Archive for non-UF glue

Custom Furniture Sample Sale – Kidney Shaped Desk

Posted in Uncategorized with tags , , , , , , , , , , , , on January 12, 2012 by johnwiggers

This Kidney Shaped Desk measures 75″ long x 35″ wide x 29″ high.

It has been crafted from FSC certified Ebony which has been hand cut to create a radiating pattern around an FSC certified plywood core.

The glue used to apply the Ebony is non-UF (urea formaldehyde), and the finish is low-VOC polyurethane.

The inset top has a subtle bevel edge, and is clad in black Tuscany leather.

The plinth feet are satin stainless steel.

A total of 3 drawers have been built into the apron, with each one being made from solid Cherry and fitted using sliding dovetail joinery.

In addition to using FSC certified woods to build the main body of the desk, several lesser known species of wood have also been incorporated into the design to communicate a more comprehensive story about sustainable wood use.

In the very centre of the pencil drawer a small compartment has been carved into a block of rare wood known as Hawthorn. Hawthorn is a traditional healing wood that has been used in holistic healing practices for a considerable period of time. It was well known to the ancient Greek herbalists, and records indicate that it has been used in Ayurvedic medicine dating back almost 5,000 years.

Hawthorn is considered an aroma-therapeutic healing wood since it produces an aerosol of complex compounds – all of which are medicinal. The primary benefit of the aroma-therapeutic properties of the Hawthorn is to help alleviate stress and strengthen the heart.

On either side of the Hawthorn compartment is a pair of pencil trays made of a wood called Sassafras. Sassafras carries within it oil based complex of compounds that are naturally saturated within the wood itself – both as a wax and as oil. Through handling and the bumping action of contents against the fibers of this wood, the oils contained within this wood are released as an aerosol each time the drawer is opened.

This aerosol is considered to be a tonic to the human body, since it helps to promote an overall feeling of well-being. This state increases the ability of the deep centers of the brain to promote increased and clearer thinking.

The oil of the Sassafras is related to Myrrh, one of the legendary woods of the ancient world. Sassafras is also the wood used for spiritual cleansing by many tribes of North American Indians, in their traditional sweat lodge ceremony.

On the underside of the drawer fronts are inlaid finger pulls that have been crafted from wood that comes from the Black Walnut (Juglans nigra) family of trees. Native American medicine women discovered through many generations of trial, error and observation that this wood has medicinal properties that are useful in the prevention and treatment of disease. It is believed that simply touching this wood will release the active molecules to the surface of one’s skin, where they can be naturally absorbed into the pores.

In recent years a scientific basis has been discovered that supports this traditional wisdom, and the active molecules (known scientifically as ellagitannins) are currently at the leading edge of research into finding a cure for cancer.

Please note that the inclusion of traditional holistic woods such as Hawthorn, Sassafras and Black Walnut into the design of this desk does not promise any particular holistic or therapeutic benefit to the user. This information has been shared to give others a broader understanding and appreciation for trees, by helping to see them as being more than mere sources of raw material.

Additional information on the Kidney Shaped Desk, and the story behind its creation, can be found at the following link. This link also gives background information on a botanist and scientist by the name of Diana Beresford-Kroeger, who played an instrumental role in providing the information for the holistic woods used on this desk.

This Kidney Shaped Desk was most recently on display at The Guild Shop in Toronto, where it was part of the “My Grain” Exhibition, which ran during July and August, 2011.

List price on this custom version of the Kidney Shaped Desk is $15,060.00.

Special discounts are available during our Sample Sale.

Ellipse II Table – The Story Behind Its Creation

Posted in Artisanal, FSC, Furniture Making, Woodworking with tags , , , , , , , , , , , , , , , , , , , , , , on January 11, 2012 by johnwiggers

In 2002 I began to experiment with ideas on how to bend wood across complex three dimensional planes. In the course of doing this I inadvertently created a tapered elliptical cone shape that, at first glance, looked ideal for a dining table base.

