets, tables, consoles, chairs, and beds often incorporate brass with unique, sometimes self-milled woods such as locust or American black walnut. His work frequently features unfinished sections that expose the inherent beauty of the wood and the crafting process, with a focus on statement joinery and showcasing raw edges. KHEM Studios in Stanford, founded in 2016 by Kari Britta Lorenson and Erik S. Guzman, emerged from their desire for simple, clean contemporary designs using natural solid hardwoods. Both founders have backgrounds in sculpture, which influences their homeware and furniture collections. They design and produce pieces in their Stanford studio using locally sourced kiln-dried hardwoods. Featured items include the Mega Whale Bone Cutting Board, which combines artistry and functionality with its size and deep channel, and the Unity Bench, praised for its elegant lines and unique angles, suitable for various spaces. Accordance with Nature, located in Accord, is a design and furniture studio established by self-taught furniture makers Patrick Turiello and Leah Fabish. Their backgrounds in sculpture, architecture, and industrial design are evident in their work, which ranges from sculptural side tables to custom wall-mounted shelves and peg rails. Each piece is designed and manufactured by Turiello and finished by Fabish, often utilizing repurposed tools and machinery. The Woven Shelf No. 1 in White Oak is highlighted for its delicate interwoven slats and compact design, and the Peg Rail No. 2 in Ebonized Oak is noted for its stylish organization capabilities in entryways. These six studios collectively represent a commitment to craftsmanship, sustainable practices, and the creation of unique, high-quality furniture and home goods in the Hudson Valley, contributing to a vibrant local design economy. Each studio offers distinct approaches to woodworking, from reclaiming materials to integrating artistic and ergonomic principles, all while focusing on durability and aesthetic appeal. #HudsonValleyWoodworkers #ContemporaryFurniture #HomeGoods #SustainableDesign #HandcraftedFurniture #LocalCraftsmanship #InteriorDesign #Woodworking #ArtisanFurniture

This article explores various types of wood, categorized into softwood, hardwood, and engineered wood, focusing on natural softwoods and hardwoods. Each wood type offers unique properties suitable for different building projects around the house. The guide aims to help woodworkers identify the best wood for their specific needs, detailing characteristics, applications, and workability. Pinewood, a lightweight softwood found in the Northern Hemisphere, is easy to shape, stain, drill, and carve. Its resistance to shrinkage, warping, and swelling makes it versatile for construction lumber, moldings, windows, doors, and furniture due to its natural color. Cedarwood, a knotty softwood, is highly resistant to decay and weather, making it ideal for outdoor furniture. Its aromatic properties repel pests, leading to its use in storage boxes and closet linings, and it is valued for interior paneling due to its non-warping nature. Teak wood, a high-oil content hardwood, boasts exceptional resistance to pests, decay, and water, making it suitable for watercraft, veneers, and both indoor and outdoor furniture. Though expensive, its durability, weather resistance, and non-warping qualities are highly prized. Oakwood, with over 600 species, is a common building material for household and office furniture, offering moisture resistance and fungal/yeast resistance for outdoor applications. Firwood, or Douglas Fir, is a sturdy softwood with high elasticity, primarily used for doors, frames, plywood, and furniture. It is inexpensive and widely available. Spruce wood, another softwood, is strong and tough, suitable for construction lumber, crates, boxes, and ladders, despite its low decay resistance. Redwood, known for its durability, is perfect for outdoor applications due to its resistance to weather, moisture, insects, and decay, used in furniture, decking, and musical instruments. Maple wood, a hardwood native to Asia, comes in hard and soft varieties. Hard maple is excellent for flooring and furniture due to its strength, while soft maple is easier to work with. Cherry wood, an exclusive and expensive hardwood, is durable and visually appealing, suitable for intricate and decorative items as well as solid furniture. Hemlock wood, or Tsuga, is a durable softwood that becomes tougher with age, used for houses, furniture, and flooring due to its moisture and water-resistant properties. Mahogany, a hardwood with a reddish-brown to deep-red color, is valued for furniture due to its carving ease and ability to stain and finish well. Birchwood, an affordable hardwood, is stable, durable, and easy to work with, making it suitable for high-end furniture and plywood, though it can be challenging to stain. Walnut wood, an expensive hardwood, is highly sought after for its straight grain, fine texture, dark brown color, and non-warping, strong, and durable properties. Ashwood, another strong and elastic hardwood, is easy to work with and offers a natural finish, often used as a substitute for white oak. Finally, mango wood, a dense and sturdy hardwood, can tolerate massive weights, making it suitable for furniture like nesting tables, bookshelves, and kitchen cabinets, and its water-resistant nature makes it suitable for outdoor use. #Woodworking #BuildingMaterials #HomeImprovement #Softwood #Hardwood #PineWood #CedarWood #TeakWood #OakWood #MapleWood

Roc H Biel, a designer and Royal College of Art alumnus, has created a sculptural furniture collection named "Dust Order," which redefines sustainability by utilizing wood dust, typically considered a waste product. The collection transforms this fine offcut material into monumental forms, drawing inspiration from classical columns and challenging traditional perceptions of weight and material. The design aims to evoke a sense of ancient history while maintaining a modern and otherworldly aesthetic. The "Dust Order" series comprises two primary objects: a sculptural chair and a modular desk system. Both pieces showcase the unique, granular texture of compacted wood dust, reminiscent of raw stone or sand casting, yet they possess a surprising lightness. Biel's approach reinterprets classical motifs through a contemporary lens, creating pieces that feel both familiar and futuristic, aiming to generate a moment of wonder where material, memory, and perception converge. The sculptural chair in the collection is constructed entirely from compacted beech wood dust. Its design features negative space that creates a visual rhythm, and its geometric profiles transition from octagon to circle to square, giving a modern edge to the classical column silhouette. The chair's surface texture belies its unexpected lightness, making it a conversation piece that challenges expectations of its composition. The modular desk system offers versatility and functionality. It consists of three 3D-printed components made from a bonded mixture of magnesium and beech wood dust. These components are designed to represent the classic elements of columns—shaft, capital, and entablature—but are reimagined for contemporary use. The modular nature allows for various configurations, transforming the desk into a stool, a bench, a bench with a side table, or a dining table. This adaptability is paired with a grainy texture that evokes compacted earth or pressed sediment, connecting its modern function with ancient materials. Biel's work in "Dust Order" highlights intentional contrasts: between weight and weightlessness, waste and refinement, and earth and atmosphere. The project serves as an example of how unconventional materials can be elevated into sophisticated design, proving that surrealism can manifest in powerful physical forms beyond digital realms. The designer's innovative use of wood dust not only promotes sustainability but also challenges the aesthetic and tactile expectations of furniture, transforming discarded material into objects of artistic and functional value. #FurnitureDesign #SustainableDesign #WoodDust #SculpturalFurniture #ModularFurniture #ClassicalModernFusion #MaterialInnovation #RocHBiel