Slab Dining Room Table Questions (lots)

[adowden]

I met with someone today that wants me to make a George Nakashima inspired dining room table. She has two beautiful walnut slabs that are 2" thick, 18" wide and 8 1/2' long (MC 8-9%). Unfortunately they are not sequential, so it won't be bookmatched. I have never done a project like this, so I have lots of questions. I thought maybe some of the sycamore slab experts could help .

Here are the questions:

1) Does all of the bark have to be removed or is there a way to keep it?

2) How deep should the butterfly inlays go and is there a best wood to use? I noticed that George Nakashima used rosewood often.

3) What joinery is best to reinforce the areas under the butterflies?

4) Is it OK to run the boards through a 24" planer or is that risky? They are fairly flat except where there are a few knots. If no on the planer, what is the best way to plane them? I have a small electric hand planer (6"), sanders, scrapers, hand planes etc.

5) I would love any links or suggestions for the base. I would like something fairly substantial to balance the look of the slab. There is a Frenchman's cove II design in Nakashima's book, but it is just a rough sketch.

6) Lastly I would love any general suggestions, advise or experience to help me complete this project. Any precautions or warning would be greatly appreciated.

Thanks for the help!

Amy

 

[newtonc]

I used to live by Nakashima's shop and lurked their many days.His daughter now runs it and she is very generous to fellow wood worker's.She was kind enough to let me lurk in the shop frequently.I was just a silent observer many a days.And I watched most processes take place in the construction of pieces.But I'm not an expert on this subject,just a Nakashima fan and admirer.Of course,all this is when she isn't entertaining clients...she is running a business.
Keep in mind rosewood is oily and traditional wood glues will not hold it over time.Epoxy is best.Rock maple is also a good source for butterflies.The bark is typically removed,it tends to rot?correct me if I'm wrong.When working in thicker woods,at least half the thickness,if not more is usually the depth,but not more than 3/4.And a simple screw from underneath is common.
And in many of Nakashima's pieces the butterfly joint was used as a decorative way to stabalize crotches and burls.When it was applied for joinery,structural support is needed.But with Nakashima's work you will notice no fancy joinery under a butterfly.Simply a base that is positioned where the support is needed.His work was simple and elegant.No crowded designs with over use of joints and stretchers and cornerblocks.And he always let the wood tell him where it should be used.And I believe he succeeded with his organic designs.
And his book I have out in my living space for more than 10 years now.The Soul of a Tree.I never tire of flipping through it.It has lots of pictures and his sketches.If you want to browse his work,I HIGHLY suggest finding a copy and looking for a while.In fact, if your Hillsborough I'll let you look at mine.
If you ever make it to New Hope,Pa I suggest you stop in.And the Doylestown Pa library has a museum that costs maybe 5 dollars to get in.And they have a Nakashima section with a tea room and benches and tables you can sit in and touch.And the museum lobby has (modern made) original design benches you can sit in.It's really something to be able to feel the work in his case.That was 10 years ago,but I'm sure it's still all there in the museum.
And as you can tell I'm a George Nakashima fan.
Hope that helps in some far off way.

 

[Art Stratemeyer]

Hi Amy,

Over the years, I've done several natural edge slab tables. In fact right now I have 4 book matched 2" x 26" x 11' walnut slabs that include crotch figure that are being conditioned for commissions.

For planing you can use your planer and/or rent time on a wide belt sander from a shop near by. I generally prefer the wide belt. What I do is make up a sled that will hold the slabs and then with various wedges placed under the slab to level it out, I plane/sand one side level. Just like jointing. Now I have reference side that can be used for the final plane/sanding passes. During this process, you will quickly see if any of the bark is still firmly attached or not.

As for the bark. It really depends on the shape that board is in. I've been able to save bark by using a hypodermic needle and thin instant glue to flood down between the joint of the wood and the bark. Then I generally flood the bark several times with a tinned version of the final topcoat I will be using. Use compressed air to blow out the excess.

There are times I leave "some" bark and remove the rest. Either way it's a bunch of hours with a Dremel tool and lots of litlle bits and the small sanding pads and brass brushes.

I'm assuming you are going to use the keys structurally to connect the two pieces ( sometimes intentionally leaving gaps ). These keys need to go down about 3/4 - 7/8 of the way through the final thickness. However, remember these are not meant to be hugely strong. The base is what is doing all of that work. I've never "reinforced" the area under them.

For the base ... this can make or break the beauty of the wood that it rests on. My belief is that the base is just that "something to support and present the top". Here proportion and line truly come into play. I ALWAYS make up a prototype base ( often 2 or 3 ) for any table I have a commission for simply because there is no better way to get a "feel" of how it looks. Your "gut" will quickly tell you if it looks right or not.

Just don't forget to fully be aware of wood movement in any of the stretcher design you choose.

Of the three Masters I have been fortunate to study under ( back when I had hair ) .. the month spent with Mr. Nakashima was both the most rewarding and the strangest. Of the 4 weeks I was there, the agreement was that for almost the first two weeks, during a work day, I was only to observe and not allowed to speak to any of the craftsmen !!

One other key ...... get LOTS of chalk ... mark the slabs ... go away for a couple of days ... re-mark them .. etc.