With a mighty (OK, a wussy) whuppin’, I assembled two frames for these Roorkhee chairs. All in all, they aren’t bad. Only one joint out of the two chairs keeps popping out. I’ll fix its wagon in the morning.
Tomorrow I’ll clean them up and finish them with shellac. Then it’s off to the upholstery person, whoever that is. I still haven’t been able to get a shop to return my phone calls. Perhaps I need a sexier voice.
After I got the first chair frame assembled, I put down my dead-blow mallet for a minute because I was stunned by something I hadn’t seen before. The frame is the spitting image of an Egyptian bed from one of Geoffrey Killen’s books on Egyptian furniture and woodworking tools. I cannot put my finger on the book this evening. (Note to self: Cane the librarian yet again.)
In the meantime, I was amused to receive a poem about Roorkhee chairs and the J Lo “too much junk in the trunk” problem that some of us suffer from. I will warn you, there are a couple adult words in this ode, so don’t read it aloud in Sunday School, OK?
— Christopher Schwarz
Madam, over here is a chair called a Roorkhee,
not hard to pronounce, rhymes with dorky.
Roam the world and sit unflappable,
‘cuz the damn thing is quite collapsible.
This chair is not for me it would seem,
I am much too broad ‘cross the beam.
Yes, madam, he said with a sigh,
I can see you are really quite wide.
These curves I have are my problem,
Too much here, there, and a big bottom.
But, madam you must not despair!
The Roorkhee is your kind of chair.
For you it is eminently suitable
it has the quality of being scootchable!
Take a seat and alack and alas,
the Roorkhee can handle your ass !
One of the things I most like about making furniture is something that’s rarely talked about: It is a lot like being a 15th-century explorer.
You sometimes venture into places that you think are new and untouched, but like the Genoese, you find that people have already been there and built great things. What you do next could make or break your piece’s design.
As I’m building these Roorkhee chairs I’m using an original as a pattern and trying to stay as close as possible to the vintage lines, materials and measurements. As I turned the legs, I found that the cylinder shape near the top of the legs is not just decorative and it’s not just intended to reduce the weight of the piece.
It is, instead, a perfect grip for the human hand. The cylinder on the original is 1-1/4” in diameter and 3” long, with a wide bevel at the top and bottom (which is no fun to turn, by the way). When complete, this grip makes it easy to pick up the assembled chair and move it. Brilliant.
Modern interpretations of the Roorkhee have stunted this cylinder or turned it into a vase-like turning that isn’t easy to grab or hold. Stupid moderns.
Another good detail: The original chairs are exactly as deep as they are wide. This allows all the rails to be interchangeable. So when you assemble your Roorkhee in camp you don’t have to label your parts – tab A into slot B. No matter how you assemble it, it always comes out the same. Newer commercial versions of the chair add width but not depth. This requires the user to pay more attention when assembling the chair.
And this is the point in the project at which I think I must depart from the original. The original chair has 16-1/2” of space between the legs. Stop reading for a minute, pick up your tape measure and determine how wide you are at the hips. I’m 15” wide. That would give me 3/4” of space on either side of a traditional Roorkhee.
When I build stick chairs, I have always used about 18” between the spindles or legs of the chair. When I build Morris chairs, it’s usually about 23” of space. My gut says I should make these chairs have 18” to 19” space between the legs. It is, after all, designed for lounging.
But my gut can be wrong, like when I thought it would be a good idea to eat one more seafood sausage. So I’m going to make a version with 16-1/2” between the legs – but I’m going to use cheap poplar dowels for the rails.
Then we’ll see if my gut fits. Literally.
— Christopher Schwarz
P.S. As I wrote this blog entry I kept thinking how furniture could be an “undiscovered country.” To impress Megan Fitzpatrick, I thought I’d trot out the Bill Shakespeare quote about that from Hamlet:
To grunt and sweat under a weary life, But that the dread of something after death, The undiscovered country, from whose bourn No traveller returns, puzzles the will, And makes us rather bear those ills we have Than fly to others that we know not of?
But that’s not me. I have less culture than a petri dish at the CDC. This is more my (lack of) style.
This is the final cruise of the Starship Enterprise under my command. This ship and her history will shortly become the care of another crew. To them and their posterity will we commit our future. They will continue the voyages we have begun and journey to all the undiscovered countries, boldly going where no man – where no one – has gone before.
I get this sort of flack below almost every day. I usually ignore it. But in this case I want to be perfectly clear about how I work and how I have always worked.
