Sodergren - Studio Furniture

About

 

Evert Sodergren of Seattle, WA is the "dean" of the Pacific Northwest woodworkers. Among the pioneers of "studio furniture," this 4th generation woodworker blazed the trail of creating a livelihood making contemporary custom and speculative pieces. He served as a role model for many, who have shown their appreciation by honoring him as a Living Treasure.

"I am a craftsman because I feel that I can build anything that I can think of," explains Evert. "My father was only interested in traditional designs. I was not satisfied with that. I wanted to make something that hadn't been made before."

He acquired the taste for sawdust working in his Swedish father's cabinet and furniture shop after school as a teen. Through the war years, he created Sodergren History (30 photos) test model aircraft at Boeing, where he learned to appreciate tight tolerances and precision metalwork. After the war, he rejoined his father, adding breadth to the business. While his father built period pieces, Evert explored more contemporary lines. In 1956, he took over the business from his father.

His designs are said to give "an Asian look to furniture with a Scandinavian base." His values are simplicity, honesty, and a bit of whimsy. He is most known for reinterpreting the ancient tansu chests of Japan and Korea into modern pieces of various sizes that can be used in any room of a house to store anything. While the overall shape of the tansu chest is simple and box-like, the asymmetrical spacing of the tansu drawers divides the piece's interior in surprising and visually pleasing ways.

Evert often employs a "three element principle" in his designs to create both interest and harmony. This rule of thumb requires that the piece have no more than three elements in such combination as two contrasting woods with either a brass or marble accent. "The most important element in producing a fine piece of studio furniture is the careful selection of wood. The material's color match, grain, texture, imperfections, machinability, and availability must all be considered." His favorite woods are Brazilian Rosewood (for its beautiful color), American Walnut (for its good texture, color, and machinability) and Cherry (for its quiet "neutralizes").

A second critical element is the ability to plan ahead; think well ahead of the proper sequencing of tasks to ensure the proper fit of all parts. "We work everything out on paper thoroughly, making as many drawings as needed to be satisfied."

But not everything can be foreseen. "The sign of a good craftsman is not one who never makes mistakes, but one knowing what to do about them." Though he believes that experience is the best teacher, he recommends that anyone beginning in this field read The Encyclopedia of Furniture Making by Ernest Joyce.

He truly enjoys the challenges associated in solving a design problem or meeting a client's need. Nothing is as rewarding as successful execution of a particularly difficult design. The Dot Table is among his favorites for its poured epoxy table top design and very unusual leg configuration. Another staple is the Sculptured Chair, recently accepted into the permanent collection of the Smithsonian's Renwick Gallery. It required an innovative spline solution to provide structural strength.

Evert even designs and makes his own hardware. "I have always been fond of working with brass. On my first tansus, I made all the hardware by hand. But then I thought 'geez, that was too much work.' I shopped around, but machine shops wanted orders of a thousand. So, I have done it myself ever since."

As for the finish, he goes for the natural look. "I don't use stain. I believe in using all natural wood colors. If a customer wants something different, I will select a wood that satisfies that request, rather than mixing up a bunch of stain and making it into something that it isn't."

Evert offers a traditional apprenticeship program in his shop, where he freely passes on "the skills, high standards, and survival techniques necessary for a life, lived well in the crafts." And in the finest traditions, it begins with pushing the broom. "You don't decide to be a craftsman. It Shop Shots (9 photos) takes a lot of work. You learn from lectures, observing, and doing." His greater influence may be his 20 years teaching at the University of Washington. Here, he educated architecture, interior, and industrial design students about furniture design and construction, making them more knowledgeable consumers for the work of the craftsman.

Now in his 80's, he still is active in the shop. "I used to wonder, 'At this age, why still do all this?' Then I started thinking 'Hey, you're only old once!' That's the way I like to think about it now."