After building a prototype of the cone my next challenge was making the top. After heeding advice to “keep it simple” I settled on a pure elliptical oval shape with bookmatched grain and flat edge apron. A 1″ high stainless steel plinth was added to the underside of the base. The resulting table was finished in Tobacco Mahogany, and named the Ellipse Dining Table.

Although the resulting table looked OK, there was something about it that was just plain missing. What bothered me most was the finish – which was a basic chocolate/mocha/expresso brown. At the time this was a safe finish to use, because just about every professional in the interior design industry was using it in one form or another since it “went with everything”.

One could probably credit Holly Hunt and Christian Liaigre with first introducing this look to the high end of the market in the 1990s. By the early 2000s, however, the finish was everywhere and I soon realized that to be the main problem. Namely, because of the finish this table was looking like everything else out there – even the cheap dross knock-offs that were now beginning to flood the market by the containerload from offshore.

By 2006 I decided to refine the design with some subtle changes. I began by using a wood called Nero Chaquiro, which is a lesser known species that comes from an FSC certified forest in Brazil. In addition to being certified as sustainably harvested the use of this wood also helps support an indigenous community living along the banks of the Amazon River by providing a tangible incentive for the peoples living there to manage their surrounding forest responsibly.

The main structure of the table was crafted out of FSC certified ply, which was also NAUF and CARB2 compliant due to the fact that there were no added urea formaldehydes in the glues and binders. To minimize the heaviness of the top the grain pattern was changed to sunburst and the edge profile became a deep undercut bevel. The stainless steel plinth was removed in lieu of a small convex inlay of Narra being added as a subtle detail. The resulting table was finished in a low-VOC water based urethane, and renamed the Ellipse II Table.

Taken together these changes created a more sculptural look to the design, and the response from the design community was tremendously positive. Our ability to custom tailor this design to meet the requirements of each individual client has since resulted in the Ellipse II Table becoming one of our most popular offerings today.

In October 2008 a custom commission of this table for interior designer Wendy Blount was even published in an issue of Metropolitan Home magazine.

Thanks to the positive response this article received, the table photo was subsequently republished in the book “Glamour: Making it Modern” by Michael Lassell.

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

Custom Writing Desk – (Part 6 of 6) – The Completed Desk

Posted in Artisanal, Canadian Woodworking, Furniture Making, Woodwork, Woodworking with tags , , , , , , , , , , , , , on June 9, 2011 by johnwiggers

With the finishing process now complete the desk can be assembled.

The completed desk is shown as follows:

Front view of desk.

Front corner detail.

Rear view of desk.

(I love this) detail of where the drawer meets apron.

Drawer open, showing dovetails.

Inlaid grommet in desk top.

After the desk was delivered I received the following testimonial from the client:

We just finished building a custom home and had been searching for the “perfect” desk for our new home office. We wanted something that was original in style, made to last a lifetime and not too large. It was impossible to find something ready-made that fit all of our criteria. We contacted John and within a few days he had prepared detailed drawings for us to consider. After some fine tuning, we quickly settled on our perfect desk. The desk is flawless and looks exactly as drawn, down to the last detail.

Custom Writing Desk – (Part 4 of 6) – The Making of the Desk Begins

Posted in Artisanal, Furniture Making, Woodwork, Woodworking with tags , , , , , , , , , , , , , on June 9, 2011 by johnwiggers

With the drawing and finish sample now approved it is time to proceed with the actual making of this custom desk.

First the Macassar Ebony veneer is carefully cut and bookmatched, before being laminated to rigid veneer core Birch plywood panels.


The aprons are double laminated for strength, and solid corner blocks are added to receive the legs. The front legs (alongside where the drawers will be) are going to be mechanically secured with steel hangar bolts.


Pipe clamps hold the framework square while the glue sets up.


The desk legs are milled out of solid 12/4 Maple stock.


These solid cherry bead details will be added later to the underside of aprons and drawer fronts.


This view shows the pocket that will receive the dovetailed drawer boxes. The legs are also bolted in place.


