“Where Does Your Wood Come From?”

Some customers come to our showrooms looking to ‘stump’ us (pardon my pun) with this question. You expect us to give a general answer that tells you nothing and that’s when you can really start to nail us to the wall. It’s a completely reasonable suspicion. I probably would have the same thought process if Hardwood Artisans wasn’t such a big part of my life. I’ve used our furniture since I was a baby, quite literally. My father is John Hillgren and he met my mom, Jennifer, through the company itself. My mom worked in the office as an accountant. One day, my dad walked up to her (with his bobbing afro, mind you) and said ‘I’m sorry, but I need you to come to my office, you’re distracting all of the craftsmen’. Just as my parents met through the company, so did my aunt and uncle. Not to mention both my Aunt Denny and my Uncle Steven work with the company as well. I’m definitely not far from the truth when I say that my entire family has been a part of Hardwood Artisans.

About every employee here has known me since I was in diapers. I’ve been proud of Hardwood Artisans since the get-go, often bragging to my elementary school friends that my father owned a furniture business. My siblings and I used to run around the floor of the shop gathering up scrap wood and gluing the scrap together into miniature furniture so our Barbie dolls could enjoy hardwood furniture as well. I knew that the company made wood furniture, but I never knew where it came from or how we acquire it. I’m well versed on the company, but I never knew the whole story of our wood until I sat down with Mark Gatterdam, Greg Gloor, Kevin Carlson, and John Buss.

Just about half of my family is in this Hardwood Artisans picture!

So once again, where does our wood come from? To begin, let’s first answer the question that you’re really thinking. “Do you clear-cut forests for your own pleasure and benefit?” The answer is incredibly simple; No. All four of these men had a different way of informing me of this, but it just comes down to the fact that we do not clear cut or burn down forests for our furniture, nor do we work with companies who do. Our goal in this business is not to get involved in a dishonest market; it’s to provide people with long-lasting furniture in a sustainable way. The companies we work with don’t just cut down trees for lumber – they also have regeneration programs put in place.  They replant trees, so their resources aren’t consistently being depleted. I didn’t know about regeneration programs before this, and that really caught my attention. It’s good to know that our furniture is not only sustainable in its longevity but the wood we procure is constantly being replanted.

We expect all of our pieces to last as long as it takes for the tree it was made out of to grow back. That means this cherry Waterfall Shogun Chest should remain simply beautiful for at least 100 years!

It’s funny to me that this question consistently comes up. Not because it’s surprising – heck, clear cutting forests is part of the United States’ history and heritage. Trees were in the way of railroads, farms, roads, houses. Everything, it seemed, was more important than trees, so they were burned and clear-cut until a civilization was created. I understand that forestry is a big part of our world, and that the worries over our trees are significant. However, both Mark and Greg assured me that there is several times the volume of trees in the United States than there was hundreds of years ago. What makes me laugh is the fact that we’ve advertised that we’re a local business and that our furniture lasts a lifetime, but most people don’t know anything about where our wood comes from or just how sustainable the company is. When I’m asked to describe Hardwood Artisans, the first things that come to mind is long lasting furniture and the craftsmen’s passion, not where we get our wood from.

For starters, most of our wood comes from the East Coast. As many of you may know (and probably have experienced), the climate throughout the United States differs from coast to coast. For example, if you were to come to the Washington, DC area in the middle of July, you can expect 100% humidity… yet it won’t be raining (this we experienced at last year’s Lemonade Social). The woods we get are primarily northeastern run, which means they are already acclimated to the East coast climate. If you were to bring wood over from Hawaii to here, let’s say Choya wood, there’s a possibility it could respond oddly to the climate adjustment. If you’re worried about your Mahogany or exotic wood piece, don’t be. We get our Mahogany from Belize currently, but it’s a stable wood, and therefore not wholly affected by switching climates. The advantage of getting our wood from this area is the fact that we know the climate, we know how the wood reacts, and the wood is used to the moisture content and temperature.

Isn't Choya wood cool looking?

We’re always up for working with exotic wood, but we’re always careful to make sure the piece can expand and contract safely.

More details on the location of our lumber – our Cherry wood comes from Pennsylvania and New York. Our Birch, Maple, and Oak timber comes from New York. Walnut is from Kentucky and Indiana, and Ash comes from just about everywhere. Mahogany is the only wood that we import from South America. It’s certified under the FSC and is also listed under the CITES, which means it can’t be imported unless the proper forms and pedigree are filled out first.

