Dedicated to championing the sustainable use of timber in design and architecture, the American Hardwood Export Council (AHEC) has a track record not only of collaborating with the leading lights of the creative sector, but also of working with the emerging generation to explore the possibilities of underused woods. For Clerkenwell Design Week in May AHEC achieved both.
Two events demonstrated the creative and practical properties of two hardwood varieties that are rarely used in conventional design production: American red oak and low-grade cherry.
The first, a major collaboration with one of the UK’s most prestigious design studios – Foster + Partners Industrial Design – and one of its leading craft furniture makers – Benchmark – on the new ILE modular workspace system. The second, a showcase of creative experimentation from the country’s future design talent – the students from Kingston University’s Product and Furniture Design course.
Although very different in outcome, both projects demonstrate the potential role that often-overlooked materials might play in ensuring a sustainable future for the industry and make the case for looking beyond conventional timber varieties when it comes to making beautiful, functional and high-quality design.
ILE – modular furniture for the spaces in between
ILE by Foster + Partners Industrial Design and Benchmark is a flexible family of timber furniture comprising a range of interlocking elements. The collection was conceived to maximise the use of underutilised spaces in the workplace – the ‘in-between areas’ that can often be wasted or inefficient. ILE comprises benches, tables, lockers, shelves and planters, which can be connected via an innovative timber fixing strip both back-to-back and side to side, optimising office space and facilitating different modes of working.
The system is designed to accommodate lighting rails and power displays – as well as accessories such as shelves and book ends – at any position on the worktop. With most offices undergoing 10 fitouts in an average 60-year lifespan, this level of adaptability – coupled with the inherent durability of the hardwood – helps extend the longevity of the furniture.
“Our ambition was to create a highly flexible, solid timber system that can be easily reconfigured – while simultaneously embodying the high level of craft and quality that Benchmark is known for.”
- Mike Holland, Head of Industrial Design, Foster + Partners
ILE makes use of two solid timbers—American red oak and British ash—both of which are practical, affordable, attractive and sustainable. The red oak, sourced from forests in the Northern Appalachians, is notable for its rapid rate of regeneration. Despite the fact it makes up around 18 percent of the hardwood forest of North America, it is massively underused, making its usage in ILE a net benefit in terms of making a more sustainable use of the forest.
The Cherry Project: Kingston students champion sustainability in hardwood furniture design
As a timber, high-grade—i.e. knot-free—cherry is widely used by interior designers and architects in high-end joinery and interior architecture. Lower grades provide equally beautiful and sustainable wood and are a great choice for projects that don’t require very long sections, such as kitchen cabinetry, furniture parts, and flooring; however, they are less popular.
To ensure sustainability, it is crucial to use all parts of a harvested tree, not just the premium grades. To promote this approach, Kingston’ students were challenged to create furniture using lower grades of American cherry. By embracing lower grades, the design community can lead the way in sustainable practices, achieving both cost-effectiveness and environmental stewardship.
As part of their ‘Intelligent Making’ module, 50 second-year students of Kingston’s Product & Furniture Design course were presented with offcut low-grade cherry and invited to create new design forms.
“Working directly with materials and exploring processes is critical to our student experience. The physical investigation of materials enables new ideas to emerge. Having a good amount of hardwood to play with has allowed us to explore structure and prototype freely, both at scale and full size. This means every student has had the opportunity to establish their own structural principles and to manufacture their own full-size finished prototypes to a high standard.”
– Carl Clerkin, Tutor, Product & Furniture Design, Kingston University
The result is an extraordinary collection of furniture and objects that offer fresh, practical and creative perspectives on an overlooked material. From stools and shelving to benches and even a playground see-saw, the body of work produced showcases both the versatility of cherry and the visionary talent of the emerging design generation.
“The next generation of designers, more than any before them, will need to adapt to a new way of thinking about the materials they use and the environmental impact of the designs they produce. This project has given these students a valuable experience of working with a timber species that is currently out of fashion but has the potential to offer so much to the world of product design. It has also shown that, with imagination, you can make beautiful products from what would be rejected as unsuitable in the commercial world.”
– David Venables, European Director, AHEC
Art Reframed
Tristan Wong's use of timber creates an inclusive art experience in James Makin's Collingwood gallery
The archetypal art gallery, with expanses of white, square set walls may often feel somewhat institutional, rather than inclusive and cultural. This was precisely the type of experience that renowned gallery owner James Makin wanted to avoid when he opened his new exhibition space in Islington Street in Collingwood, Melbourne.
