Christopher Schwarz’s new book “Workbenches: from Design & Theory to Construction & Use” isn’t like other books on the subject. And that’s precisely the reason this work is a must-have for anyone interested in building a workbench. Other books on the subject show different forms of benches and the necessary accoutrements for using them, but they don’t offer much help in deciding which options are right for you. This book, in contrast, offers a real education in the whys and hows of what can often be confusing choices.

A good book will get you thinking and maybe starting on a daydream or two. A great book will change your thinking and empower you to launch into action. That is exactly what this book does. With a studious review of historic forms and common theories, Schwarz has the knack of explaining why they did it the way they used to; he then raises the questions of what will likely happen if you follow an historic form, or decide to veer off in another direction. Rather than presenting information in a pompous “this is the way you should do it” manner, this book works by posing questions about the way you work, and provides solutions based on how you answer.

In addition to the thorough discussion of bench styles and forms, there is an incredible amount of detailed information about using a bench as a valuable tool and helpful shop assistant. Holding the work to the bench is an important part of this, and this is covered completely. Vises, holdfasts, dogs and other accessories are explained both in historic context and in terms of contemporary use.  Schwarz has done his research, and he’s also gone out to the shop, put these things together and tested them to see how they work.

In addition, his personality comes through the pages which makes this an entertaining as well as instructive book. He’s an interesting, amusing and knowledgeable guy. He has his opinions, but he doesn’t try to shove them down the reader’s throat. His interest isn’t in making you believe he’s right; it is in informing and inspiring the reader to make good decisions. He shows you how he built the benches that work for him, but the key to this book is that he gives you what you need to build the bench that works for you.

I believed that I was ready to build a workbench before reading this book, but I gained enough from the experience that I’m heading back to the drawing board to make some changes, add a few things and get rid of some others. The bench I eventually build will be significantly better than what I had in mind before. It will suit my habits and methods better, be more convenient, and ultimately improve both the quality of my work and the quality of me as a woodworker. I can’t think of many books that can do all that, but this one certainly does.

David Mathias & Darrell Peart are on the right in the front row. Jim Ipekjian is trying to hide on the left in the back.

A regular tour of the Gamble house is a wonderful experience.  For a furniture maker it is also a torment.  At every turn there is another beautiful piece, exquisitely crafted.  The natural urge of a woodworker is to touch and examine, to try to unlock the secrets of construction and finish.  All of these acts are forbidden and for good reason.  As Bobbi Mapstone, PR Director for the house, points out, if all 30,000 annual visitors were allowed to touch the furniture it would be damaged.  At the very least the finish would wear away.  So, no touching.  Understandable but torturous.  The Details & Joinery tour goes a long way toward relieving our suffering.

Leading the Details & Joinery tours is Jim Ipekjian.  Jim is probably the world’s foremost expert on and craftsman of, Greene & Greene furniture. Having now seen some of his pieces, I don’t think I could distinguish them from the originals.  As I mentioned in a previous entry, Jim is a generous, friendly man happy to share his knowledge with others.  Participants on a D&J tour are not allowed to touch the furniture (or much else). But Jim is.  Want to see the undersides of drawers? (I did) Ask Jim to remove it.  Want to know how the upstairs hall closet doors open? (It’s really cool) Ask Jim to open one. Want to see the inside of the chiffonier? (We all did) Ask Jim to open it. I don’t think he refused a single request.  And there are other ways to unlock secrets.  After this tour the floors of the house are spotless – we spent a lot of time sliding around on our backs shining flashlights under the furniture.  This is THE tour for Greene & Greene furniture fanatics.  I would gladly have paid to stay on that ride for a second round.

Popular Woodworking contributor David Mathias continues his reports from the Craftsman Weekend in Pasadena, California.

Pasadena Heritage Craftsman Weekend is a three-day event. My trip to Pasadena, however, is a full week. A very busy week. So we built a little downtime into the Sunday schedule. By downtime I mean taking a driving tour and strolling around the exhibition hall gawking at beautiful examples of contemporary Arts & Crafts pieces and antiques.

As I mentioned in a previous entry, the exhibition is impressive. Through the good fortune of meeting via the Greene-style-furniture Yahoo group I was able to spend time with Darrell Peart, Tom Stangeland and Tim Celeski. Tim designs and makes outdoor furniture, including the world’s first comfortable Adirondack chair, in various Arts & Crafts styles. Tom Stangeland designs furniture inspired by Greene & Greene but with substantial interpretation. I spent significant time in his booth and never tired of looking at the pieces he brought. Darrell Peart’s furniture is more obviously Greene & Greene, including reproductions. His Gamble dining table is a wonderful achievement. Best of all, these men were very generous with their time and knowledge, and great fun to hang out with.

At least two Los Angeles-area museums have Greene & Greene furniture in their permanent collections. The collection at the Los Angeles County Museum of Art includes roughly a dozen pieces any number of which may be in storage at any given time. We got lucky – there were four pieces on display, all from the Blacker house, when we visited on Monday: the hall table, a hall chair, a living room chair and the dining room chandelier. The hall table is roughly 6' long and 3' deep. It is elegant and appears to be simple but there are, of course, many subtle details. The drawers presage those of the Gamble house and the lifts on the rails are reminiscent of those from the Robinson house. Many consider the Blacker living room chair to be the ultimate Greene & Greene furniture design. Having now seen one, I can understand the sentiment even if I don’t agree. Thinking about trying to make that chair made my head hurt. Seeing Jim Ipekjian’s faithful reproduction, on Wednesday, made my ego hurt.

Better known for its Greene & Greene collection is the Huntington Library and Gardens, our Tuesday destination. The G&G furniture collection is extensive. The Thorsen dining table, chairs and sideboard are there. The Robinson dining room furniture resides there in a re-creation of the room itself. The Ford house server is also there. The highlights, in my opinion, are the two dining tables. The Thorsen table includes stunning inlays and a very interesting base including rails that meet legs at a corner. The Robinson dining table is likely my new candidate for Charles’ first great piece of furniture. Not coincidentally, the Robinson house marks the first collaboration between the Greenes and Peter Hall.