The Macassar Ebony apron showing leg and beading detail.


With the woodworking portion nearly complete the desk is stood upright to verify proportions, fine tune the details and ensure stability.


Front corner detail showing drawer closed.


Drawer open.


At the intersection where drawers meet centre apron the beading detail helps accentuate the lines.


The desk is now disassembled and ready for sanding and finishing. At this stage a traditional vinegar and iron solution is applied to the solid cherry to naturally darken the wood. This solution reacts with the natural tannins of the wood to achieve the ebonizing effect.

Next: Custom Writing Desk – (Part 5 of 6) – Finishing the Desk

Custom Writing Desk – (Part 3 of 6) – Sample for Approval

Posted in Artisanal, Furniture Making, Woodwork, Woodworking with tags , , , , , , , , , , , , on June 9, 2011 by johnwiggers

In tandem with sending drawings to the client for approval I always like to make actual finish samples of the wood we intend to use. This helps clear up any misunderstandings that might take place regarding what the finished wood surface is going to look like.

For this particular Writing Desk a bundle of quarter cut Macassar Ebony was selected, and after confirming the yield a portion was cut and glued to a piece of plywood.

After sanding and lacquering the full panel was then cut into smaller squares, with the edges being sanded and slightly bevelled. The backs of the samples are then covered in felt, and a labelled to identify the project, wood species, type of finish, and date.


Two of the samples are then sent to the client, with copies kept as control samples in our shop.

Once we receive client approval on these samples, the woodworking on the desk can begin.

Next: Custom Writing Desk – (Part 4 of 6) – The Making of the Desk Begins

Custom Writing Desk – (Part 1 of 6) – Conceptualizing the Design

Posted in Artisanal, Furniture Making, Woodwork, Woodworking with tags , , , , , , , , , , , on June 8, 2011 by johnwiggers

Recently we received an Internet inquiry from someone interested in commissioning a custom writing desk. After some preliminary discussions about various designs including the Kidney Shaped Desk, Rainforest Desk and 1927 Console/Desk it was determined that a customized version of the latter might be most appropriate for the required dimensions of 55″ long x 22″ deep x 30″ high.

Based on this discussion an initial concept was sketched out and emailed to the client. As a starting point this design has curved, tapering legs and a bowed apron with elevated ribs to support a Macassar Ebony top. The fact that the cross ribs are elevated helps creates the visual illusion that the top is floating.

Although I found the idea to be quite interesting, the client didn’t like it. After further discussion the design was revised as follows:

This idea the client loved. At this point we formalized the pricing with a written quotation, and a deposit was made so we could then make the scale drawings required to finalize the concept and work out the details.

Next: Custom Writing Desk – (Part 2 of 6) – Scale Drawings

Kidney Shaped Desk – The Story Behind Its Creation

Posted in Artisanal, FSC, Furniture Making, Woodworking with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , on June 5, 2011 by johnwiggers

In 2002 I was experimenting with ideas that would ultimately manifest as the Kidney Shaped Desk. My initial concept was an organic form that would incorporate a variety of green and holistic elements into the design. Given that Feng Shui principles consider a kidney shape to be most auspicious for use as a desk, I used this as my starting point.

During a visit to Miami in April of that year I floated the idea to Amelia Hyde and Monroe Sherman, who were partners in a showroom called Carriage House which was then representing my work in South Florida. Amy seemed quite receptive to the idea, which was no surprise given her interest in spiritual philosophies such as Tao and Zen Buddhism.

About a week after my return Amy called and asked me to explain more about the Ayurveda I was talking about during my visit. I didn’t have a clue what she was referring to and told her I could barely pronounce the word, let alone spell it. But for some reason Amy insisted that I had talked at length about Ayurveda and as she described what it was about she mentioned the connection of Ayurveda to yoga, and the connection of yoga to a famous supermodel and yoga practitioner by the name of Christy Turlington.

