Asymmetrical Sculptural Coffee Table in Organic Natural Solid Wood

Product Highlights

• Material: Natural Solid Wood, dark cocoa through the heart and lightening to a tawny gold at the perimeter, with pale flame figure spreading across the middle of the surface.
• Tabletop: A free-form outline with no straight run and no repeated curve — one long side is scooped inward in a deep bay, while the opposite side bulges out into a broad lobe, so the two halves refuse to mirror each other.
• Ends: Unequal by design. One narrows to a soft rounded beak; the other opens wide and rolls over into a full curve.
• Edge: Thin at the perimeter and thickening toward the centre, the whole lip rolled under so the top appears to float rather than sit. The line of the edge also rises and falls slightly, so it is never flat when seen from a low chair.
• Base: A carved sculpture in its own right — a broad outer ribbon that arches across beneath the top, with a second inner sweep rising from the floor to cradle the underside.
• Openings: Where those two members pass one another they leave open voids that you can see straight through, from the front of the table out to the far side.
• Floor contact: Three broad landing lobes, each flattening out where the carved wood turns and settles — not points, pads or cut feet.
• Composition: The base is placed off centre beneath the top, so the overhang is generous on one side and short on the other.
• Structure: A surface and a sculpture, nothing else. No drawer, no door, no shelf, no tier, no metal, nothing that opens.
• Surface: Polished to a warm satin that travels without interruption over the flat, around the rolled lip and down every hollow of the base.
• Available in three sizes: 39"W × 20"D × 16"H, 47"W × 22"D × 16"H, and 55"W × 22"D × 16"H.

A Statement of Nature

Asymmetry is easy to claim and hard to draw. Most tables that call themselves organic are symmetrical shapes with the corners softened; this one is not, and you can prove it by walking around it.

From one side the top presents a full, swelling curve. Cross to the other and a deep bay has been taken out of it, curving inward far enough that the shape looks bitten rather than trimmed. Neither end matches the other either — one draws to a soft beak, the other opens wide — so no two viewpoints give you the same object.

The base repeats the argument in three dimensions. Two carved sweeps pass one another beneath the top, one arching over the floor and one rising to meet the underside, and where they cross they leave open voids that let the room show through. Placed in a bare, quiet interior it behaves like a piece of studio furniture, which is precisely the register it was drawn in.

Natural Materials & Craftsmanship

An outline like this cannot be cut from a template. It is drawn onto the board once the figure has been read, so that the deep bay falls where the grain is calm and the pale flame runs out toward the widest part of the top — which is why the shape and the pattern look like they were decided together, because they were.

The edge is where the hours go. Taking a thick slab down to a fine, rolled lip all the way round a curve that constantly changes direction has to be done by hand and judged by touch, and the underside of that lip is worked to exactly the same standard as the face — on a table this low, the underside is genuinely in view.

The base can only be made from solid stock. Its sweeps twist as they travel, so the grain has to bend with them, and it does: follow a line of figure from the top of one member, round the turn, down the outside and onto the lobe where it flattens into the floor, and it never once breaks at a join. Every convex face is worked until a palm passes over it without finding a flat, and the inside faces of the voids — surfaces almost nobody inspects — get the same treatment.

Four tone finishes are offered: Brown Tone Finish, Walnut Tone Finish, Oak Tone Finish and Black Tone Finish. Each names a colour laid over the same Natural Solid Wood. Species selection is not offered, and none of those names describes the timber.

Sculptural Design

Consider the top first, on its own terms. It is one continuous plane, generous in the middle and tapering as it reaches the perimeter, with a surface broad enough for a book, a bowl and a tray without crowding. The deep bay cut into one long side is functional as well as formal: it draws the edge back toward the seating, so a person on the sofa reaches across less than the overall width suggests, and it gives the table an obvious front.

Now look underneath, which is where the piece earns its description. The base is not a single closed loop. Two carved members are involved. The larger arches across the floor and rises on both sides toward the underside of the top; the second sweeps up from behind it, curling into a cupped form that meets the slab from the other direction. Between and around them, the openings are left as they fall — they are the residue of two shapes passing, not holes drilled through a panel, which is why their edges flow into the surrounding wood rather than meeting it on a line.

At the floor, each sweep flattens and widens into a broad lobe. There are three such landings, spread apart rather than set at corners, and because the base sits off centre beneath an irregular top, the load is balanced by shape rather than by symmetry. The largest overhang is on the bayed side, which is what makes the top appear to hover as you approach.

Function is left deliberately bare. Nothing is stored, nothing is enclosed, and the voids in the base are voids — the whole of the table's usefulness is the surface on top and the shadow it throws underneath.

Versatile Placement

• Living room: centred on a rug in front of a low sofa, with the bayed side turned toward the seating so the edge comes to meet you.
• Open-plan interior: out in the floor rather than against a wall, since the base changes shape completely from one viewpoint to the next.
• Gallery, studio or showroom: as the single low object in an otherwise empty room, where the openings frame the floor behind it.
• Lounge or sitting room: between two facing chairs, the free-form outline letting people pass without meeting a corner.
• Large bedroom: at the foot of a bed, at a height that suits a tray, books and a reading lamp.