Did you know that Mahogany is the national tree of Belize?

Another question you may be wondering is why don’t we certify all of our wood? We used to – Larry Spinks (one of the founders of Hardwood Artisans) was actually on the FSC board. The FSC is the forest Stewardship Council. It’s a nonprofit organization that supports the proper management of the world’s forests. They’re generally involved in certification of forests and lumber. Certified wood, however, costs about 15% more. This may seem like an unjustified excuse, but that 15% counter into the price of our furniture. While all of the owners would like to be FSC certified, at the moment we can’t rationalize it, especially when our lumber companies are already doing their best. The price hike is mostly due to the fact that the lumber companies are required to go through the certification process – which is basically lots of paperwork and additional work. Especially when most of the places we get our wood from are already working as though they were FSC certified and a lot of our wood already comes from FSC certified state forests.

Look, I even got the stump all ready for you!

So, now that you know that our wood practically comes from your backyard. You know the clean truths about our hardwood furniture; do you still want to nail us to the stump? If you have any more questions, feel free to comment on this blog or contact me directly at lorelei@hardwoodartisans.com.

Written by – Lorelei Hillgren, Hardwood Artisans Marketing Coordinator.

Field Trip to Pope-Leighey House

Last week, a bunch of us from Hardwood Artisans visited the Pope-Leighey House, which was designed by Frank Lloyd Wright in 1939. Though it was moved from Falls Church to its existing location on the grounds of Woodlawn in Alexandria in order to make way for the new Interstate 66 in 1964, the home is still oriented the way it would have been in Falls Church and great care was taken to adjust the topography of the new location to closely match the old.

Unfortunately, taking pictures inside is not allowed, but the photographers in our group (Alanna, our marketing coordinator, Jason, a craftsman and design team member and Mark, one of the owners) got some great shots of the exterior.

Here’s a selection:

The cantilevered roof makes the home appear much larger than it actually is. In reality, it is only 1200 square feet.

The cantilevered roof makes the home appear much larger than it actually is. In reality, it is only 1200 square feet.

A great view of the entirety of the cantilevered roof.

A great view of the entirety of the cantilevered roof.

View of the private side of the home from behind the hemicycle garden.

View of the private side of the home from behind the "hemicycle" garden.

Holes cut into the cantilevered roof in back allow more light to enter the childrens bedroom at the back of the home.

Holes cut into the cantilevered roof in back allow more light to enter the childrens' bedroom at the back of the home.

By leaving the wood unfinished, the home requires no paint and no exterior maintenance. It was designed to weather to match the bark of the trees on the property.

By leaving the wood unfinished, the home requires no paint and no exterior maintenance. It was designed to weather to match the bark of the trees on the property.

Most of us were fairly disappointed by the furniture, which was innovative, but not particularly well-designed. For example, all the tables in the home are the same size and height, which meant than the owner could use them to create one very large table, but the legs were awkwardly positioned in relation to the chairs, meaning you would nearly always be straddling either a leg or a seam between the tables. The furniture was also all plywood, which was a new, hip, expensive material when the home was built, but which looks rather unfinished to the modern eye.

That said, there was some fabulous floating shelving in the living room where they used L-brackets, but put the bottom part of the “L” behind the paneling so the shelves are more stable than the floating shelves you would typically see today.

All in all, it was a really fun trip. Despite our reservations about the furniture, the architecture is interesting and getting the story behind the home and the two families who owned it was enlightening.

Hi from Jason, Mark, Alison, Alanna, Katie & Edwin!

Hi from Jason, Mark, Alison, Alanna, Katie & Edwin!

Redwood of the East

I was reading an interesting article in the local paper about the American chestnut restoration efforts. The article by Alice Felts, in the Fauquier Times Democrat, discussed efforts by the students, teachers, and arborists to re-introduce a new chestnut tree that is 15/16th’s American chestnut, and 1/16th Asian chestnut. The Asian chestnut was the source of the blight that killed all the American chestnuts. As of this writing, the article was not up on the web.

This introduction seems a bit like allergy treatments. They inject you with a bit of the thing that is the problem so that a natural immunity can occur. The efforts by The American Chestnut Foundation, http://www.acf.org/ is very interesting as to how to ever so slightly alter the genetics of the tree to allow it to grow once again. The American chestnut has been described as the “Redwood of the East”, a giant of a tree that created huge eco-systems almost single-handedly. Its nuts fed whole communities of wildlife, and its wood a prime source of naturally rot resistant building material.

