Blogs - Page 3 of 372

Utilizing green English oak sourced locally, Ash and Plumb produce pieces inspired by neolithic and medieval pottery and ancient bronzes from Chinese, Greek and Roman, English, and Etruscan sources. Their aim is to find something more elusive: “We try to tap into ones that feel deeply personal and human—that people will be instinctively drawn to whether they understand the history or not.”

Check out our awesome online extras from issue #319, out right now!

Mike Pekovich answers a reader's question in one of our 50th anniversary issues.

For hardened glue or old finish, a hardware-store chisel is hard to beat.

The North Bennet Street School had been in business for over 80 years when Phil Lowe enrolled as a student in 1967. Lowe became a teacher at NBSS in 1975 and stayed until 1985. By all accounts, his leadership—along with that of Lance Patterson and others—revitalized the program and locked in a rigorous and comprehensive curriculum.

Often unhappy but never undaunted, Maruyama persisted—and blossomed. “For me, furniture was always intended to be a vehicle of creative expression and experimentation.” She went on to lead the furniture program at SDSU herself from 1989 to 2015, and it redressed many of the issues she had struggled against.

Mike Mascelli, Mitch Kohanek, and John Coffey talk about their friend and one of the godfathers of finishing, Bob Flexner.

While absorbing much from Frid’s instruction, Osgood remained true to his own vision, and over the years his furniture came to embody more experiments with form, structure, and joinery.

Krenov’s cabinets and books would have secured him a place in the pantheon of 20th-century furniture makers. But in 1981 some devotees of his books arranged a teaching position for him in Northern California that evolved into a full-time program.

Frid’s mantra was “Design around the construction,” meaning that the dictates of structure and joinery should be the starting point for a piece; its style could flow from there.