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The concept behind ‘Common Room’ plays on the timber and wall mirror inspired by material experimentation using
grade’s name while addressing a real need. characterful yellow birch.
As demand grows for flexible workspaces that balance Her discoveries connect closely to her longstanding
productivity, community, and privacy, Schofield’s project inspiration she has found in roots and branches—forms that

asks: can simple, adaptable pieces meet the needs of twist and shape both structure and silhouette.
this new way of working? Can the rich character of No.1 A key insight from Øfstedal Eng’s collaborative, hands-on
Common enhance wellbeing through a biophilic connection experimentation with Benchmark was the discovery of yellow
to nature? birch’s rich spectrum of colour variations.
Schofield has used No.1 Common cherry wood to create a This led to laminating boards of the same species displaying
furniture family comprising a table, bench, stools, and screens different tones and grains to create a range of patterns—some
of varying heights. bold and graphic, others subtle and soft.
With its natural variation—knots, colour shifts, and irregular A three-layer lamination, with a 20mm core and 8–10mm
grain—No.1 Common often requires more work to make it outer layers, revealed its visual impact when carved along

viable for large-scale production. the grain.
Rather than hiding these characteristics, Schofield has Patterns emerged, forming Øfstedal Eng’s signature organic
developed a system to embrace them. silhouettes and showcasing the wood’s natural character.
A simple yet effective approach to joining splits and These sculptural elements contrast with clean, light surfaces
patching knots maximises the potential of No.1 Common. used for cabinet fronts, tabletops, seats, and backrests.
The butterfly joint, traditionally sharp-edged in handcraft, The dialogue between expressive and simple forms highlights
has been given rounded corners to speed up production and the beauty and versatility of No.1 Common timber, elevating

highlight its machine-made nature. its value through craftsmanship and thoughtful design.
This soft triangular form defines the collection’s design
language, uniting function with expression. Nothing wasted
Designed by KUF Studios, the multidisciplinary practice of
Kontur Series Danish designer Kia Utzon-Frank, the exhibition has been
by Anna Maria Øfstedal Eng built using offcuts from the production of the pieces on
Furniture and homeware designer Anna Maria Øfstedal Eng display—thereby demonstrating the amount of material
embraces the hand of the maker in her creative process, typically discarded in furniture-making—and is designed to
celebrating imperfection as an emblem of honesty and be disassembled and reused with minimal intervention in

transparency. future design projects.
From her studio in Fjellhamar, Norway, she creates unique The exhibition space draws inspiration from timberyards,
sculptural objects in ceramic, wood, stone and metal. She is forests, and workshops, environments where raw material,
interested in how contrasts—raw and polished, curved and process, and function coexist.
angular—can spark a dialogue within a design, enhancing its Using stacking methods used in timber drying, visual
presence both visually and texturally. markers from the yard such as ratchet straps and crayon
In 2023, she participated in AHEC’s 3daysofdesign marks, and structures that echo the simplicity of tools

exhibition, ‘Three’. and jigs, the setting invites visitors to wander, explore,
For ‘No.1 Common’, Øfstedal Eng has designed a cabinet and reflect.