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???????/Woodworkers' Week 2008 in Nagoya

05/21/2008, 03:44 | Masashi's woodworking diary



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'The Woodworkers' Week 2008' takes place in Nagoya from 3rd to 11th June.
It consists of three exhibitions and a forum.

The three exhibitions are:
Chairs -designer/makers' work 2008-
Works of Shin-ichiro Tani, Santaro Takahashi and Tomio Murakami
5-11 June 2008
9:50-20:00
Maruzen Book Store Sakae 4F
3-2-7 Sakae, Naka-ku, Nagoya

30 Woodworkers '08
3-8 June 2008
11:00-18:00
Denki Bunka Kaikan 5F
2-2-5 Sakae, Naka-ku, Nagoya

Wooden Spoons
3-8 June 2008
11:00-21:00
Lachic 5F
3-6-1 Sakae, Naka-ku, Nagoya

The Forum:
The works of furniture workshops
Mr.Daisaku Choh and Mr.Masanori Moroyama
8 June 2008
14:00-16:00
Denki Bunka Kaikan 5F
2-2-5 Sakae, Naka-ku, Nagoya

This is probably the first attempt in recent years for the Japanese woodworkers to make a network and launch events. It is going to be a rare opportunity to see many designer/makers' work in one place.

I will be exhibiting my works at 30 Woodworkers '08.
Shinsuke Kato, the director of Japan Green Woodwork Association, and Kaya Nagoaka, a graduate of Forest Academy, will show their spoons at the Wooden Spoons.
Come and see our latest works.

Designer Craftsmen Show

01/16/2008, 18:02 | Arts & Mysteries with Adam Cherubini - Blog

This is the busy season for period woodworking reproduction furniture makers (I think I may be the only one). We've been remiss in defining these terms. This has had serious repercussions as period woodworkers and reproduction furniture makers often don't themselves distinguish the important differences separating them. Wherever the two have met, I've seen friction and discord. Now, mere days away from one of the biggest and most prestigious shows featuring reproduction furniture makers, is a good time to offer a definition of these terms so we can better understand each other's work.

Period woodworkers focus chiefly on the process of using pre-industrial tools. Though Garret Hack makes contemporary furniture, his use of period tools and processes may qualify him as a period woodworker, only different from Roy Underhill by degrees. Some period woodworkers simply enjoy working with old tools. Others, me for example, feel strongly that the tools influence the work to such a degree that their use is essential to creating accurate reproductions of period work.

Reproduction furniture makers are by far the larger group. The reproduction furniture maker's chief interest is in producing an item that looks like an original. They typically care not at all whether the saw is man powered, electrically powered, or electronically powered. For the reproduction furniture maker, tools are merely means to an end, not the end itself. These folks are product, not process focused.

In reality, like the political poles of libertarian, and egalitarian (conservative and liberal are inaccurate terms for the groups they represent), all of us fall somewhere in between. I may well be one of the few exceptions, very likely the only such exhibitor at the Designer Craftsmen show. I am both a period woodworker and a reproduction furniture maker sharing a great desire to manage the authenticity of both product and process. Understanding that is key to understanding why I do what I do.

The Designer Craftsmen show at the Valley Forge Convention Center this coming weekend (Jan 18-20), offers the opportunity to drink in the different approaches and examine their inevitable results. If you are not sure which you are, go and see whose furniture you prefer. It also may be a fun activity to see if you can tell the difference. Here's a hint: you won't be able to tell from the prices. I've been going to the D-C show for many years and I highly recommend you go if you can. In my opinion, its as valuable as a trip to a museum.

Adam

Designer Wine Rack/Side Table with Wood Top in Scroll Style Structure

00/00/0000, 00:00 | Furniture Craft

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Ep 11 a Carlo Mollino Design 02

00/00/0000, 00:00 | Furnitology Productions

Here's our second episode on the Carlo Mollino inspired coffee table. Our homage to the charismatic Italian Architect and Designer from Turin Italy.

We start with a snap of furniture history and begin to develope the atmosphere that Carlo was trained in and worked arounded.

Construction engineering is dealt with in this Mollino furniture design and a present day solution is found. Our bending form template is completed and we press our 2-ply, the answer to our construction issue.

This Carlo Mollino form just gets more exciting.

Enjoy........Neil

Ep 10 Carlo Mollino 01

00/00/0000, 00:00 | Furnitology Productions

So welcome to the world of Carlo. Carlo Mollino that is. This is the first Episode of interpretting a glass top coffee table, inspired by Italian Designer Carlo Mollino.

It's a bent plywood piece that we'll produce with a finished surface of Bird-eye Maple and maple trim.

Furniture design moves forward and stalls then forward again only to stall, Carlo Mollino was a Furniture Designer always in forward position.

Come along for the ride as we investigate the life and interprret one of his famous pieces. It's a complex build but Carlo wouldn't have it any other way.

So hop in the Bisiluro and lets go!!!!!

Formats available: Quicktime (.mov)

John Niero - ICFF

00/00/0000, 00:00 | Furnitology Productions


Here's an excellent interview with a young furniture designer showing at the 2007 International Contemporary Furniture Fair.

