Hands cutting a precise mortise-and-tenon joint in pale oak on a white workbench

Workshop Record

A precise object passes through many hands.

Machines repeat geometry. Makers read grain, tension, temperature, alignment, sound, and touch. Our process is designed around the transfer between the two.

Hands cutting a precise mortise-and-tenon joint in pale oak on a white workbench

Workshop Record

A precise object passes through many hands.

Machines repeat geometry. Makers read grain, tension, temperature, alignment, sound, and touch. Our process is designed around the transfer between the two.

METHOD / 01–08

Every transfer is a design decision.

A production drawing can describe geometry; it cannot judge a board, balance upholstery tension, read a brushed surface in raking light, or hear a mechanism close. Our process assigns those decisions to the people best equipped to make them.

THE PRODUCTION RECORD

Eight stages, one accountable object

01

Material Selection

Timber boards are sequenced for colour and movement; stone slabs are mapped for veins and fissures; textiles are tested for abrasion, lightfastness, and seam behaviour; castings and glass are inspected before finishing.

02

Prototyping

Critical joints, edges, pivots, and upholstery profiles are tested at full scale. Seating is evaluated across body types and use durations; tables and storage are loaded beyond normal service conditions.

03

Joinery

Mortise-and-tenon, housed joints, pins, and concealed mechanical connections are selected according to movement and repair. Timber is allowed to expand without forcing adjacent glass or metal to follow.

04

Metal Work

Sheet is cut and folded, castings are chased, welds are dressed, and surfaces are brushed in controlled directions. Patinas are built in thin layers and recorded against retained samples.

05

Glass and Stone

Glass is cast, cooled, ground, and polished on schedules appropriate to thickness. Stone cuts are nested within mapped slabs, with vulnerable edges and bedding direction considered before machining.

06

Upholstery

Support, comfort, and cover are treated as separable systems. Textile grain is aligned, tension is balanced across the frame, and replaceable panels are preferred where the form permits.

07

Finishing

Oils, hardwaxes, soap, anodizing, enamel, and waxed patinas are selected for touch, maintenance, and the possibility of renewal. Samples are assessed under daylight and warm interior light.

08

Final Inspection

Every piece is levelled, operated, measured, and reviewed from normal viewing height. Moving parts are cycled, surfaces are checked in raking light, and assembly hardware is counted before packing.

Close detail of the Rift table’s smoked-oak edge, shadow line, and brushed-metal support

PRODUCTION MODEL

Made to order, not made without limits

Standard pieces enter a scheduled production sequence after finish and destination approval. Custom dimensions or finishes require feasibility review, a quotation, a signed drawing, and may extend lead time. This protects the function and proportion of the original design.

SERVICE / LONGEVITY

Repair records travel with the piece

Where possible, upholstery, glides, inserts, shelves, mechanisms, and finish samples are recorded for future service. Contact the studio with the product name, approximate purchase date, photographs, and location so we can recommend the right intervention.

Assemblies

Separable where structure permits

Records

Finish and service references retained

Support

Assessment before replacement

Discuss a Piece or Repair

Send the product name, approximate purchase date, location, and photographs. We will identify the right technical contact and next step.

Discuss a Piece or Repair

Send the product name, approximate purchase date, location, and photographs. We will identify the right technical contact and next step.

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