As soon as she mentioned Christy’s name I heard my fax line ring. It was an incoming fax from New York, from a furniture designer by the name of Vladimir Kagan. He was inviting me to a special party being held later that month. The invitation was for an event being hosted by Ralph Pucci in his Manhattan loft, which would be a joint unveiling of Vladimir Kagan’s furniture pieces alongside a new line of yoga inspired clothing by Christy Turlington.

Because of this unusual coincidence I decided to trust my intuition and immediately decided to accept. Since the party coincided with a major New York design show called the International Contemporary Furniture Fair (ICFF) that I was planning to attend anyway, the logistics worked out perfectly.

After arriving at the designated address in lower Manhattan I stepped out of the cab thinking I was in the wrong location. I had been told that Pucci’s loft was magnificent, but the neighbourhood I was standing in was anything but. Nevertheless a discrete elevator ride to the loft soon confirmed that I was at the proper venue.

As soon as the elevator doors opened I was greeted with a palpable buzz of energy and excitment. Scattered throughout the 15,000 sq. ft. minimalist loft were countless bisque mannequins that were essentially full-scale reproductions of Christy Turlington herself. These mannequins were shown in a variety of different yoga poses and, naturally, each was also attired in various examples of Christy’s new clothing collection, called Nuala.

At the far end of the loft Vladimir Kagan was holding court amongst examples of his classic furniture collection. As soon as Vladimir saw me walk in he called me over and gave a big hug. It was wonderful to be greeted in this manner by such a design legend, because I had long admired his work.

When I was younger I used to enjoy reading various design publications to see examples of the most beautiful and exquisite furniture pieces ever made. A Rosewood desk by Vladimir Kagan had long been one of my favorites, and never could I have imagined at the time that one day I would be working with this icon to build some of his actual furniture.

As I walked around the loft and mingled with other guests I began to ponder the coincidence of being invited to this party. At one point I did get introduced to Christy, and did have a brief conversation with her. While our discussion did not provide any particular answer or overt moment of enlightenment for me, I was definitely struck by Christy’s open sincerity and genuineness. She is one of the very few people I have ever met who have an aura of presence that absolutely radiates positive energy.

By the end of the evening I left party pondering the enigma of attending an event that displayed beautiful, sculptural furniture alongside an ancient holistic principle such as yoga. When considering Ayurveda as the thread connecting the two, how would it be possible to merge them together as one?

The answer, I soon discovered, lay with someone I already knew.

Diana Beresford-Kroeger is an award winning author, independent scientist and passionate environmentalist living near Ottawa, Canada. On a secluded rural property shared with her husband Christian, Diana has spent many years and considerable effort researching and documenting the interconnected relationships that exist between trees and forests, and the wildlife that abounds within.

She is highly regarding for her illuminating and seminal work, and amongst her many admirers are colleagues such as E.O. Wilson of Harvard. In the 1960s Wilson effectively became the founding grandfather of the global environmental movement when he first coined the phrase “bio-diversity”.

I first learned about Diana in 1999 when I read a newspaper article describing her “Millenium Project”. The vision of this project was to share and distribute seeds from Diana’s collection of rare and endangered tree species. By doing this she hoped to establish new living examples of genetic strains that were at risk of becoming extinct.

In addition, by distributing these seeds widely it was also hoped that the resulting seedlings would become isolated pockets of bio-diversity, as well as a form of insurance policy in case disease, blight or other disaster happened to wipe out the sentinel trees that provided the original genetic material. Since in some cases there were only singular examples of these rare trees known to exist, this was a very valid and noble ambition.

Her “Millenium Project” sounded brilliant, and I contacted her to learn how I could participate. At the time I was in the planning stages of building a new shop, and the notion of introducing rare and unusual trees to the property seemed like a perfect one. Diana helped develop a bioplan for what I was intending to create, and over time our discussions evolved into an ever expanding exchange of ideas.

After my return from New York I continued to wrestle with the idea of how to meld holistic Ayurvedic principles with sculpture furniture design. Simultaneously I was talking with Diana about her latest book manuscript, entitled “Arboretum America”. She was having great difficulty getting this book published, and in an effort to get the word out she went to great lengths describing what the book was intending to say.