Comment from Gary Smythe on the PW blog: I’ve been following this project from your first announcement. With all respect, your comments about not letting the price of hardware/wood be of concern are not fair. You are doing an article for a national magazine and the advantage of getting it published is that it is an expense that costs you nothing either by expense account or a tax write off. Secondly, how many donations were involved? Honestly, I wish you the best, and I’m looking forward to the article, but I bet you didn’t pay $15 for the Londonderry Catalog. I know that the $300 book on Campaign Furniture was donated to you. You are a skilled craftsman/author. I just feel for the audience you are writing for, true costs ought to be revealed. $700 is the tip of the iceberg. I’m guessing this item for the article on the campaign piece is worth $6000 by the time we figure your material costs and at least part of your time in the design and build. I’ll have to read the article to finnd out if any new tools were involved. Writing/photography is in addition to that. Bring it on, I want to see what you made, but please don’t tell us about the vastly inferior underweight hardware as an alternative – It’s embarrassing. If considering using most of that stuff, it might as well not be used at all. Keep this up and the next thing will be an article about a reproduction Tansu chest, but don’t worry about the Paulownia and hardware cost.
OK, let’s break down the letter, point by point.
“You are doing an article for a national magazine and the advantage of getting it published is that it is an expense that costs you nothing either by expense account or a tax write off.”
I have no expense account. I personally paid for the wood, the hardware and the finish. The piece was not built for a customer. It’s mine. It’s not a tax write-off. So I built a piece of furniture for myself and paid for all the materials myself. The article earned me some money, of course, but not even close to what the materials and hardware cost.
“Secondly, how many donations were involved?”
None. I paid full retail for every scrap of wood, hardware and finish. I always have and I always will. Call Steve Wall Lumber, where I bought the wood. Call Horton Brasses, where I bought the hardware. Call Oakley Paint & Glass, where I bought the finish.
“I bet you didn’t pay $15 for the Londonderry Catalog.”
You are right. I don’t have a Londonderry Catalog in my house. I’ve never even seen one. I looked on the company’s web site, which is free. Call Nancy at Londonderry for confirmation.
“I know that the $300 book on Campaign Furniture was donated to you.”
Not true. I paid $100 for the book plus a couple T-shirts from a local woodworker who knew I was interested in the style. Want to see the cancelled check?
“I’ll have to read the article to finnd out if any new tools were involved.”
Huh? None.
“I’m guessing this item for the article on the campaign piece is worth $6000 by the time we figure your material costs and at least part of your time in the design and build.”
Are you saying I was paid $6,000? Wish that were true. Not even close Way, way lower.
“Writing/photography is in addition to that.”
I do my own writing and photography. So I didn’t pay anyone for that. Perhaps I am not following you.
“Bring it on, I want to see what you made.”
Come on over. My home address is on our web site. I’ll show you every receipt.
English Roorkhee chairs are one of the missing links of modern chair design.
The form has its roots in the 19th-century late-Victorian era of the British Empire. It was the symbol of the changing nature of war (it’s lightweight and quick to pack). And its simple lines influenced generations of chair designers, from Marcel Breuer to the person who developed the ubiquitous camping chair.
I started building a run of these chairs on Tuesday for an upcoming article in Popular Woodworking Magazine and a forthcoming book on campaign furniture. My version is based closely on an historical example – many modern versions are skimpier and have joinery that is unnecessarily complex or just silly (more on that later).
This Roorkhee (rhymes with “dorky”) chair has conical tenons and mortises. And all the stretchers are the same length so they are interchangeable. Also a plus: The seat slopes down from the front of the chair to the back. That makes it nice for lounging. Some of the historical examples I studied had horizontal seats or even seats that sloped forward – perhaps to help keep you awake or to allow you spring from the chair for battle.
As I have no battles planned for 2013, I chose the version that is best for a beer or cigar after safari.
My joinery design is indebted to Greg Miller, a woodworker in Australia who built many of these chairs commercially. He shared his tricks for the joinery and his leg layouts with me.
I should have the chairs all framed up by Friday and finished by Saturday. So here is the plea for help: If there are any leather workers out there who could do the seat and back (for pay, of course), drop me a line this week at chris@lostartpress.com. Otherwise, I’ll head up to our local leather store – they have kindly offered to help me out.
And now down to the shop. I have mortises to bore.
By request, here is my teaching schedule for the remainder of 2012. If a class is sold out, it is always worth getting on the waiting list. Life has its crises, and so spots always open up – usually in the week before the class begins.
