Design Philosophy

History

Let the Wood Speak for Itself No matter who we are or what we do in life, it seems we all take bits of philosophy and knowledge from various places and people, and meld it into one line of thinking. Over the years, the ideas about building furniture that have stuck with me are several. Emphasis on function, strength, simplicity with a touch of intrigue, and allowing the natural beauty of the wood to stand out are the driving forces that shape my work. The latter has, in fact, become my slogan: Let the wood speak for itself. Design integrity in any medium begins with an honest approach towards materials and processes. For me, this means starting with high quality wood and letting its natural beauty stand out. I select the wood for a project according to how and where it will be used within the object. Then I use natural finishes, rather than stains, so one can see the original color. Rather than adding unnecessary ornamentation, I use joinery as a focal point and as a way of illustrating how the piece was made or put together. Early in Design School, I became influenced by the concepts of the Arts and Crafts Movement, as well as the tenets of the De Stijl artists and the Bauhaus, all of which gave rise to Modernism. On one hand, I have been influenced by 'crafts' people like George Nakashima, Wendell Castle, and Sam Maloof, while on the other hand, designers such as Frank Lloyd Wright, Michael Thonet, Alvar Aalto, and Charles and Ray Eames have shaped my thinking. What grew out of this was the concept of integrating the individuality of "art" and “craft” with the methods and principles of industrial design. While some deem these two ends incompatible, my experience in the furniture industry and in Design education suggests otherwise. Depending on the function of a piece, the selected materials, manufacturing processes, and assembly procedures, the one-of-a-kind, hand-worked essence of the craftsman, can be realized at various production scales, and in such ways that it benefits the greatest possible portion of society. Last, but not least, I believe in providing for the long term, rather than following the latest trends. If I address today's frequently changing life-styles and people's traditional tastes, I find this helps me design and build a piece of furniture with enduring value. Perhaps it is to say that things should fit the past, the present, and the future. From the standpoint of maximizing function, durability, and style, and minimizing environmental impact, this makes sense, and therefore drives my work. Top of Page History One of my earliest childhood dreams was to start and run my own business, and one of my passions in life is designing and building wood furniture. Early in my professional career, I was employed by one of the largest furniture manufacturers in the world, where completely absorbed in my work, I stood in awe of the collosal, sophisticated machinery and the shear volume of furniture we produced. Daily production figures were measured in the hundreds of units. To my good fortune, the plant in which I worked was the company’s oldest and best stocked of senior craftsmen, and thus we were responsible for producing many of the more intricate, high quality, solid-wood suites. Unfortunately, the lean economy in those days also meant we had to produce furniture that was absolute rubbish. In those three years, I learned much about how to and how not to make good furniture. At the same time, I became familiar with the arts and craft industry, entirely different by nature, but with the common thread that both are based on people who use their heads and their hands to create functional artifacts that people use in everyday life. In particular I became familiar with the work of several artisans, some regional, others world famous, who made their living by making and selling unique, intriging, exquisitely crafted, functional, one-of-a-kind furniture. Thus the precepts for Furniture by Design started taking form. The notion of mass producing (at a modest level) a line of high quality, reasonably priced wood furniture with highly individual characteristics began to incubate. Immediately came the question of what aspects of furniture would people covet and treasure, and at the same time allow me to achieve the afore mentioned objective. After many years of hobbyist experimentation, formal education in Design, and doses from the School of Hard Knocks, coupled with some plain common sense, I have arrived at the conclusion that function and simplicity are lasting universal values. The majority of people in the world have limited income, and therefore large artifacts in the home must provide function in order to have validity. Simplicity, clean classic lines, and natural wood tones are elements that transcend nearly all other styles of furniture and furnishings, and therefore appeal to many people. By adding a touch of intrigue, whether it be through the use of interesting joinery, a top that appears to float, a boldly curved and somewhat animated leg, or the combination of rich uncommon colors, grains, and textures, I give my furniture a unique flavor that is extraordinary and unique.