I listened with great interest as Diana explained the book, and how each of the 20 tree species described within were presented by way of their biological eco-function within the larger global garden. My interest was piqued further as Diana explained how each tree had a particular holistic attribute, or “gift”.

Apparently much of the information collected by Diana had originally come from Native American elders and healers. Her desire to document this traditional wisdom was driven by the fact that many of these elders were quite old, and once they died they would take their knowledge with them to the grave. Considering that most indigenous cultures base their information sharing and retention on oral tradition -with very little being written down – it was quite apparent that once this knowledge was lost it would be lost forever.

Eager to help Diana get her book published I invited her to an informal gathering that was to take place in Ottawa later that year, in conjunction with an FSC Canada board meeting being held there. Given that the event would be filled almost exclusively with people interested in protecting the forest, I felt certain that something beneficial for Diana would unfold.

On Saturday October 19th a number of us were gathered at the home of one of the Board members, who happened to live nearby. Diana and her husband Christian were in attendance as well, but before long it appeared that the evening would not unfold as hoped for.

After a day of intensive Board meetings most people were simply looking to unwind. Diana, on the other hand, was quietly eager to network and find means of clearing hurdles to her book. But aside from some polite discussion and general exchange of ideas no one was expressing any serious interest in her research. I felt disappointed that they may have wasted their time coming here.
At one point, however, one of the Board members was casually flipping through the manuscript when something caught her eye. In describing the medicine of a tree called Black Walnut (Juglans nigra), Diana had pointed out that this tree’s active molecules (known scientifically as ellagitannins) were currently at the leading edge of ongoing research into finding a cure for cancer. Apparently Native American medicine women had discovered through many years of trial, error and observation that this tree’s natural properties were helpful in preventing disease.

Within minutes several women were tightly huddled around the book, reading with intense fascination. I glanced over to where Diana and Christian were sitting, and exchanged a smile. Not only had a catalyst been found to suddenly pique interest in the manuscript but I too had discovered, by default, the vehicle for melding Ayurvedic principles with sculptural furniture design.

Why not create furniture that incorporated discrete inlays of holistic woods, and let these examples become a tangible and tactile means of communicating the same message that Diana was trying to say on paper?

In the months that followed my ideas surrounding this concept continued to swirl in my mind. Ultimately they became manifest in a design called the Kidney Shaped Desk. Using careful mathematics and sacred geometric proportions based on Feng Shui and Vastu Shastra principles, this desk was also designed to utilize discrete inlays of wood that were ultimately suited to their particular holistic attributes.

For example, special cuttings of Black Walnut would be used to make finger pulls on the underside of drawers. In this way the act of opening the drawers would allow the active molecules of the wood to come into contact with one’s skin, where the molecules could be naturally absorbed into the pores. Inside the pencil drawer woods such as Hawthorn and Sassafras would be incorporated for their natural holistic and aroma-therapeutic properties. The scents of these woods would accumulate naturally inside the drawer while it was closed – and released each time the drawer was opened.

For the time that her manuscript remained unpublished, Diana asked me to sit on the information. Her concern was that if the knowledge was shared too early it might scuttle publication of the book. Out of respect, I complied. In the meantime the hiatus gave me ample opportunity to tweak and fine tune the proportions of the desk until everything was perfect.

It wasn’t until the following year that Diana called to say that University of Michigan Press had committed to publishing her book. At this stage she also gave me the green light to proceed with the desk, and help communicate the medicinal knowledge of the trees.

“It’s time”, she said.

Although eager to see this design manifest into reality, I was in no financial position to undertake the building of a prototype simply because it seemed like a great idea. Unless a buyer could be found who would commit to buying the finished piece before it was made, this design would have to be shelved indefinitely.

Little did I know that within days a buyer would end up appearing, in the form of a design visionary by the name of Todd Marckese.