The brief to architect Tristan Wong was for a space that challenged the seriousness and sterility of the gallery stereotype. Makin wanted to provide customers with the chance to explore and discover art in an environment which was both inviting and intriguing.
Wong's design is a counterpoint to art gallery conventions, using blackened and curved timber to create a space that is dramatic, textural and tactile.
Entering through a sliding, black stained hardwood door, visitors are guided past a 4.5-metre high curved timber wall that narrows at its end providing a glimpse of the artwork beyond. Coves and recesses that house some works facilitate a gradual discovery of the main space towards the back of the gallery.
The timber selected for the project is thermally-modified American ash (CAMBIA), stained black and wire-brushed to emphasise the distinctive grain. CAMBIA was chosen for its stability, aesthetic qualities, and strong sustainability profile.
As Wong explains, "James’ brother Hugh is an established furniture designer and maker who had personal experience of thermally-modified timbers. Following a discussion with him, we selected CAMBIA. We wanted something with a strong grain, that aligned with our sustainability objectives for the project and, importantly that would be dimensionally stable over time”
The stability of CAMBIA was an important consideration, as artworks will occasionally be hung directly on the timber wall. To facilitate this without damaging the wood, the boards have been installed with purposeful four mm shadow gaps.
This allows screws to be inserted between the boards without damage. "This way the screw goes into the backing piece and there are no visible holes. It also provides a purposeful staggered aesthetic of three different board widths with the shadow line between," notes Wong.
Another key factor in material selection was the biophilic qualities of the timber. Wong states, "Timber was a material we used to soften the experience aesthetically – there is that unconscious response to natural materials including timber that is relaxing”. The warmth and character of the wire-brushed thermally-modified American ash, even when stained black, provides a sensory richness in contrast to standard white gallery walls. The amplified timber grain is almost topographical in effect.
Sustainability was also front of mind, with Wong seeking to retain and reuse elements of the existing warehouse where possible. The old translucent corrugated roof was relined internally to let in diffused natural light, meaning almost no artificial lighting is required during the day. Low energy LEDs provide supplementary lighting when needed.
In addition to astute material choices, Wong restructured the typical gallery layout to enhance the social aspects of viewing art. The oversized reception desk morphs into a bar area, while a concealed viewing room, accessed through an enormous pivoting door, creates a space for quiet contemplation.
As Wong explains, "There are often aspects to a gallery that are left to the end and shoved in a corner…bathrooms, reception, bar, prep area, viewing room, storage. We wanted to rethink that and actually brought a lot of it to the front. It's all wrapped up in that main towering blackened timber wall, challenging not just the visual experience but also the programmatic arrangement."
The result is a gallery that feels welcoming and inclusive, enticing visitors to engage with art in a multi-sensory way.
"We wanted to structure the spaces so that they are permanent and interesting even when not occupied," says Wong. The curved CAMBIA wall and integrated joinery elements create a dynamic spatial experience compels visitors to explore the crafted, textural spaces and discover art in a personal and unhurried manner.
The James Makin Gallery provides an intriguing model for reimagining the art gallery experience. Through unconventional use of materials such as the thermally-modified American ash and a reconfiguration of the typical gallery layout, Wong has created a space that challenges conventions and invites engagement.
Designer Spotlight: Tan Wei Xiang
Wei Xiang graduated from Lasalle College of the Arts, Spatial and Product Design BA(hons) with First class honours in September, 2017.
Upon graduation, Wei Xiang worked as a carpenter, making furniture from trees grown specifically in Singapore. He worked with various species such as African mahogany, rain tree and tembusu tree, which were given a second life amidst Singapore’s rapid land development.
He is currently working as a Technical Executive at Temasek Polytechnic, School of Design.
At Discovered Singapore, he showcased ‘Recollect’, a keepsakes cabinet imaged as a way to hold, preserve and give respect to the items we hold dear.
“My piece is about the ever-changing landscape of Singapore’s environment. We are such a small country and yet we are rapidly developing our land. It looks totally different than it did five years ago.”
Wei Xiang describes the sites as Singapore’s new vernacular. The pandemic meant that he also had plenty of time in his room and he used the opportunity to clean up, in the process finding a variety of souvenirs.
“I thought why not have a keepsake cabinet to officially store them in,” he says.
He shared more about his inspirations and experience with wood in an exclusive interview with FDM Asia.
1) Where do you draw your design inspirations from?
