Capstone Beginning: Inspiration & Philosophy

Figure 1. James Krenov Portrait (1998)

I'll begin where, and when, my fine furniture's career seed was first planted. James Krenov was not a particularly ground-breaking designer or furniture maker, but he had a philosophy that had inspired many woodworkers. I read "A Cabinetmaker's Notebook" (published 1976) in 2013 and the book expanded my view of what the woodworking industry could be. My view extended beyond kitchens and mill work to a level of woodworking I had not considered to be a career. Krenov's passion was imbued in every word. His book convinced me of the true purpose of a woodworker; to see one's self as an amateur, rather than a professional, as amateurs continually strive to be greater and the competitive attitude of professionals compromises the values of their craft.

Figure 2. Nakashima's Conoid Lounge Chair (1982)

It is thanks to Krenov that I began to uncover the monumental world of fine furniture. Immediately George Nakashima stood out among the rest with his attention to detail and beautifully composed pieces, mixing American and traditional Japanese styles. Similar to Krenov, Nakashima believed each piece of lumber he worked with was alive and its soul guided the design/composition.

Figure 3. Ginkakuji (銀閣寺, Silver Pavilion, (1490))

In early 2016 I had the opportunity to travel to Japan and experience the rich culture the land had to offer. There I noticed structure of their ancient temples and shrines were vastly different from western civilization's structures. It wasn't until I began attending Sheridan's furniture program that I discovered and began researching the silver ratio. Silver ratio is a quantity wherein an infinitely continued fraction and all its coefficients is equal to 2. It's complex, but to actually see the difference the Ginkakuji in Kyoto, Japan, the length from wall to wall, of the second floor and the length, from wall to wall, of the first floor of the temple has a ratio of 1:1.14 respectively. I find this ratio very pleasing to the eye and very different from the architecture of Europe.

Figure 4. Zuihou-In - Zen Rock Garden (Temple: 1535, Garden: 1961)

During the entirety of my one month travels in Japan, I spent many hours entranced by the many shrines and zen gardens scattered around their cities. These gardens are not colourful, they do not produce relaxing fragrances, they are immovable, calming and although appear jagged are comfortable on the eyes. In my furniture I make it a point to add that sense of calm, and immovable quality that drew me to those shrines.

Figure 5. Friedrich Nietzsche - Melancholy Pose (1882)

Between my first and second year of school at Sheridan I looked for a hobby that didn't involve staring at a television. I visited a local Chapters and searched through the store for a genre that intrigued me. I was drawn to philosophy and bought Nietzsche's "The Gay Science" (published 1882). That summer I read profusely and without rest, every day I would spend hours flipping through books. Nietzsche opened up a well in my mind that was eternally dry, I read to fill the well with new knowledge. It was my mission to not just read for knowledge's sake, but to incorporate the new knowledge into life in any way possible, to become the best version of myself imaginable. In order to become the Übermensch (beyond-man/overman one of Nietzsche's coined terms) one must continually reevaluate and create new values for one's self and others. It is Nietzsche's writing, his prose and immeasurable awareness of the working's of the world and human nature that still draw me to his books.

Figure 6. J.M.W. Turner - Slave Ship (1840)

During my second semester at Sheridan, in history class we were shown many different artists throughout the centuries, but one that made himself known within me was a painter by the name of Joseph Mallord William Turner. His oil on canvas painting entitled "Slave Ship" was the first painting I saw by him and it struck a deep chord within me. I've never been a huge fan of fine art, but Turner opened my eyes to the beauty of composition and colour that no other artist had done before.

Figure 7. Toshio Odate - Pictured In Home

Toshio Odate is a traditional Japanese woodworker and author. He wrote "Japanese Woodworking Tools: Their Tradition, Spirit and Use" in 1998, it was all about the set up and maintenance of Japanese hand tools. This book has helped me to understand my love for the immense history behind Japanese tools, how to hone and perfect their usage. Each section is broken into types of tools and variations of that tool that can be found, the descriptions on maintenance and use are well detailed and Odate is extremely specific in his instructions.

Fioguire 8. 19th Centure Windsor Chairs

I was fascinated by Japanese design and its history, but it was not until second year at Sheridan college that I was now being drawn to the Windsor chair aesthetic and vernacular. The form isn't initially what drew me to the chair as much as the history and construction. All the way back to the late 1600's chair makers knew what specific woods to use and for what parts of the chair. The majority of the weight lay in the seat, so pine or poplar was used, easy to carve and much lighter than any other wood. The spindles and back rest had to be strong enough to withstand steam bending, but also be easy to turn on the lathe, ash was used for these parts. The legs and rails needed to be incredibly strong to take constant abuse, but easy to turn on the lathe, soft maple was used for this part. The reason they painted the chairs one colour was to mask all the clashing colours, mismatching of three drastically different woods.

Figure 9. Bern Chandley - Lowbow Diner (2017)

Bern Chandley is a contemporary Windsor chair maker. I have been following him for a few years and look to his pictures and videos for reference in how to do specific, complex joinery for his chairs. His chairs are unlike any other furniture maker that I have yet seen and I aspire to be as efficient and consistent as he is in his designs and construction.Through him I have found a deep following of Windsor chair enthusiasts, those that build as a hobby and those that build for a living. Without this great resource I would not have all the information needed to complete my thesis.

Figure 10. Frank Lloyd Wright - Portrait (1945)

Frank Lloyd Wright, it is not what people would think that moved me about him. I read his autobiography in high school and completely skipped over his explanations about his most famous works. It was his work ethic, perseverance, determination and tenacity that lit my flame in my teenage years. His mantra to "add tired to tired" as he worked on his uncle's farm as a young boy. I cannot remember a single fact from the book regarding his life, but that phrase has stayed with me all these years. I thank my teenage self for enjoying waking up early as I now have it committed to habit.

My Design Philosophy -

I enjoy designing and building furniture for the sheer love in working with my hands. My designs are self-discovery and self-improvement. They are extensions of my values, and like those values I am constantly looking to refine and redefine them. An eternal struggle for wisdom.

-Curtis Mohrhardt