All too often, furniture assembly is a time of anguish and profanities for us!! But your piece was so masterfully engineered, and you were so thoughtful in your preparation (down to the inclusion of the socket wrench and the magnetic wood covers– ingenious!!!), you made it all very easy, with remarkably elegant solutions to simple points of connection.

It is a delight to work with someone whose thoughtfulness rivals his considerable talents.

And, aside from ease of assembly, the table itself is almost beyond words… the wood virtually glows, and everything about its lines, curves and transitions are really spectacular. It is SUCH a sexy piece.

Thanks again, and we will send pictures of the installation when we have them.”
Patrick J Hamilton
DESIGNLUSH, New York. USA

New York City-based to-the-trade furniture retailer and interior design studio DESIGNLUSH is launching its Fall 2008 season with “Modern Masters,” a special collection celebrating some of today’s masters of furniture and lighting design from across the U.S. and around the globe. With over 16 artisans and studios represented, and almost 20 new pieces, Modern Masters by
DESIGNLUSH presents a fresh new perspective on the modern art, and traditional craft, of furniture
making. The collection represents pieces that are hand-made, limited edition, or premiering for the first time in the United States, all curated by DESIGNLUSH founder and Creative Director Stephen Mitchell. Chairs, sofas, desks, benches, tables, lighting, carpets and more come together under the Modern Masters umbrella to represent various contemporary points of view, all with one singular vision, where the eye of the artist and hand of the craftsman are evident in every curve and corner.
Focusing on pieces that truly embrace the concept of “craft,” the Modern Masters collection brings together some of today’s superstars of furniture making. And while the collection celebrates the DESIGNLUSH signature “modern organic” style, it may surprise those familiar with this New York showroom. “Some of these pieces are a slight departure for DESIGNLUSH, which has always been known for a strong modern feel. But I like that this collection continues to look at—and push— the definition of ‘what is modern.’ And every piece is totally in synch with how we’ve always embraced
‘modern organic,’ but in some great new ways,” says Mitchell. And while the collection may redefine “contemporary,” the pieces will no doubt have stylistic
staying power. Notes Mitchell, “We are saying these pieces are the ‘heirlooms of tomorrow’ because they are typically limited-edition pieces, some even one-of-a-kind, all very labor intensive,
lovingly made, and definitely the kind of thing you could have in a family for generations.” Continued Artisanal hand-poured glass, hand-carved wood, hand-thrown ceramics, wool, silk, and other natural materials come together with modern technology and contemporary vision… exotic woods paired with Plexiglas or powder-coated steel; leathers that are embossed, foiled and laser-cut. Says Mitchell, “What I love about these designers is that they have one foot totally rooted in traditional technique, but are also all about real experimentation.” The collection as a whole makes reference to styles, eras and cultures that have historically celebrated craft, classic materials, and the beauty of nature. The collection reveals references to American Arts and Crafts and French Art Nouveau, coming to life in Italian-inspired marquetry inlays, richly grained Australian timbers and Japanese floral motifs, to name a few. All these influences make Modern Masters a vibrant and globally-informed collection.
The artisans represented by Modern Masters blur the lines between design and art, furniture and sculpture. And because each of the pieces is so artistic, the presentation of this collection will also be unique, showcasing the pieces in a gallery-like setting. “We’re having fun with our presentation on this one, because each piece really is a work of art. Rugs are our paintings, chairs our sculpture. It will reinforce what’s so strong about each artist’s approach,” says Mitchell.
The presentation and promotion of this event also introduces the names and faces behind the work.
“Each one of these men and women is so passionate about what they do, and they are also really terrific individuals. By getting to know the artist, we think our clients— and their clients— will appreciate that table or chair they are lucky enough to acquire even more,” predicts Mitchell.
Modern Masters also heralds the U.S. showroom premiere of Australian furniture maker Tony Kenway. “We couldn’t be more pleased about bringing this exciting and talented designer to an American audience,” adds Mitchell Modern Master premieres October 2008 and will be available for viewing at the DESIGNLUSH
showroom in the New York Design Center through Fall/Winter 2008.

For more information about Modern Masters, the DESIGNLUSH collections or showroom,
please contact: Stephen Mitchell, DESIGNLUSH President: 212 532-5450, info@designlush.com,
or Patrick J. Hamilton, Marketing Manager: 646 645-7071, hatrickdesign@aim.com.

