After many experiments and prototypes, the final designs have a modernist styling with very simple lines and jointing to illustrate the visual versatility of London Plane and power of the Lacewood grain figure.   After making reproductions and reinterpretations of early 20th century furniture including Gerard Rietveld’s Red Blue Chair along with research on the American Arts & Crafts Movement and European Modernism, I realised that designing furniture with stylistic restriction was the appropriate way to showcase both traditional hand tool methods and the visual qualities of London Plane, and Lacewood in particular.