Martin Grierson has strong traditional roots: having been good at both art and woodwork since the age of eight, he was encouraged to connbine both of these interests in a career. He attended the Centrai School of Arts and Crafts and spent five years in architectural offices before setting up his own design consultancy. His own workshops came later out of a desire to see his work better made.
7 think the future is very encouraging because the advantage of the designer – maker over manufacturing industry is that every job is different: you have a different person to design ton different building, different inter or design – whatever it is – and you can respond to each job. You can do this in a way that no manufacturer could ever do"
Boardroom table and chairs
Made for the St Bride Foundation Institute. The table is modular and can be folded to stand round the walls as console tables and assembled in other shapes. English and French walnut.
3000 x 5000mm / 10 X 16 ft.
Gentleman’s dressing chest
Weathered sycamore and pear with rosewood handles. П 00 x 960mm / 43 x 38 in
Solid American black walnut with silver inserts in handles.
1560 x 1750mm /61 x 69 in.
Dining table, chairs and sideboard
Maple with bog oak spiats and woven horsehair upholstery.
Table: 1520 x 1520mm / 60 x 60 in
Extending dining table and chairs
Brown and bog oak.
1225 x 2340 to 3740mm / 49 X 92 to! 47 in.
Johnny Hawkes has had a long and eventful career in designing and making furniture. His enthusiasm for his work, his love of wood and his forward-looking optimism is reflected in his work by his adventurous designs and innovative use of traditional and modern materials. His best work has a sensuality of line and sculptural form that raises it above the level of a lot of modern furniture. His down-to – earth attitude and business-like approach to his work is a pleasant surprise for his clients.
"You choose the wood carefully, you put oil of your affection into ft. sometimes it hos humour in it."
Light veneer screen
As many as ten screens can be linked together or three in a triangle with a centre light. Poplar and aluminium
Each panel: 1820 x 400mm / 72 x 16 in.
‘The Recession’ table
A Quivering hall table depicting the angst of losing a company during the recession. Ebony and tulipwood.
890 x 1350 x 400mm 35×53 x 16 in.
The weight of the ebony platen set below the glass, fries to diagonally splay the legs out. Restrained by a ball joint, the structure becomes rigid. Ebony and satinwood.
400 x 1000 x 700mm 16 x 39 x 27 in
‘The Obe One Kinobi’ bed Carved in deep relief throughout. Ripple Ash.
950 x 2200 x 980mm / 37 x 87 x 38 in.
‘Diner Wave’ chair
Designed for the founhour lunch. Solid teak.
‘My Lover’s Desk No. 1 ’
Burry brown oak and bronze.
760 x 1600 x 810mm / 30 x 63 x 32 in.
‘Gullwing’ spiral table
Lacewood and glass.
380 x 1000 x 700mm 15 x 39×28 in.
‘Diner Wave1 set
Inspired by boats, waves and sails from the bay at Cannes. Teak and bronze.
Table: 760 x 2300 x 1400mm / 30 x 90 x 55 in.
A chair for Merlin to dream in and mix his potions. Painted poplar.
1690mm high / 66 in.
Five fluorescent colours in neon acrylic and psycho vinyl.
640 x 600mm / 25 x 24 in.
Designed to go with the Gullwing spiral fable. Blue sycamore and leather.