The interview presents a very creative designer who plans on using the process of Rotational molding, which exposes us to a second manufacturing process available to furniture designers.

Our Contemporary Lingerie Cabinet is complete and you'll get your first look at here. The build had an excellent end result and needs its own post.

I'm back from vacation, a nice bareboat cruise through the Pacific Northwest, summer is ending and it time for a new peoject.

Enjoy this interview and look for the Lingerie finale and the start of a new project.

Neil

ICFF - Aimee Less Interview02

00/00/0000, 00:00 | Furnitology Productions

Aimee less is a designer living in California. Her interview provides nuggets of information on design thought specific to her shell chair...The Derby.

Enjoy this interview on seating from the International Contemporary Furniture Fair.

Â

Live from Studio B

00/00/0000, 00:00 | Skiving Off

I’ve been thinking about nomenclature. I’ve been thinking about what I call the area where I do my woodworking thing (or at least where all of the tools and equipment live when I am busy surfing the internet or playing Wii Fit and complaining about having no time to do any woodworking.)

Some people call those tool filled places their “SHOP.” However, that seems a little too generic for me because I have more than one shop in my life. All of the car stuff happens in my garage, but it is more of a combination garage/bicycle shop. I’ve said before that somewhere in between my Park Double Arm repair stand and Park TS-3 Master Truing Stand are enough tools to make 90% of the bicycle shops in North America jealous. Do you need to re-tap a bottom bracket? All decent shops can do either English or Italian Threads. However, for some reason I also have a tap for French Threaded bottom brackets, even though I neither work on bikes professionally nor have any French Bicycles. (I never know why I buy every tool I see, whether I’ll ever need it or not).

The non-bicycle part of the garage is pretty well set up for anything I need to do with cars. In the last ten years I have done engine swaps, clutch replacements, Air Locker installations, countless tune-ups, 30 or so brake jobs, 100 oil changes, water pump and radiator replacements, Axle replacements, ring and pinion set-ups, and on and on and on.

Before my wife and I moved to this house, most of the automotive stuff was done at my father-in-law’s shop. Long before I met him he ran a 2000 sq ft body shop behind his house, but he retired and closed his body shop before I ever came on the scene. So in the early days of my marriage, I would commandeer his shop for various automotive projects.

So now to differentiate between his shop, my bike shop, my garage shop, and the area of my plantation where I do welding and metal work, I always refer to my basement area as my WOOD SHOP. I say to Gail, “I’ll be downstairs in the Wood Shop. If the lazy dog should wake up, feel free to convince him to come keep me company.”

I am very happy with the Wood Shop in my basement. However, I will inevitably have to rename that space. Eventually my work will be good enough for me to call my wood shop a “Studio.” It’s a subtle little thing, but it is the key to being a wood artist. Adirondack Chairs are made in Wood Shops by woodworkers. Commissioned furniture projects are done in studios by two types of guys. To the uninitiated, woodshops and studios look a heck of a lot alike. They have identical equipment and tools. The difference between woodshops and studios is the guy doing the work and the deposit slips for his bank account. Today I came up with the official list of criteria required for a woodshop to be called a studio, and here it is:

1) If the woodworker went to art school then it is acceptable to call it a studio. Art School guys are different. A couple of years ago I was a Mechanical Engineer who worked with a bunch of Industrial Designers designing Office Furniture. It was my job to make sure the roll-formed steel and the drawer slides could support the required loads. It was the responsibility of the Industrial Designers to make sure the theme of the company was represented with a passionate design that made one think, “If I have to spend 10 hours a day in a cubicle, this is the work space I want.” Those left handed, beret-wearing guys were studio types.

2) If you are a woodworker who has ever made $1000 profit on a piece then you can call your woodshop a studio. The keyword here is profit. It’s more than selling cherry cabinets for $2000 when you have more than half of that total tied up in materials, overhead, labor, and burden. Woodshops produce items that either generate no income or can sometimes sell for as much as one half of the price of the lumber they use. However, studios are the setting where profitable wooden art projects are created.

Someday my basement woodshop will become my Studio. I am not able to go to art school, so criterion 1 will not happen. However, I have a plan for creating a 4 digit profit on a piece of furniture or a similar woodworking project. I’ll share that plan with you now.

Someday I am going to resaw a walnut plank and find that the bookmatched inner faces form a distinctive picture of Jesus. Then, I will put the resawn slabs on eBay, and send out a press release. Within 24 hours of FoxNews and Headline News doing bits on Jesus in the Walnut, my auction will have bids over $5000. And when the auction ends and the buyer’s PayPal clears, my basement woodshop with the resawing 18” bandsaw will forever be referred to as “My Studio.”

And I’ll get to show pictures to people and say things like, “here is a picture of my Studio. The Unisaw is in the middle, and on the left is my hand crafted maple workbench. If you look closely in the corner you can see my bandsaw where I created my most famous pieces, Jesus in the Walnut, as I was resawing stock one day…”