Design

WOOD Design tion led him. He was hard to imitate, because to do so, you would need to be a master of form as well, and not many are, at least not in his league. Of the three, I knew him the best. Of course, he could be arrogant too. Nakashima, Maloof and Castle I mention the arrogance because I think that these individuals were Arrogance earned aware of the role they were playing and their worth. My observations are not critical, rather they are an acknowledgement of these men’s im

In the early ‘70s, there was a show him to be a bit less than friendly. He portance. It’s good that they knew it. called WoodenWorks at the Rendeserved to be proud and the internThey played an outsized role in the wick Gallery, which is a part of the ment experience may have influenced flourishing of the studio furniture Smithsonian Institution in Washinghis sociability. field that they helped create. They ton D.C. Now were pioneers and, to their credit, not we would deSam Maloof (1916-2009) worked in subsequently equalled. It is in the nascribe it as a design in a number of ways before he ture of design that older designs are show of stufound his destiny as a maker of exquiimproved upon, gradually and sequendio furniture, site furniture. His style was heavily tially. In their case, this hasn’t hapthen emerginfluenced by Danish Modern, but he pened. They defined their styles and ing as a vital interpreted it in his own way, with a their work remains the benchmark. component of mastery of blended edges, evolving I was very impressed as a youth, the Contemsections and graceful lines. His work and unlike what usually happens, I porary Crafts is entrancing to look at and lovely to have retained my over-sized respect. Paul Epp m o v e m e n t . touch. Not surprisingly, he has often I was fortunate to get to know them Three of the been imitated — especially his signaand to experience the development five designers represented would go ture rocking chair. What I find curiof their oeuvre. They have passed on to have an oversized influence on ous about that is that I haven’t seen on now, but their influence will cast this emerging discipline. I was lucky one of these “works of homage” that a broad shadow for a long while yet. enough to see the show, as an eager wasn’t somehow clumsier or heavierI’m happy to cheer for them. student and prospective studio furnihanded. The master knew what he ture maker myself. was doing and his imitators don’t Paul Epp is an emeritus professor

The oldest of these was George Naquite. I also knew Sam a bit and he at OCAD University, and former kashima (1905-1990). An American of also could be arrogant. He came by chair of its Industrial Design Japanese ancestry, he was interred that honestly and was, by all accounts department. during the War, but then went on to also generous and magnanimous. make a major contribution to AmeriComment at www.woodindustry.ca. can culture anyway. He loved wood Wendell Castle (1932-2018) and did his best to reveal its natutrained as an industrial ral beauty, working frequently with designer before forsaking the flitches of wain-edged wood that that for sculpture. And his we now call live-edge. He travelled furniture is certainly more the world to find trees worthy of his sculpture than anything work and then used them with great else. He was fantastically respect. It’s an indication of its culcreative and had a powerful tural significance that his work sells sense of form that was withat auction for much more than when out peer. He was creative he produced it. But what I find to be in every way, both visually the most interesting is that within all and technically. He evolved the live-edge activity that we are exmany techniques, not beperiencing, no one is doing it better cause he was technically and even rarely as well. He developed minded, but as routes to the a style and he remains the master of expression of his creativity. it. I subsequently was lucky enough He would do what it took to to get to know him a bit, but found get to where his imaginaWendell Castle’s 1963 Blanket Chest.