Page 6 - Australian Wood Review December 2022

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3. Patryk Koca, designer and Carl Broesen, maker, Kardo Chair. ‘Designed to reduce some of the limitations of Australian timbers whilst maximising the yield from common sizes. Working together, the pair developed suitable joinery methods and selected native timbers that could rival their northern hemisphere counterparts. Blackbean (Castanospermum australe) is used for the legs, silver ash (Flindersia bourjotiana) for the tenons and Victorian ash (Eucalyptus delegatensis) for the seat and backrest.’ Photos: Brooke Zhang
4. David Laird, New Zealand. Captains Chair No. 8, black walnut, locally grown white oak, elm, and green sawn white ash. Photo: Richard Lord
5. Dave Smith, E1 Chair. ‘Compact in footprint and low to tuck under tables, the E1 nods to classic Windsor chair design, all the while reorganising components and proportions.’ Photo: Sam Penninger
6. Nelli Hegi, Underline Coffee table. Geometrically shaped legs combine with a 30mm thick top and a layered edge detail. Photo: The Palm Co
7. David Upfill-Brown, Saddleback Chairs, yellow siris (Albizia xanthoxylon) from north Queensland. ‘Another approach to a genre of chairs that I have been making occasionally for the past 15 years, seduced by the bell curve, the desire to achieve maximum comfort and dependent structurally on joinery from within the seat. Photo: Jon Harris
8. Alexsandra Pontonio, Dining Table for Derby Street, Otways myrtle. ‘The brief asked for a design that met halfway between solid and robust, and smooth and soft.’ Photo: Nick Manuell
9. Bryan Cush and John Wardle, In Clover, Tas oak and leatherwood. A collaborative piece designed by John Wardle, detailed and crafted by Bryan Cush. ‘Clover-shaped legs penetrate the top and a sliding tray glides down the centre.’ Photo: Pier Carthew
10. Bryan Cush, Yaketa, blackbutt, woven Danish cord. ‘Yaketa was influenced by hinoki bathhouse stools found in Japanese onsens and ryokans. The shou sugi ban charring of the top creates a textured, hard-wearing finish which is visually lightened with a subtle taper to the underside.’
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Australian Wood Review