I’m thinking I need some chestnuts in my forest………

Livable Modernism

I just finished a book called “Livable Modernism: Interior Decorating and Design During the Great Depression”.

Most people have ideas of the Great Depression drawn from Dorothea Lange photographs of migrant workers, John Steinbeck novels and Annie, the Musical. I know I did before reading this book. The fact is though, 12% of the population at the height of the Great Depression was unemployed, which granted, was horrible for those families that were affected. But that also means that 88% of the population was employed. Perhaps their hours had been cut or they’d taken a lower salary to keep their business afloat, but for the great majority of the country, life remained less changed than we might realize from our vantage point 70 years into the future.

The history of decorative arts is such a fascinating subject. Sure, we can study the Great Depression in history class as kids or in economics class as university students, but textbooks and economics professors generally don’t tell very good stories. For me, one of the most revealing cultural tells is furniture advertising. Take a look at this ad from 1935 for the “Coronado glider”.


Not only does it showcase the aesthetic sensibility of the day (which, sure, may leave a little to be desired to the modern eye), it shows the price (average: around $40) and the tagline: “There’s a Hettrick Glider for Every Purpose and Every Purse”. Though the ad displays a sensitivity to perhaps straightened circumstances, look at the imagery and the language. The “Coronado”: a warm place with beautiful beaches in the promised land of California; the cactus: popular imagining of California from the point of view of the company in Ohio or the advertising agency in New York; a speeding modern metal train: ready to catapult you out of the past and into the future.

But most of all, this is outdoor furniture. This isn’t a bed, a dining room table, a sofa—anything resembling essential furniture in a home. Yet it is priced for a middle class consumer who is budget-conscious, but not unwilling to pay quite a bit of money for what most would consider, even today, to be a fairly frivolous item.

Though Livable Modernism does spend a bit of time chastising the past for its traditional gender roles and the inability or unwillingness of “modern” designers to view the woman’s role in the home as anything other than somewhere between homemaker and servant, which didn’t seem fair to me, it still presents a unique view of a time in our history that most of us probably feel like we know by heart. But, like any good exploration of the history of decorative arts, it shows that we might not know quite as much as we think we do about how our ancestors really lived.

Greene & Greene at the Renwick


Two weeks ago, I made it out to the Renwick Gallery to see the Greene & Greene show. After some slight confusion on my part as to where it’s actually located (hint—it’s right behind the Old Executive Office Building), I was quite pleased with the quality of the exhibition, but since I had gotten lost, I didn’t have enough time to read everything before the museum closed for the night.

Not only did they have a great collection of letters and photographs, they also showed some of the original architectural plans. The level of detail the Greenes went to on those plans was quite OCD—plans for all the lighting, furniture, stained glass—very much in the vein of Frank Lloyd Wright. These were architects with Vision.

As usual though, my favorite part was the furniture. Of course, pictures can’t do it justice. It’s so difficult to reproduce the glow of wood photographically, especially when you add 100 years of patina. So here are some of the highlights courtesy of the Gamble House website.

Charles Sumner Greene

Breakfast table, 1899

Douglas fir, cedar, oak, mahogany, and birch

Wedding present for his wife, Alice

Guardian Stewardship

Photograph courtesy of Sotheby’s, New York

Greene & Greene

Desk chair, ca. 1905

Ash

Adelaide A. Tichenor house, Long Beach, 1904–05

Guardian Stewardship

Photograph courtesy of Sotheby’s, New York



Greene & Greene

Hall chair, 1907

Mahogany and ebony

Made by Peter and John Hall

Dr. William T. Bolton house, Pasadena, 1906­–07

Guardian Stewardship

Photograph courtesy of Sotheby’s, New York

Greene & Greene

Bookcase, ca. 1912

Mahogany, ebony, and glass

Made by Peter and John Hall

Cordelia A. Culbertson house, Pasadena, 1911–13

Los Angeles County Museum of Art,

Gift of Linda and James Ries in memory of

Dorothy and Harold Shrier

(AC1997.105.1)

Photography © 2007 Museum Associates/LACMA

Most of these pieces are from their early to mid-career, but what surprised me most about this later piece was how modern it looks. Take away the leaded glass and it really starts to look more like part of the Modernist movement than the Arts & Crafts movement.

All in all, the best way to see these pieces is in person. So if you’re anywhere near DC, I highly recommend that you check out the exhibit before it closes on June 7th. Here’s the Smithsonian page on the exhibition, with a link to the online exhibition produced by the Gamble House.