I first met Todd while exhibiting at the Chicago Design Show in 1998. At the time he was principal of Marckese Design Studio in Orlando, Florida. His client list was prestigious and his work was recognised in many design publications including Architectural Digest, Florida Design and Showboats International.

Todd was exploring the idea of branding his own furniture collection, and he asked if I might be interested in doing product development and prototyping with him. We exchanged business cards, but it would be almost 5 years before we spoke again.

When he called in the summer of 2003, Todd asked if I remembered our conversation in Chicago. I did, largely because of the unusual business card he left behind. Measuring just over 2 inches square this card stuck out both literally and figuratively. Todd laughed at my observation, pointing out that it was necessary to be different in order to be remembered.

Todd went on to say that he was working on an upscale residence and the project required many unique pieces of custom furniture design. One of the pieces he was looking for was a desk, but it came with the proviso that his clients had strong holistic inclinations and, therefore, a conventional desk would not work.

As he described the parameters of the project my interest level piqued because it seemed the Kidney Shaped Desk design I had been tweaking for almost a year would meet the specifications perfectly. I faxed him the drawings and explained in detail the holistic attributes of the various woods I was intending to use as inlay.

After presenting the proposal to his clients, they fell in love with the idea and ended up commissioning the desk. The resulting piece measured 75″ x 35″ x 31-3/4″ overall height.

The main structure was crafted from FSC certified ply, and laminated with Macassar Ebony veneer. The inset of black Tuscany leather was bordered with a radiating grain pattern of wood that was cut to allow it to cascade like a waterfall down the vertical sides of the apron. The plinths on the legs were satin stainless steel.

Inset into the back of the desk were 3 drawers crafted from solid cherry. These drawers were mounted to the Macassar drawer fronts my means of sliding dovetail construction.

Inside the pencil drawer was a pair of trays made of a wood called Sassafras (Sassafras albidum). Sassafras carries within it an oil based complex of compounds that are naturally saturated within the wood itself – both as a wax and as oil. Through handling and the bumping action of contents (i.e. pencils and pens) rolling against the fibers of this wood, the oils contained within the Sassafras are released as an aerosol each time the tray is opened and exposed to air.

The oil of the Sassafras is related to Myrrh, one of the legendary woods of the ancient world. Sassafras is also the wood used for spiritual cleansing by many tribes of North American indigenous peoples, in the traditional sweat lodge ceremony.

Centered between the trays is a small storage compartment crafted from a block of rare wood known as Hawthorn (Crataegus). Hawthorn is a traditional healing wood that has been used in medicinal practice for a considerable period of time. It was well known to the ancient Greek herbalists, and records indicate that it has been used in Ayurvedic medicine dating back almost 5,000 years.

Hawthorn is an aroma-therapeutic healing wood since it produces an aerosol of complex compounds – all of which are medicinal. The primary benefit of the aroma-therapeutic properties of the Hawthorn is to help alleviate stress and strengthen the heart. According to Diana Beresford-Kroeger this aerosol is considered to be a tonic to the human body, since it helps to promote an overall feeling of well-being. This state increases the ability of the deep centers of the brain to promote increased and clearer thinking.

The Hawthorn storage compartment was covered with a lid that was crafted from the same cutting of Black Walnut used to make the inlaid finger pulls on the underside of the drawers. Set into the face of the lid were inlays of the three traditional healing metals of gold, silver and copper. Working with a jeweller these precious metals custom crafted into the shapes of an Eagle, Turtle and the sacred Tree of Life, respectively.

Collectively these 3 images tell the aboriginal story of Creation, which is essentially a parable that tells of the emergence into the current world after the previous one was destroyed by a great Flood.

Flood legends are found in the mythology of most ancient civilizations; from the Sumerians, Babylonians and Egyptians of the Middle East, to India, China and in the Americas in the myths of the Mayans, Aztecs, Hopi and numerous other Native American tribes. In Western society the most recognised of these legends is the story of Noah and the Ark, as recounted in Biblical story of Genesis.