June 11-17: Dictum Workshops, Metten, Germany
I’ll be making my third trip to Germany to teach handwork at the Dictum workshop, which is located in an uber-cool pig barn in a monastery (no sarcasm — it’s awesome). I’m teaching three classes — one on planes and saws, a second on building wooden layout tools and a third on building a French-style workbench.
July 7-8: Lie-Nielsen Toolworks, Warren, Maine Shaker Wall Cabinet. This is a fun two-day class in hand joinery. Learn to surface boards by hand, cut rabbets and dados and learn the joys of cut nails. The new Lie-Nielsen classroom is outstanding.
July 16-20: The Center for Furniture Craftsmanship, Rockport, Maine
By Hammer & Hand: The Dovetailed Schoolbox. This class is based on the 1839 book “The Joiner and Cabinet Maker” – a fascinating look into the life of an apprentice in an English joinery shop. In this class, we build a Moxon double-screw, a shooting board and the Schoolbox from the book. This is an intense class in dovetailing and hand casework. This is the first time I’ve been asked to teach at this school. Hope it goes OK.
July 30-Aug. 3: Kelly Mehler’s School of Woodworking, Berea, Ky. The Anarchist’s Tool Chest: Build the Anarchist’s Tool Chest in five days in the hills of Berea, Ky. Kelly runs an excellent school with a great vibe and tremendous workbenches. I’ve been looking forward to this class all year.
Sept. 4-8: Marc Adams School of Woodworking, Franklin, In. By Hammer and Hand: The Dovetailed Schoolbox. I bring the Schoolbox class to Marc Adams’s excellent school. There’s a reason this is the largest school in North America. Everything is top-shelf, from the workbenches, the new engineered floor to the ice cream machine (yes, it makes swirls).
Sept. 17-21: The Woodwright’s School, Pittsboro, N.C. The Anarchist’s Tool Chest: Yes, you can build this tool chest entirely by hand. And eat ice cream for lunch. And be 10 steps from an awesome tool store and bar. It’s Roy Underhill’s school for gosh sakes. This is a fun class with lots of crazy hand- and foot-powered tools – including a Barnes mortiser.
And that’s it for 2012, except for speaking at both Woodworking in America conferences. For 2013, I’ll be traveling to a lot of new places to teach: Rosewood in Canada, Alaska and Australia. Plus, I hope to be teaching the following two classes, which I am pitching to some of the schools I frequent.
Design & Build a Campaign Chest
Campaign chests are one of the most rugged and masculine pieces of furniture ever made – and their simple lines fit in with almost any decor. In this class, you will learn to design your ideal campaign chest using guidelines culled from old military records and the archaeological records. After spending a day designing your chest with the help of SketchUp and the instructor, you’ll spend the next four days building the upper unit of your chest using a variety of hand- and power-tool techniques. In this class you’ll learn:
1. How to speak the language of campaign chests so you can execute your design and it will look as good as an original.
2. How to design the joinery for these cases, which were designed to survive war.
3. How to surface very wide boards with ease using hand tools and home shop equipment.
4. How to cut full-blind and half-blind dovetails.
5. How to cut rabbets, dados and grooves by hand and by power.
6. How to make the special tight-fitting recesses for the brass hardware that is typical size – both by hand and power.
7. How to age brass and steel hardware to make it look ancient.
8. How to fit drawers toa piston fit.
9. How to use high-angle planes and scrapers to deal with the exotic woods common to campaign chests.
Design & Build a Traditional Trestle Table
Trestle tables are one of the most ancient forms of furniture and appear in Medieval dining halls, Shaker dwellings and in the portfolio of George Nakashima. In short, they are one of the most elemental and enduring forms of furniture in human history. They use a minimum of material and excellent joinery to produce a table that is lightweight and incredibly strong. In this class, you’ll take a historical trip into the furniture record to understand the trestle table, from its beginnings in castle life to the present day. Using this knowledge, you’ll design your own trestle table using SketchUp and the assistance of the instructor. You’ll be able to design your trestle table in any style and in any size. Then you’ll spend the next four days executing your design under the eye of the teacher. In this class you’ll learn:
1. How to make beautiful tabletops that stay flat and are easy to assemble.
2. How to make the wedged through-tenon – the joint at the heart of a trestle table.
3. How to make your table knock down for travel using bed hardware.
4. How to surface large tabletops using power tools, hand tools or scrapers.
5. How to cut and assemble breadboard ends by both hand and power.
6. How to surface all your parts using handplanes.
7. How to make large-scale bridle joints to affix the top braces and ribs of the table.
8. How to use a fore plane or scrub plane to remove material quickly and provide authentic texture.
