Peter Pauls, Mt Hawthorn, WA

Treasure Temple
Jarrah, vavona, birdseye poplar
300 h x 280mm d

Materials
Jarrah: veneer, straight grained timber and tree root base
vavona veneer (used on old car dashes)
birdseye poplar veneer
2 x sealed lead acid batteries
12 x ultra bright LEDs
1 x on/off switch (ex video player)
1 x charging port socket
1 x 12 volt regulated power supply
brass, 6mm thick

Method of construction
i. Dome, top sleeve
The dome and the top sleeve were created from a jarrah tree root base (very dense and stable with no specific grain direction) from a storm-felled tree. Using a home-made lathe I turned up a dome to 5mm thick for the top lid. The fretwork design was created by dividing the dome into quarter sections, and in each quadrant I rolled bluetack into thin worms so I could work with the pattern on the outer layer. I sprayed a coat of white paint over the dome to mark the pattern required, removed the blue tack, and carved out most of the painted area (the waste) with an electric dental handpiece and various burrs, finishing off with a set of jeweller’s needle files (always filing towards the centre of the dome).
ii. Pillars
The square base of each pillar had to be larger than the top, so I cut around each one with a router to make it step down, then turned up the shape and finished off with sandpaper. One pillar has a 3mm hole through the centre, to house the power cord for the lights around the top.
iii. Top, base
Using 12 segments of straight-grained jarrah cut at 15 degrees, I glued together triangular blocks to create a circle with no endgrain showing. I turned the shape for the top and base sections and sanded. On the underside of the turned top, I cut a slot for the LEDs to recess into, and then drilled internal channels so the wires could pass through unseen. Holes were drilled into the base for the switch and wiring.
iv. Inner trays, central tube, lower side trays
These are jarrah veneer covered with vavona sourced from England. It’s most commonly used on the dash of vintage cars. The lower trays have additionally been internally lined with birdseye poplar for a dramatic effect. The three internal trays are externally lined with jarrah-stained maple burl with a central jarrah turned knob for lifting. I aimed for a perfect fit; when the tray is dropped into the central tube, the air cushions the fall of the tray. I wrapped 8–10 layers of veneer around tubular forms ie. truck exhaust pipe and a truck oil filter, gluing with resin glue. The lower half round trays were formed around a large cooking pot in the same manner. The lower side trays have a poplar veneer-covered ply base, glued to the tray walls and then fully externally covered with vavona veneer. To assemble the top, base, pillars and central tube, a combined assembly had to work, so with the pillar top and bases drilled for dowels, I used resin glue to fit the centre tube into the base recess, and then with the dowelled pillars already inserted, the top was positioned and aligned.
Another tube was added under the base to house batteries and another sub-base glued on to accommodate the lower trays.
v. Lighting, hardware
Behind each of the 12 pillars are ultra bright LED lights, aiming downwards to enhance the vavona veneer on the central tube, powered by two 6 volt rechargeable batteries. A small jarrah push-button switch is hidden inside. At the rear of the temple there is a charging port for a 12-volt regulated power supply that can be either on continuous charge or used as required. The lights will run for five days non-stop on a full charge.
The hinge was made by cutting 6mm thick brass plate to a shape that matched the dome cut-outs and curves. I filed this down to a complementary design to match the intricate fretwork; the lower section of the hinge had to be scalloped out to allow for the mounting screws and pivot pin. The hinge was then highly polished and coated with Incralac to prevent tarnishing.

Glue: Techniglue (2-pack resin glue)

Finish: Wattyl Estapol (satin)

Concept
The inspiration came from a photo of my wife standing under a Roman pavilion. This made me look more into Roman architecture, particularly the architectural tricks they employed that successfully directed and engaged the eye, such as the way the pillars of the Parthenon are angled outwards to draw the eye upwards. Decorative antique clocks also featured heavily in my research, particularly those based on Roman architectural designs, and those with domes in their design.

Photos: Peter Pauls and Ian Father