After winning the title of ‘The Object 2025’ in this year's INDE. awards, AHEC sat down with Melbourne-based furniture maker and designer Simeon Dux to learn more about his process, design philosophy and what it takes to make an ‘heirloom quality’ piece of furniture.
It would be fair to say Simeon’s career reflects a progression through every stage of the craft process, grounding his work as a designer in years of hands-on making.
He began working as a carpenter for a decade inspiring his love of timber and its physical possibilities, leading him to re-study at the Melbourne Guild of Fine Woodworking to learn furniture making under Alastair Boell.
Crediting his time as a carpenter, Simeon explains it taught him to “work fast” whilst still keeping his pieces “refined and delicate”. However, the transition from furniture maker to designer-maker was slightly slower.
Like many great creatives he learnt to design by osmosis, surrounding himself with beautifully rendered pieces by great craftspeople at the Guild.
He explains: “I was continually exposed to exceptional quality design and over time it seeped in, I learnt what small details really make a piece stand out versus what characterises a poor imitation”.
Now Simeon runs his own workshop in Melbourne crafting and designing his own timber pieces inspired by historical furniture heavy-weights Niels Vodder and Émile-Jacques Ruhlmann, as well as producing stunning commissions for Australia’s top architects.
Look no further than long-time collaborator Adam Markowitz to see the pair’s ability to fuse ingenious design, carefully considered finishes and sustainable hardwoods for winning the formula of furniture crafted to last generations.
Indeed, this is Simeon’s design philosophy, where all aspects of process converge on the concept of longevity. In material selection, he prizes making sure the timber is the absolute right fit for the piece, examining its “species-based subtleties and nuances”, taking into account its grain structure, density and whether it is close or open pore.
This is then enhanced by a design ethos of creating something that has visual appeal across decades, choosing one to two fine focal points to shine through, evident in pieces like his expansive ‘Art Deco Wall Unit’ in American white oak and walnut featuring tambour doors with parquetry inlay and hand shaped waterfall curves.
Finally, owing to Simeon being both a designer and craftsman, it has to be made well, “it doesn't matter if the design's really good if it's going to fall apart in five years” he plays.
He tries to achieve as much refinement as possible in his hand-drawn sketches before he starts breaking down timber components ensuring his pieces are solid from conception—after all as Simeon recognises, unlike carpentry, elements can’t be added along the way.
The result: “a piece of furniture that can last as long as it takes for another tree to grow, where I know I’ve done the timber justice”.
Simeon’s synthesis of longevity and quality is something that brings him back to working with American hardwoods again and again.
He favours American walnut, partly owing to its pull of nostalgia—being one of the first timbers he ever worked with—and for its beautiful colour and natural chatoyance.
These features are abundant in his stunningly crafted matching walnut ‘Sham Bedsides’ with double bridle leg joinery, hand carved cove profiles with dovetailed piston fit drawers and ship-lap back panels.
Alongside walnut, he is drawn to American maple and cherry given their fine quality, ease of availability and his valuing of sustainable material choices across his work.
Looking to the future, Simeon’s ambitions are much a reflection of what’s brought him success so far; he is looking to continue creatively advancing his designs and keep working alongside skilful craftspeople in his six-person workshop.
Perhaps even a solo exhibition for his pieces where excellent timber has been done justice. In the meantime, he is teaming up yet again with Adam Markowitz for an exciting project for a tourist centre on the infamous Great Ocean Road.
Simeon is crafting “four curved sculpted benches” which will act as the centre’s focal point. He admits it's going to be a physically demanding job accounting for the pieces’ weight and complexity, but he has no doubt the result will be something remarkable.
This project will be one to look forward to as another iteration of Simeon’s ability to blend aesthetics with durability showing what is possible with quality timber.
Vietnam’s Rising Design Stars Take Centre Stage with American Red Oak
Award-winning prototypes from the Hoa Mai Design Award highlight a new generation committed to innovation, cultural storytelling and responsible material choice.
The American Hardwood Export Council (AHEC) reaffirmed its long-standing commitment to Vietnam’s design community as it marked its 21st year as a principal supporter of the Hoa Mai Design Award.
As one of Vietnam’s most respected design competitions, Hoa Mai has become a vital platform for emerging talent, many of whom are introduced to sustainable American hardwoods for the first time through this partnership.
AHEC’s collaboration with HAWA continues to guide young designers in understanding responsible material selection, sustainability, and the creative possibilities of American hardwoods.
This year’s contest once again highlighted how natural materials, particularly American red oak, can inspire innovative form, emotional storytelling, and deeply rooted cultural expression.
AHEC Regional Director John Chan emphasised the organisation’s long-term support, stating that designers “push the boundaries of good and sustainable design every year using American hardwood.” He highlighted the responsible forest management in the US and the environmental value of exploring a wider range of species.
Several prize winning designs used American red oak, showcasing the species’ versatility and expressive character.
First Prize went to LUMAIRE LIGHT, a poetic reinterpretation of the lunar cycle by designers Ngô Thị Quỳnh Trang and Soi. Second Prize was awarded to the NEST STOOL by Nguyễn Thùy Dương, inspired by the familiar Vietnamese bao steamer. Third Prize recognised the CROSSLINE BENCH by Hồ Thị Thu Hà, drawing from the bridges of Saigon.
The Grand Award Special Prize went to NODE by architect Lê Hữu Trường, an emotionally rich interpretation of the Vietnamese shoulder pole.
Many Encouragement Prize winners also created thoughtful, beautifully crafted works using American red oak, including the ISU Chair, Gánh Bench, and Echo Cabinet.
Their designs reflect Vietnam’s growing global presence in contemporary furniture and product design. It is one rooted in tradition, craftsmanship, and a refined understanding of natural materials.
Looking ahead, AHEC plans to deepen its engagement with Vietnam’s design and manufacturing sectors, expanding education, technical collaboration, and creative partnerships that empower designers to continue exploring sustainable American hardwood in meaningful, culturally resonant ways.
