reSAWN is pleased to announce that our CHARRED collection of shou sugi ban woods are now available treated to a Class A Fire Rating for Interior Applications. Contact us to learn more about specifying CHARRED wood for exterior siding, interior wall cladding and custom furniture.
IRUKA :: one of the newest designs from reSAWN, Iruka features shou sugi ban charred cypress finished with a metallic silver
shou sugi ban wall cladding + black walnut conference table
PINKU is one of the newest designs in the CHARRED collection from reSAWN TIMBER co. To create the CHARRED colors, reSAWN starts with cypress wood in either #2 common grade or select grade. TThe wood is carefully charred, misted with water, cooled, brushed to remove dust and loose debris, and then stained/sealed to create the unique designs you will find in the CHARRED collection. The top coat sealer is applied prior to shipping (for exterior applications, we recommend sealing the face & back). The unique shou sugi ban burning process is what accentuates the wood grain and allows us to create the CHARRED COLORS – rather than a simple stained piece of wood, you get a textured and varied look with black accents from the charring. To maintain a newer aesthetic of the oil finished COLORS, the oil should be reapplied every 2-4 years. However, as weathering, exposure conditions, altitude, and applications can vary, maintenance may be needed sooner and should be performed when visually necessary, regardless of time frame. Alternatively, reSAWN offers two fully CHARRED designs called HAI and MOYASU which require less maintenance long term as there is no wood grain exposed under the top coat due to the full char. Most of the CHARRED COLORS are finished with an exterior grade oil that protects the wood against the elements – JINZU and MIDORI are finished with an interior only oil and should not be specified for exterior applications.
PINKU is featured here along with RSToc. CONFERENCE TABLE 3 in north american black walnut. RSTco. was created to distinguish our increasing work with custom millwork and furniture. The founders and craftsmen of RSTco. have been creating furniture pieces for private customers for 30+ years and reSAWN has grown to a national presence with sales reps and projects around the USA and abroad. Visit our Furniture page for more info or contact us to discuss your project needs.
RSTco. furniture is pleased to offer KURUMI: North American Black Walnut that is lightly CHARRED and then prefinished with either hardwax oil or a conversion varnish. We recently created 2 of these KURUMI table tops for reDISTRICT based out of Alexandria, VA. The tops are 30” X 30” X 1-3/4” thick. Learn more about RSTco. furniture and our collaborative design process. KURUMI can also be used for interior wall cladding & millwork – request samples here.
Discover the products, stories and building teams behind the projects.
Archello is the only platform that tells multiple stories around projects, from the manufacturer to the architect, making it the richest and the most complete platform for architecture and design.
click on the logo to see archello’s story on reSAWN:
With a combination of roughness and care, Kaspar Hamacher chops logs into sections, strips the bark away and places smaller burning logs on top to create legs from the charred remains, creating this unique design for charred furniture.
Given the natural ingredients of both raw timber and burning embers, the results, while clearly of a kind when set next to each other, are nonetheless always unique.
Tables and Credenzas from RSTco. Furniture :: modern furniture design techniques and materials mixed with traditional woodworking skill. Images below feature:
1 BLACK WALNUT CONFERENCE TABLE WITH METAL BASE
2 CURLY MAPLE CREDENZA WRAPPED IN SHOU-SUGI-BAN RED OAK – WITH OXIDIZED MAPLE ACCENT STRIPES AND RELIEF HANDLES
3 NETSU SHOU-SUGI-BAN CHARRED TABLE TOP WITH METAL BASE
4 AMERICAN BLACK WALNUT CREDENZA WRAPPED IN WHITE LAQUER
5 BLACK WALNUT CONFERENCE TABLE WITH METAL BASE
Charred Japanese cedar clads the exterior of this split-level house in Izumo, Japan, by Kanazawa studio Harunatsu-Arch. The architects chose to clad the exterior with charred Japanese cedar boards, giving the building a blackened textural surface that contrasts with the smooth concrete foundation slab.
http://www.dezeen.com/2014/10/22/harunatsu-arch-gui-house-japan/
Combining traditional solid wood furniture craftsmanship with shou-sugi-ban charred woods to create unique, modern pieces
For his project at the Palais de Tokyo, Bernard Aubertin decided to produce a series of “fire-paintings”.
The French artist Bernard Aubertin met Yves Klein in 1957. After this capital meeting he painted his his first red monochromes. In 1961, Bernard Aubertin joined ZERO, a German artists’ group made up of (Otto Piene, Heinz Mack and Günther Uecker). With them Aubertin shared a distrust of language: “Art isn’t expression, it’s knowledge. You don’t have something to say, you can only be” (Bernard Aubertin). For Aubertin, monochrome painting is the best way to free oneself from the painter’s gesture and, in doing so, give rise to a pure space and an anonymous vital energy. Ascribing a prophetic, liberating value to the color red and “levitating fire,” in which he sees a materialization of “extrasensory” culture, Aubertin has tirelessly developed his many series of paintings, the “monochromes,” “squares,” “reds,” “fires,” “golds” and so on.
The “fire-paintings” are fashioned from matches, which leave only traces of smoke and charred wood in the end. Aubertin sees them as so many manifestations of the power of art materials.
Internationally renowned Italian sculptor Aron Demetz makes use of traditional woodcarving techniques to create sculptures that often convey his preoccupation with humanity’s relationship to nature. Rather than presenting polished and perfected works, Demetz revels in the wood’s textures and its transformation through various natural processes. The charred human sculptures evoke feelings of vulnerability – of both the wooden materials they are composed of and the human figures they represent. Demetz’s sculptures present mankind and nature as one, reflecting the fragility of both.
The Value of a Natural Product is Without Equal