Byron Bay, NSW Australia 2008 – Tony Kenway’s work is featured prominently in galleries in Sydney, London, Tokyo and New York. But unlike most art, it need not be appreciated by the eye alone.
The best of it can be sat on.
Creator of some of the world’s most coveted collectible furniture, the Australian designer has worked in the Queen’s Royal Collection Workshop in London and with prominent designers in Italy, England, Japan and USA. His chairs and rockers in particular have garnered considerable attention and have been selected for the William Morris Trust house in London and the permanent collection of the Queensland Art Gallery, Australia.
Kenway has taken home a slew of international awards. He has twice received one of the highest accolades in fine furniture craftsmanship winning the ‘Best Chair’ award (2003 and 2006) and in 2004 earned a ‘Best New Artist’ title at the prestigious Philadelphia Furniture Show, an event where he invariably creates a stir. His finely crafted works of rare and exceptional Australian timbers tend to sell-out at the exhibition.
Kenway’s clean and elegant lines are inspired by forms found in the natural environment.
His unique range of furniture designs, described as neo classical and timeless, have evolved from years of careful consideration to function, comfort and proportion.
“People often tell me they are amazed by how my chairs seem to mould to their bodies and they can’t believe how comfortable a wooden chair can be,” says Tony.
Interesting commissions keep Tony and his team busy. Take for example a recent work for a New York collector: a table with five “legs” splayed from a sculpted base, a piece that evokes the arboreal splendour of Tony’s rainforest property in the hinterland of Byron Bay. It’s here that Tony designs and makes his collectable furniture, utilizing solid timber, carefully selected for its lasting beauty, strength and flexibility.
“My passion for woodcraft started at an early age,” says Tony. “In 1984, after my training as a cabinetmaker and shipwright, I started enjoying the freedom of expression in designing and making individual pieces of furniture.”
Kenway recently created a stir at the Architectural Digest Home Design Show in New York City in the MADE section featuring artist-made objects and furnishings.
For further information or schedule an interview with Tony Kenway, please contact Oren Siedler at oren@linknet.com.au or call + 61 2668 47102

Most Australian rainforest cabinet woods are now so rare that very few merchants carry stocks. Once, such timbers as red cedar, silky oak and silver ash were renowned throughout the country and internationally for their figure, texture, colour, workability and stability.

Fine furniture maker, Tony Kenway lives in the northern rivers area of New South Wales in an area once known as the Big Scrub rainforest. In the early 1990s NSW State Forests and private landowners established joint venture eucalypt plantations. Forestry cleared the land, undertook the planting and maintained the forests under a forty year contract. However, just three species statewide were selected – quick-growing eucalypts.

One area targeted was the ex Big Scrub land, with its fertile soils and high rainfall. At the time Kenway and landcare groups became involved with lobbying State Forests in an effort to convince them to use more site specific species – high value, mixed rainforest (cabinet timber) species on this prime land. State Forests at the time were reluctant to adopt the idea and continued to establish eucalypt plantations, which will be most likely clear felled for chip.

“In 2005, the NSW State Government introduced harvest security for private landowners wishing to create timber plantations,” Kenway told me. “Harvest security is vital – if this were not available investment in plantations will be thwarted. All harvesting has to be carried out in accordance with the Forestry code and mixed specie cabinet timber plantations should logically be designed to be sustainably thinned and logged forever.”

“There are few pockets in Australia that sustain fine cabinet timber plantation – they need to be in areas where rainforest evolved, with suitable climate, rainfall and soil,” Kenway explains. “The timbers grown were traditionally sought by furniture makers when Europeans first settled Australia. Red cedar, in particular, was shipped in large quantities to England for furniture. Rainforest species – including white beech, blackwood, rosewood, red bean, silver ash and silky oak – are sought for joinery and furniture. The variety in colours, fine textures, figure and stability make them some of the finest timbers of the world. Royalties paid for such species are as much as ten times that paid for eucalypt species.”

In 2007, Tony Kenway met with some new clients to discuss furniture for a new home. When showing them his timber stock, Kenway explained the difficulties associated with obtaining fine timbers. Their continuing discussions led to an inspiring project of unusual tree planting. Together, it was decided to recreate a mixed species rainforest plantation.

They found land in the northern rivers area of NSW with deep fertile soils not exposed to regular frosts, close to the sea with good access, and attractive views of forests and hills. Dense stands of camphor laurel were scattered over the area, the site had broken topography with moderate slopes, a general northern and western aspect with large quantities of surface rock. It was not prime horticultural land.

The 80 ha area is progressively being planted over six years. Weeds and camphor is chipped and used as mulch, and the ground silviculturally improved.

Proven species such as silver ash, white beech, silky oak, blue quandong, red cedar, Queensland maple and blackwood are planted along with another 50 or so lesser known species such as tulip satinwood and pigeonberry ash, taking into account the location of existing regeneration.

There is little information available on how to design mixed species planting as most large-scale plantations are established as monocultures, and careful consideration and research went into organisation of the spatial distribution of each species. Faster growing species were located adjacent to slow-growing species, providing shade and protection, and will be thinned once other species are well established.

“We are working with nature and trying as much as possible to emulate it“, Kenway said. The rainforest belongs here. The fauna is already coming back and the seed bank will spread throughout the area.” Their aim is to create a sustainable, commercial plantation that can be harvested in perpetuity, retaining a forest of high value cabinet woods.

The combination of adequate resources and knowledge of the timber properties of fine cabinet woods has resulted in a very interesting plantation. Site preparation techniques to remove rocks have utilised equipment rarely seen in forest operations. Careful preparatory work provides for inter-row slashing of the total cabinet timber area in the first two years, and ensures minimal future maintenance. Sensitive pruning will always be necessary to ensure good form and quality timber.

Most important, however, was Kenway’s passion and the client’s vision for such an exciting project. “This is the legacy we leave to future generations of our family.”

© Meredith Hinchliffe

For information about Tony Kenway’s work and more detail about the project, see www.tonykenwayfurniture.com

The side tables remind me more of a young forest, with those strong verticals. Very nice, a very successful venture.”

Rob Kohler, Pennsylvania USA