Peter Makula, Berry, NSW

Caldera
ebonised oak and redgum table setting
1250 x 1215 x 760mm

Concept
The idea behind the work was to create a modern and elegant piece(s) of furniture with art-deco references. I wanted to utilise the skills of design, geometry and engineering, as well as craftsmanship in the making of the work.
In the design I wanted the table to look as if it had thrust upward out of the ground, with the top looking still like placid water. The benches that encircle the table provide a rythmic horizontal underflow emphasised by the inverted, stretched pyramid redgum elements on the bench undersides. The redgum elements on the inside of the bench sides reflect the table legs, helping to unify the five components of the work, whist the jarrah ‘keystone’ provides a central focal point. Tapering the edges of the base, underside of tabletop and benches gives the work a lighter feel, and visual interest by the reflection of light from the different facets. Ebonising the oak unifies and gives a feeling of substance. It also provides a rich textural finish, almost like an inked etching plate prior to printing, and gives contrast to the red gum and jarrah.
No component has just a decorative function. The jarrah element, using gravity, helps lock the legs, preventing twist and giving the whole table a mechanical strength. Likewise the redgum elements used in the benches provide rigidity enabling them to accommodate two people if required.
The extent to which I have succeeded can and will be for others to judge.

Construction
The piece, comprising of a table and four benches, uses three timbers. American oak and jarrah were obtained as offcuts from a kitchen door manufacturer. The redgum was purchased from a supplier specialising in tree salvage.
The oak was thicknessed to approx 21mm then butt jointed to form full-length sections of six runs forming a section 126mm wide by approx 65mm thick. The widths were then re-thicknessed before clamping to form the full width of the tabletop, base, and benches (ie. to form the tabletop required ten fabricated pieces to produce the 1250mm width).
The roughly formed blanks were then surfaced and thicknessed on a Wood Wizz overhead router, with the tapered planes being produced by propping the work at the appropriate angle and milling on the same machine. The tapered, triangular, redgum sections that form the table legs and bench structures were assembled from 32mm thicknessed sections and then shaped on the overhead router using custom made jigs to hold them in position.
The four oak centre base components and the middle jarrah section were assembled in a similar way, but were shaped using a jointer and belt sander.
Full size drawings were made to determine correct lengths and compound angle cuts of the table legs and other angle cuts. They were also used to determine the tapered mortise joints where the legs are set into the base and recessed into the top, the mitre cut for the benches, and the angles to cut all the other components. The drawings were also used to make the various jigs that needed to be made as either guides or aides in the final glue-ups.
Dominos were used in conjunction with the tabletop/leg joints and the mitre forming the bench sides. The four oak components at the table base are butted and joined with dominos, as are the red gum bench components of the benches.

Finish
Titebond III PVA was used as the adhesive for the oak, redgum and jarrah components. AVS Adhesives AV515 urethane glue was then used to assemble the various fabricated elements.
The jarrah centre section in the table is loose and acts like a keystone to stiffen the whole table assembly. Leather has been glued to the four oak components to provide a buffer between them and the jarrah. O-ring rubber has been set into the bottom of the bench sides to prevent floor surfaces being scratched.
Prior to assembly all timber was sanded to 240 grit. The inside surfaces of the top, base and benches were further sanded to 400 grit. Areas to be glued were masked off, then ebonised with a vinegar and steel wool mix and when dry gently sanded. The process was repeated, and when dry Organoil hard burnishing oil was applied and mechanically buffed with fine Scotchbrite pads. Outer surfaces were done in the same way but as part of the final finishing, as were the redgum and jarrah (minus the ebonising treatment). After the Organoil had fully cured the surfaces were cut back using U-beaut EEE and then finished by buffing with Organol Woodsheen oil.

Photos: Peter Makula