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Product Vessel Series
Material
Oak
Dimensions
460 x 200 x 200

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Mueseum of Art and Design: New York

Featuring nearly 90 installations, sculptures, furniture, and objects, Against the Grain: Wood in Contemporary Art, Craft and Design explores some of the most cutting-edge conceptual and technical trends in woodworking today. The exhibition emphasizes the way artists, designers, and craftspeople have incorporated postmodernist approaches and strategies into woodworking—deconstructing vessel shapes, playing on the relationship between function and form, and utilizing woodturning and furniture techniques in the creation of sculpture and demonstrating exciting possibilities through the use of technology.

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George (3 Draw)

Material
English Ash
Dimensions
1090 x 810 x 510

The new Ash edition of the George chest of draws holds on to all the value’s of the first edition in Oak, but repositions the piece with its pale pastel colours and feminine feel, a perfect evolution.

Contained within this contemporary rectilinear oak chest of drawers, is the ghost of its past, a 1780’s George III Commode. Through a series of
rectilinear cuts the George the 3 commode is hidden within. Though as if through the erosion of time the fossil of its past, begins to be reviled.

The design has a rugged sophistication only in certain lights and at various angles is it evident the commode is cut throughout the block.

Though the combination of computer controlled routing machines, hand carving techniques, and chance, traditional craft, and contemporary design merge.

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The Orkney Chair Project: What is a Modern Craftsman to me?

“Traditionally a craftsman was trained in a material and was the master of it. The modern craftsman is still the true essence of this, with an inherent understanding of materials, process and function, but more is required of him, he needs the ability to see the whole picture, his holistic approach will have the ability to communicate and reinterpret more than just process, from heritage to context, from education to environment, from preservation to reinvention, the whole picture needs to be described within his work, using the pallet of techniques within his specialism he rebrands his process for a contemporary audience to ensure it survival and to inspire the modern audience”

The Orkney Chair Project was an opportunity to put this into practice when in December 2012 I was invited to design a chair for the ‘New Crafts Man’ and I teamed up with a traditional Orkney chair maker Kevin Gauld and visited him to execute a modern interpretation of the Orkney chair. My design merged the thinking and knowledge gained from the Bodging project and the traditions of the Windsor chair, combining it with the unique straw work of the Orkney isles.

The Orkney chair is a design classic its humble form and unique combination of materials derive purely from necessity. The Orkney Isle’s are tree less archipelago of the north coast of Scotland, living on these ancient islands would have been a cold and tough existence, by using drift wood and developing a weaving technique from Oats straw they created durable high back chairs which not only sheltered you from the cold and provided you comfort, but intuitively engaged in materials around them for the necessities of life.

Kevin is one of only 2 professional Orkney chair makers still working from the islands with the young leaving the island for work on the main land its longevity is at risk, by working with the local industry this new collaboration has the potential to again provide growth to the islands and secure the preservation of these unique skills and techniques.

As the environmental debate around us rages with products being flown around the world, the simple story of the of the Orkney chair is one that should ground designers and crafts man in their approach to, materials , locality and process.

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In Pursuit of Carbon Negative

In the Winter of 2012 two Ash trees were felled in a woodland in Herefordshire. Between the 19th and 29th of August Gareth cycled to the woodland from London, living a low-impact Carbon lifestyle by eating local produce, sleeping outdoors, and not using any electricity.

As the title of the project suggests this was a research project through Brighton University, the goal of Carbon Negative may be an unobtainable dream but whatever carbon was used during this 10 day experiment was recorded and a life cycle analysis on the products was performed.

“Too many products today profess to be carbon neutral. The challenge I set myself is to expend less CO2 between the ‘felling to the selling’ of the furniture than would otherwise be absorbed during the tree’s lifecycle.”

I attempted to demonstrate the potential for Carbon Negative furniture production in the 21st century by:

• Manufacturing a product in the same location as the materials are grown, using only man power, horse power, and a drop or two of diesel
• Questioning whether a product can remove more Carbon Dioxide from the atmosphere than released in its construction; through assessing the Carbon emissions of equipment, lifestyle and transport
• • Promoting the notion of locality and sustainable production through exhibitions and distribution.For more information or to purchase any of the products contact lucy@scp.com

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In Pursuit of Carbon Negative

In the Winter of 2012 two Ash trees were felled in a woodland in Herefordshire. Between the 19th and 29th of August Gareth cycled to the woodland from London, living a low-impact Carbon lifestyle by eating local produce, sleeping outdoors, and not using any electricity.

As the title of the project suggests this was a research project through Brighton University, the goal of Carbon Negative may be an unobtainable dream but whatever carbon was used during this 10 day experiment was recorded and a life cycle analysis on the products was performed.

“Too many products today profess to be carbon neutral. The challenge I set myself is to expend less CO2 between the ‘felling to the selling’ of the furniture than would otherwise be absorbed during the tree’s lifecycle.”

I attempted to demonstrate the potential for Carbon Negative furniture production in the 21st century by:

• Manufacturing a product in the same location as the materials are grown, using only man power, horse power, and a drop or two of diesel
• Questioning whether a product can remove more Carbon Dioxide from the atmosphere than released in its construction; through assessing the Carbon emissions of equipment, lifestyle and transport
• • Promoting the notion of locality and sustainable production through exhibitions and distribution.For more information or to purchase any of the products contact lucy@scp.com

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The Elves and the Chairmakers
One factory, 5 Designers, and 2 days.

On a sleepy weekend in early June this year, William Warren, Carl Clerkin, Amos Merchant and Chris Eckersley and myself visited the famous Lloyd Loom of Spalding factory. Whilst the assembly workers were away, and assisted by two of Lloyd Loom’s loyal craftsmen, we helped ourselves to standard components, experimented and reinterpreted. Over the intense and frantic two days, thirteen new concept were conceived and left in the factory showroom for the staff to find on Monday morning. The best of these pieces are now production ready prototypes that respond to the history and preserve the heritage that is Llyod Loom of Spalding famous paper weave.

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5 Draw George

I’ve been working on a variation of the George Chest with 5 draw’s for a travelling exhibition in America which begins this September in North Carolina and continues onto New York’s Museum of art and Design early next year.

Mint Museum Uptown
01 Sept – 27 Jan 2012-13
500 South Tryon Street
Charlotte, North Carolina

Museum of Arts and Design
05 Feb – 16 July 2013
2 Columbus Circle, New York
Against the Grain: Wood in Contemporary Art, Craft and Design

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Private Commission
Dining Chair

The primary function of this design is to serve the purpose of seating and dining comfortably. Aesthetically its laminated legs and arms are it primary feature as they take the eye on a visual journey from the ground to the back. Through out the designing process there has been close consultation with the clients Though 3d modelling and Rapid Prototyping.