I personally spent my Circuit Breaker (Singapore’s 2-month lockdown in mid-2020) taking frequent walks and took stock of the sheer amount of construction sites, which is a constant sight in Singapore’s ever-changing landscape. Typically, the perimeter of construction sites has a hoarding created by ridged zinc sheets. It is a very crude yet effective way to use them. I thought about how relatable and meaningful its purpose was – covering what is precious and important inside and protecting those outside. It is similar to what I was hoping to design; something that could keep one’s important keepsakes safe and protected inside. The ridged texture is also something that is uniquely familiar.
2) To you, what makes a piece of furniture a good one?
A good piece of furniture needs to be built well, using high-quality materials that ensure its durability and longevity. Ideally, such furniture can become an heirloom, passed down through generations as a cherished family treasure.
This enduring presence allows it to form an emotional connection with the user, embedding itself in their personal and family history, and becoming more than just a functional object but a vessel of memories and shared experiences.
3) What kind of message do you want to convey with your design?
The Recollect Cabinet was a piece of furniture designed to offer me a different perspective on how I viewed Singapore’s landscape. As mentioned previously, construction sites are a constant sight around Singapore, which led me to reflect on the future state of this ever-evolving city.
I often ponder how Singapore will look in the years to come, considering that many buildings and spaces I have fond memories of are frequently demolished to make way for something ‘bigger and better’.
To preserve these cherished memories, I created the Recollect Cabinet—a dedicated space to store keepsakes that allow me to relive nostalgic moments amidst the rapid urban transformation.
4) What are the unique characteristics of furniture as a medium?
Furniture serves as a shared resource that multiple people can use, such as when friends and family gather to celebrate over a meal at a dining table.
Unlike consumer electronics, furniture is built to last and often outlives these devices, providing enduring functionality and presence in our lives.
Additionally, the types of furniture people choose to own can be a further extension of their self-expression, complementing personal fashion and allowing individuals to showcase their unique tastes and styles within their living spaces.
5) In your opinion, what is the appeal of wood as a material? What possibilities do it bring that would be otherwise hard to achieve with other materials?
Wood is a versatile natural material used in many different applications, from construction to furniture making. Its familiarity creates a warm and inviting feeling for people, adding a touch of nature and comfort to various settings.
Whether in a home, office, or public space, the presence of wood can evoke a sense of coziness and connection to the natural world, enhancing the overall ambiance and emotional appeal of the environment.
6) What are the challenges that you face when working with wood?
When working with wood, it's important to consider using the right species for specific applications. For example, American maple is an excellent choice for achieving a sharp and crisp edge after CNC machining the ridged texture.
Different types of wood offer unique properties that can significantly impact the quality and functionality of the final product.
By selecting the appropriate wood species, you can enhance the performance, durability, and aesthetic appeal of your creations, ensuring that they meet the desired standards and expectations.
7) What do you hope to see in the industry in the future?
In the future, integrating furniture design with the behavioural needs of specific groups of people could lead to groundbreaking innovations in the industry.
The revival of traditional furniture craftsmanship presents an exciting opportunity to blend time-honoured techniques with modern design sensibilities.
By incorporating traditional woodworking methods and artisanal craftsmanship into contemporary designs, furniture makers can create pieces that celebrate cultural heritage while meeting the demands of contemporary lifestyles.
This resurgence of traditional furniture not only adds depth and richness to the design landscape but also fosters a renewed appreciation for the artistry and craftsmanship of the past.
Moreover, advancements in technology and manufacturing processes offer the potential to streamline and enhance furniture production.
Innovations such as automated manufacturing, 3D printing, and sustainable materials can significantly reduce labour costs and production time while maintaining high standards of quality and durability.
This integration of innovation into the manufacturing process not only makes furniture more accessible to a wider audience but also opens up possibilities for creative experimentation and customisation.
Overall, the future of furniture design holds exciting prospects for integrating behavioural considerations, reviving traditional craftsmanship, and leveraging innovative technologies to create well-built, culturally rich, and user-centric pieces that enhance the lives of people around the world.
8) How do you think contemporary design will continue to evolve?
Contemporary design will likely continue to evolve in several ways to meet the changing needs and preferences of consumers.
As urban living spaces continue to shrink, contemporary furniture design may further prioritise multifunctionality and space-saving solutions.
Finally, collaborations between designers and manufacturers from different cultural backgrounds may lead to the emergence of new design influences and styles within the contemporary design landscape.
Overall, the evolution of contemporary design will be shaped by a combination of technological advancements, sustainability efforts, shifting consumer preferences, and cultural influences.
