Breaking With Convention
Uploaded by
Anonymous QJ5j94luLmBreaking With Convention
Uploaded by
Anonymous QJ5j94luLmBreaking with
Convention
For a cutting-edge design,
you sometimes have to bend the rules
B Y L E O N A R D C . B E C H L E R
THE DESIGN EVOLUTION
Bechler sketched a multitude of
different drawer configurations until he
came upon an asymmetrical but
balanced grouping of drawers and a door.
66 FINE WOODWORKING
CONSTRUCTION TIP
D R AW E R- F R A M E A N AT O M Y
Three horizontal
dividers and one
vertical divider
compose the internal
structure of this bureau.
Each divider was
veneered on both sides
with 3⁄32-in.-thick white
oak to achieve the desired thickness. With the dividers in
place, all of the drawer frames were constructed with
slip joints (open mortise and tenons). The frames use
two different size stocks, depending on the overall
drawer size.
Groove
for spline
Spline, 1⁄8-in.-
thick ash
S P E C I F I CAT I O N S
DIMENSIONS Vertical divider,
15 7⁄8 in. deep by 37 3⁄8 in. wide plywood core
by 35 in. high Drawer guide, and faced on
white ash both sides with
MATERIALS
oak veneer
Ash, black walnut, white oak,
kwila
Drawer frame, End cap,
FINISH End cap,
1
⁄2-in.-thick white ash black walnut
Liberon finishing oil black walnut
W
hile studying under James Krenov at the College of the the proportions and balance of the drawers. Realizing that the dark
Redwoods, I gained an appreciation for his flirtation with tone of the walnut would drive the activity of the piece, I decided
weights and balances. There are always four or five things to use it as the face-frame material.
going on with one of his cabinets that tend to keep the eyes mov- I wanted the drawer fronts to function as a calming field of color
ing and the mind involved. Thinking of this, I spent a day sifting and grain. So my main concern in the wood choice was aesthetic.
through back issues of Home Furniture magazine and found the After laying many samples of wood next to the walnut for consid-
perfect starting point for my second project at the school: an eration, I chose a piece of white oak.
apothecary’s chest. The tone of the pulls also would be a significant and playful ele-
Having grown up with a traditional chest of drawers, I had come ment. I settled on kwila because it matched the walnut and had
to detest the symmetry of it. I find the active jumble of drawers in- gorgeous end grain. Kwila also is easily shaped by machine.
herent in the tansu style appealing and decided to blend that into The carcase was doweled at all four junctures, while the frames
my design. Tansu chests are similar to apothecary chests in their were joined with slip joints (open mortise and tenons). All of the
organization of small compartments but also exhibit a playful form frames were attached to the carcase with splines. The top was
of proportion. Borrowing what I needed from both chest styles, I splined all around its frame, including its miters and pencil-roll
created a bureau design that was both active and calm. edge. I chose traditional dovetail drawer construction with loose
Once I had worked out the drawer configuration on paper, it was bottoms. The top, sides, back, door and any vertical element with-
time to make a full-size mock-up. I used large sheets of cardboard in the drawer/door configuration all were veneered with shop-
for the body and top of the piece and some scrap lumber for the sliced 3⁄32-in.-thick veneer. I finished the piece with Liberon oil.
legs. I chose dimensions by referring to other furniture but ulti- I often heard Krenov emphasize that “furniture should be true
mately scaled them to what looked and felt right. and honest and yet catch one’s attention.” I hope that my bureau
Next, I used some black-walnut scraps to mock up the drawer lives up to these Krenovian ideals.
configuration on the face of the cardboard carcase. Double-faced
tape allowed me to reposition the scraps until I was satisfied with Leonard C. Bechler is a finish carpenter and cabinetmaker in Oakland, Calif.