Customization

Three sizes are built: 39"W × 20"D × 16"H, 47"W × 22"D × 16"H, and 55"W × 22"D × 16"H. All three share the same 16" height, so the relationship to a standard sofa seat does not change; what changes is how much presence the piece takes in the floor. The two larger widths also carry an extra two inches of depth, and on a free-form outline that depth is what keeps the bay looking deliberately drawn rather than pinched. Custom sizing may be available on request — tell us the length of your seating and how much clear floor surrounds it.

The tone options are Brown Tone Finish, Walnut Tone Finish, Oak Tone Finish and Black Tone Finish. Each is a surface colour over the same Natural Solid Wood, and the material is unchanged between tones and between sizes. Tone has an unusually strong effect on this design: a lighter tone lets every hollow and roll in the base be read through shading, while the deepest tone turns the whole object into one continuous dark silhouette with the openings showing as gaps of daylight.

Natural grain and tonal variation make every piece one of a kind. Because both the outline and the base are shaped by hand rather than pressed from a mould, the exact curve of the bay, the taper of the beak end and the spread of the three landing lobes will differ from the table photographed, and small dimensional differences from the stated figures are to be expected on hand-shaped work. We are glad to send photographs or a short film of your own piece before it leaves the workshop — just ask.

Care & Maintenance

Dust the top with a soft dry cloth, then follow the perimeter all the way round and turn the cloth under the rolled lip, which collects more than the flat does. For the base, work from the top of each sweep downward and use a soft dry brush where the curve tightens and a folded cloth cannot reach.

Use coasters, and lift anything hot onto a mat or trivet before it touches the wood. Blot spills as they happen and dry the area rather than letting liquid evaporate on the surface. Keep bleach, ammonia, solvent cleaners and abrasive pads away from the piece entirely — a dulled patch on a carved surface is far harder to blend back than one on a flat.

Keep the table clear of radiators, heating vents and hours of hard direct sun. On a piece carved from solid stock, uneven drying threatens the shape of the sweeps and not only the colour.

Set it on a level floor and check that all three lobes bear evenly, particularly on a thick rug where one landing can ride higher than the others; a thin felt pad under each lobe is worth adding on boards or tile. Refresh the surfaces with a suitable wood oil or wax once or twice a year and buff well so nothing collects in the hollows. When the table has to move, two people should lift it from the base itself — never from the overhanging edge of the top, and never by dragging.

Important

• Free-form asymmetric top: a deep bay scooped into one long side, a broad lobe opposite, and two ends of unequal shape.
• Base carved as two sweeping members that pass one another beneath the top, leaving open voids you can see straight through.
• Rests on three broad landing lobes where the carved wood flattens into the floor; there are no separate supports, no frame and no plinth.
• The base is set off centre, so the top overhangs further on one side than the other.
• No drawer, no door, no shelf, no tier and no metal fitting of any kind.
• Handcrafted from Natural Solid Wood.
• Decorative items are not included.

Once our products are finished, we disassemble them into several pieces before shipping. This isn't a shortcut — it's actually to protect your order! Our pieces can be large and bulky, so breaking them down makes them much easier to package securely and move safely, which means your item arrives without any dents, cracks, or damage from bumps during transit.

No worries about assembly, though — our craftsmen carefully design every joint and connection to fit together snugly and precisely once you put it together. Plus, we include detailed assembly instructions with every order, so you can set everything up with confidence.

Note

• Listing includes the coffee table only, in the size and finish selected.
• Decorative items shown in the photographs — the small pale ceramic bowl, the single hardcover book, and the curtains and flooring of the room — are not included.
• Each piece is handcrafted from Natural Solid Wood with unique grain and tonal variation.
• The openings in the base are sculptural voids. They are not compartments or shelving, and this table provides no storage.
• The outline of the top is shaped and sanded smooth by hand; no bark or unworked natural surface is retained on this design.
• The asymmetry of the top and the uneven spacing of the base are intentional parts of the drawing and are not manufacturing faults.
• Tone finish names describe surface colour only; every size and every tone begins from the same Natural Solid Wood.

Shipping

Free Shipping Within the US
We proudly offer free shipping on all orders delivered within the United States.

Estimated Delivery Time
Each piece is carefully handcrafted to order. Total delivery time is approximately 10-17 business days, including production and shipping.

Returns

30-Day Return Policy
If you are not completely satisfied with your purchase or simply change your mind, you may request a return within 30 days of receiving your order. We cover the full cost of return shipping for all returns — no return shipping fee or restocking fee under any circumstance.

For full details, see our Shipping Policy and Refund Policy.

Wood Care Instructions

Avoid Water & Excess Humidity
Wipe away any standing water immediately and avoid prolonged exposure to moisture. To preserve the beauty and durability of the Natural Solid Wood, do not place the product in excessively humid areas or near direct heat sources.

Protect From Direct Sunlight
Extended exposure to strong sunlight may cause the wood to fade, dry, or naturally shift in color over time. For best longevity, place the product in a cool, dry environment with soft or indirect light.

Gentle Cleaning
Dust regularly using a soft, dry cloth. Avoid harsh cleaners, chemicals, or abrasive materials that may damage or scratch the wood surface.

Periodic Wood Maintenance
Every 6–12 months, apply a wood conditioner or natural wax to help nourish the wood, maintain its luster, and improve moisture resistance.

Protect the Surface
Use coasters, pads, or protective mats under glasses, vases, and heavy or sharp objects to help prevent scratches, dents, or surface marks.

Inspect & Tighten Hardware
For products featuring screws, joints, or traditional mortise-and-tenon construction, periodically check and tighten connections to ensure long-term stability and strength.